Pierre d’Alancaisez (is) Verdurin

Pierre d’Alancaisez (is) Verdurin

@verdur.in

https://verdur.in - cultural project and event space, concept store, and soon publisher in London. https://petitpoi.net - art criticism and writing by Pierre d'Alancaisez.

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On doormats today and on news stands soon: the November issue of The Critic, with my thoughts on Tate's revision of Pictorialism — the movement that turned photography into an art — and the pitfalls of art historicism.

notes and notices: The 90s: Art and Fashion at Tate Britain ★★★☆☆ When Barthes proposed in 1980 that everyone depicted in a photograph was already dead, his words fell on deaf ears. A decade on, the image would be proof of raw life. Read on: buff.ly/RkZATKM

Shakespeare weighs heavily on the British political imagination. The ‘living tradition’ has seen his plays adapted to contradictory ideas. He is construed as a proto-liberal and plays are taken to be the foundation of an English concern with the social order. Listen: buff.ly/Q2Dm1Zn

Exiting the art world is one thing. But an exodus of artists from art itself would be quite another. Successive generations of artists are opting out of making art, citing aesthetic, existential, and political fatigue. I wrote about depression-era aesthetics for The Critic. buff.ly/bOR3OjF

buff.lyWatching an aesthetic unravelling | Pierre d’Alancaisez | The Critic MagazineWe live in the age of artistic boycotts that prove that art matters little to non-artists.

Next week at Verdurin: Disenchantment, or the Liturgy of Lack A discussion on religious experience with Peter Rollins.  📅 28 October, 7pm 🎟️ buff.ly/l7Y0nDC What if the embrace of alienation gave rise to religious conversion? The route to spiritual salvation already involves doubt and anxiety.

What determines whether the ideas of progress give rise to, well, progress, or merely the substitution of the old? In 2025, Verdurin convened a conversation between author of "The Progress Trap" Ben Cobley, Spiked’s Fraser Myers, and environmental philosopher Rupert Read. Listen: buff.ly/hLPlWuc

Next week at Verdurin: Trauma Fiction A conversation on the literature of collective anguish with Jaspreet Singh-Boparai, Edward McLaren, and Joshua Knapp. 📅 13 October, 7pm 🎟️ buff.ly/tzAFa4m Jaspreet Singh Boparai is a Senior Fellow of the Pharos Foundation and contributing editor at The Lamp.

Next week at Verdurin: Trauma Fiction A conversation on the literature of collective anguish with Jaspreet Singh-Boparai, Edward McLaren, and Joshua Knapp. 📅 13 October, 7pm 🎟️ buff.ly/tzAFa4m Joshua Knapp @havingaknapp is the author of "The Haxton Review".

What if the problem of literacy is not its decline, but rather our hyper-literate state? The written word has become a bulwark against experience, with the reading of social media posts or Substack essays is at best a distraction. Audio now online: buff.ly/xAayKCi

Next week at Verdurin: Trauma Fiction A conversation on the literature of collective anguish with Jaspreet Singh-Boparai, Edward McLaren, and Joshua Knapp. 📅 13 October, 7pm 🎟️ buff.ly/tzAFa4m Edward McLaren is the author of Bothelford’s Gone, a novel about the grooming gangs in Britain.

Is writing under threat from AI? Is reading a lost art? Could Homer have imagined these questions at the dawn of literacy? Daniel Hadas's talk at "Out of Print", Verdurin's symposium on literacy, held in June 2026 and organised with Edmund King is now online. buff.ly/xAayKCi

🎧👂 Coming soon: Verdurin event podcast! Thanks to the great work by John-Robin Bold, we will soon be able to bring you some of the highlights from our event archive in the form of a podcast.

On doormats today and on news stands soon, the October issue of The Critic, with me on "Middle-Eastern contemporary art" — a compound noun that is the opposite of what it seems — and the great refusal, or resignations, of artists too wary to keep making art. buff.ly/NFY0lTu

Fun fact from the Turner Prize press junket on Thursday: more than half of my esteemed colleagues attending didn't bother watching Simon Barclay's video 'The Ruin' for more than a few minutes (the work is much longer). Because lunch was being served.

This year’s Turner Prize catches contemporary art distracted, pulling in multiple directions at once, and blindly misinterpreting the images it makes. In this, it is more “Britain in 2026” than Britain cares to admit. I reviewed the exhibition for The Critic. buff.ly/LBatY1S

buff.lyThis is what Britain looks like | Pierre d’Alancaisez | The Critic MagazineReaders of this magazine are not likely to look to contemporary art to find the pulse of Britain. Even less so, perhaps, to the Turner Prize, which in recent editions turned inward and has barely…