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Spike Island

Informed by her heritage, the Athens-based artist reflects on technology’s gradual erosion of social relations at Spike Island, Bristol 

By David Trigg

Bristol

5 May
8 Jul
Kim Yong-Ik, left to right; Untitled (second version 2017, after lost original of 1986) and Untitled (second version 2017, after lost original 1989), installation view, ‘I Believe My Works Are Still Valid’, 2017, Spike Island, Bristol. Courtesy: the artist and Kukje Gallery

Korean Cultural Centre, London, and Spike Island, Bristol, UK

By Tim Smith-Laing

Spike Island, Bristol, UK

By Holly Corfield Carr
Michael Simpson, left: Squint 20, 2015, oil on canvas, 2.2 × 1.2 m; centre: Squint 27, 2015, oil on canvas, 2.3 × 1.1 m; right: Squint 18, 2015, oil on canvas, 2.1 × 1.2 m. Courtesy the artist and Spike Island, Bristol; photographer: Stuart Whipps

Spike Island, Bristol, UK

By Paul Carey-Kent
Reto Pulfer, MMMS Reticulum Gewässerzeiten, 2015, exhibition view

Spike Island, Bristol, UK

By Linda Taylor

Spike Island

By Emma Cocker

Spike Island, Bristol, UK

By Michael Bracewell