Domus Magazine

Domus Review: Anish Kapoor at the Serpentine

Why do we love mirrors? From funfair antics of distortion to Versailles’ lavish Hall of Mirrors, from Narcissus captivated by his reflection in the water to Robert Morris’ minimalist Mirrored Cubes, they hold a strange power. Read more…

Jean Nouvel’s Serpentine Pavilion

A lot has of course already been written on the significance of the use of red in the 2010 Serpentine Pavilion – its reference to the red of London buses and England’s postboxes, for example. There are a myriad other things that spring to mind, rather more inappropriately: Christmas, prostitution, Communism, blood, danger, to name just a few. Read more…

The New Décor at the Hayward Gallery

The first room of the Hayward Gallery’s “The New Décor” gives the distinct impression that you’ve fallen down the rabbit hole, imbibed the little bottle marked “Drink Me” and shrunk down to explore the exhibition as a miniature Alice in Wonderland. Read more…

No Soul for Sale: Tate Modern's 10th anniversary

Not since Olafur Eliasson’s Weather Project installation in 2003 has Tate Modern’s Turbine Hall felt so “occupied” by the masses, so animated, with people taking ownership of the vast space for their own amusement. Of course it is all orchestrated by the mighty institution, but it feels like a fitting tribute to ten years of the Bankside museum to give it over to “the people” and stage a festival. Read more…