This opera wants to know whether memory is scientific or occult. It answers the question by rejecting it.
The Turner Prize-winning photographer’s set design for ENO’s new production asks: can the greatest horror be better communicated by the unseen?
Ahead of its South London Gallery performance, how Tom Phillips’s Irma – a work that questions the genre of opera itself – is being staged
Combustion and digestion in Matthew Barney’s latest work
Poul Ruders' The Handmaid's Tale