The living archive of AnotherStory
A curated collection of thoughts, portraits and narratives. Stories beyond the screen — where moving images open into reflection, place, process and contemporary visual culture.
A young boy finds a mermaid washed up on the shingle at Dungeness, while his older brother is swept up in the rising tide of far-right nationalism. A note from the Lab on Patrick Ireland's Ill Fares The Land.
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Narrative encounters with artists, filmmakers, artisans, musicians and curators, and with the houses that hold their work: galleries, studios, museums, collections, festivals. Immersions in a practice, a place, a personal vision. Each portrait follows the rhythm of its subject: their voice, their studio, the light around them.
In the late 1970s, a young German teacher arrived in Berlin and met Martin Kippenberger. Four decades later, the gallery she built from that encounter celebrates its fortieth anniversary in Naples, with a double exhibition that brings Kippenberger's Italian obsession to the city he never reached in his lifetime.
Founded in 1974 with a show by Dan Flavin, Studio Trisorio has spent fifty years changing the way Naples sees contemporary art. From the first photography exhibitions to the invention of Artecinema, from Villa Orlandi in Anacapri to three gallery spaces on the Chiaia waterfront, this is the story of a family, a city, and the conviction that art can reach everyone.
Since 1996, Artecinema has been bringing contemporary art to the screen in Naples. Thirty editions later, the festival founded by Laura Trisorio remains one of Europe's most important programmes of film on art, and one of the most generous: admission is free.
Before the music begins, there is tuning — an act of alignment between two instruments that is already part of the performance. Harkeerat Mangat and Balázs Virágh make Indian classical music with the precision of cognitive science and the playfulness of two friends who find their shared obsession "totally hilarious and absurd."
In her studio on the family farm, surrounded by sheep and sea, Mogs Mellor paints what catches her eye: oystercatchers, boats, a sprat on blue plastic. She calls her best work "happy accidents." What moves her most is when a stranger walks in and says: I love this.
Not all the studios we visited in Argyll were artist studios. Some were houses, some were kitchens and some were pubs. Melfort House is all of these things combined. In this beautiful house on the shores of Loch Melfort, Matthew Anderson serves breakfast, plays the guitar in the pub across the road, and sends you to a tiny island for an evening of music you would never have found alone. For him, hospitality is a creative practice. The landscape is the calm that holds it all together.
listens.
Conversations with the people who shape how we see, tell and create. Filmmakers and writers, visual artists and musicians, curators and gallery directors, architects and publishers, cultural leaders and independent voices. Edited exchanges where different worlds meet, and where the contemporary reveals itself through the practice of listening.
An island erupted in 1831 and vanished before photography existed. Elisa Giardina Papa went to find it, and decided not to film it.
A Dialogue with Eva Sajovic on empires, ruins, and the things that outlive the structures that contained them. From Yugoslavia to Rome to London, and from the personal to the political to the material. What do we build, and what do we let fall?
Four voices at the ICA. Three American artists and a curator sit in a room on The Mall and talk about what happens when art looks at money, and money looks back. A Dialogue from the preview and artists' talk of Genuine Fake Premium Economy.
crosses.
Narrative essays on places, landscapes and living heritage. Every territory holds a story that precedes us and continues beyond us. Here, geography becomes a way of seeing, and the journey itself becomes a form of knowledge.
A festival that begins where you already are. Eight weeks, forty venues, and a road that has been taking people in for two thousand years.
In 1613, water arrives in London through a hand-dug channel and gathers at a site called New River Head. For four centuries, this place carries something essential to the city. On 5 June 2026, it opens its doors again as the Quentin Blake Centre for Illustration, the world's largest space dedicated to a language that everyone understands.
keeps.
What an exhibition leaves behind once you have walked out. Written after the visit, sometimes after the closing date. We stay with what remains: an image, a room, a question the show has opened onto an artist or a theme.
Half the title on the entrance panel has been struck through in red. Inside, sixty years of ink: maps that keep their coasts and lose their names, and the founding manifesto of Futurism blacked out in the house that holds its paintings.
Thirty-eight photographers, four American cities, one century. A collection that crossed an ocean to reach a gallery built for paintings.
Cecily Brown's Picture Making at Serpentine South, seen through Kensington Gardens. The South Flower Walk is in its first blooms. Virginia Woolf walked here as a child. Brown painted here as a memory. What stays, after the rooms, is the park itself: a place where painting, literature and looking keep returning to one another.
In a darkened room in one of Naples' most important galleries, a small LED projects the shadow of a globe onto a wall. Fabrizio Corneli has spent forty-five years making art from light. What he controls least is what interests him most.
argues.
Long-form writing with a thesis, sources and time on its side. Visual culture, heritage, landscape, accessibility, curatorial practice: the questions our research keeps returning to, given the space they demand. The essay is where the Journal thinks at full length.
The Journal is the place where AnotherStory thinks aloud — where films find context, projects take shape, and stories continue beyond the screen. Not a blog, not a magazine: a living archive, a house for the eye that learns to stay.
gathers.
A notebook for the things that catch our eye before they become something else. Observations from exhibitions, screenings, journeys, readings: impressions caught before they settle into form. The personal voice of the Lab.
Twenty-seven photographers, seven decades, one word returning on the walls: record. A walk through Japanese Women Photographers at The Photographers' Gallery, in its final days.
At the Barbican, Liam Young has built rooms around his films rather than films for his rooms. A foyer, a curved gallery and a car park become a route through possible futures.
looks on.
Sequences of images, film stills, photographs, frames, with minimal text. Where the Journal thinks through images, and where looking becomes a form of reading.
Seventeen frames from Patrick Ireland's Ill Fares The Land, from the sea to the shore, into the night, across the land and back into the water.
Naples feeds her soul, but her art speaks to the world — a visual language woven from mass culture, cinema, advertising, comics, and the infinite iconography of collective imagination.
opens.
Dispatches from inside AnotherStory: a film entering the catalogue, an open call, a partnership, an event. What we are making, why, and what comes next. Editorial in tone, never promotional.
A young boy finds a mermaid washed up on the shingle at Dungeness, while his older brother is swept up in the rising tide of far-right nationalism. A note from the Lab on Patrick Ireland's Ill Fares The Land.
A Greek myth told without a word, on Super 8 Ektachrome, on a Kent shore where the tide uncovers fifty million years. A note from the Lab on Jack Davies's Perseus.
A film shot on Super 8, hand-developed in caffenol, and now finding a second life on a streaming platform. Eva Sajovic's Rise and Fall of a Temple begins with the ruins of Rome and ends with a cardboard temple collapsing on the porch of the British School. The most fragile medium for the most monumental subject.