surya bowyer

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A photo of a text panel from the Bayon Temple in the Angkor complex, with this text highlighted in blue: “In 1933, the Jaya Buddha Mahanath statue pieces were discovered at the bottom of the well by French archaeologist, Georges TROUVÉ”
A photo of the former director of the Louvre at home, with a gallery wall of gilt-framed paintings behind him
A photograph of the interior of the home of Sir Antony Gormley, showing a hallway with a ping pong table in its middle
A painting: Remedios Varo's "Simpatía (La rabia del gato)". A surrealist scene. A woman sits at a table, looking down at an orange cat with its hind legs held aloft in the air. A glass of water has spilled on the table; the water runs off, creating a river on the floor.
A pair of black shoes on the floor of a Waterstones. The shoes’ owner is nowhere to be found.
Ceal Floyer's Working Title (Digging), a stereo sound installation that aurally represents the act of shovelling dirt. Two speakers lying face up on the floor, in opposite corners of an otherwise blank room in a gallery. A CD play, connected to both speakers by wires, sits in another corner.
A (now outdated) sign outside the British Library in London which reads: Please take care, Piazza slippery. Please take care. Piazza can be slippery in wet/icy conditions. British Library Estates."
A label from the British Museum exhibition “Silk Roads”. It reads: Byzantine connections in a desert palace - Also from Jordan, this section of a vibrant mosaic once decorated the floor of Qusayr Amra, an Umayyad 'desert palace' built for royal entertainment. Mosaics in early Islamic architecture drew from Byzantine traditions, sometimes reusing tesserae (small blocks) taken from churches. Wall paintings at this site also reference Byzantine art in their figurative imagery. Qusayr Ama was one of the desert complexes that the Umayyad caliphs constructed. Many were built along major routes connecting the Silk Roads, and may have provided respite for travellers.
The “VARSYREN” tea light lantern sold by IKEA, with me holding it
An image of the board that is beside the enclosure for Toni the Pygmy hippo at Berlin Zoo, who is sponsored by the German footballer Antonio Rudiger
A cropped image from an issue of the magazine Pictorial Education, bearing the text, "Telephone: Museum 8521".
A screenshot of a letter to the editor that appeared in The Economist. It reads: Spotting a trend As an airship enthusiast, I am glad to see that the industry is on the verge of taking off ("The sky's the limit", November 2nd). I always get a lift out of this story when you run it, such as "Airships could be returning for commercial travel" (March 22nd 2016), "Reviving airships" (March 8th 2014), "Flying saucers" (December 11th 2010), "Are they coming back?" (no, alas, July 12th 2008) and "Pushing the envelope" (May 29th 1999), just to name a few. With soaring spirits I look forward to your next report about the sky-high future of airships. JOHN ASTELL Holden, Massachusetts
A screenshot of a headline from the Art Newspaper. The photo shows a man eating a banana that has tape attached to it; he is holding a microphone. The headline reads: Crypto investor eats Cattelan banana he bought for $6.2m. The subheadline reads: Justin Sun, who purchased the work just last week, also pledged to buy 100,000 bananas from the vendor who originally sold the fruit for $0.25
Portrait of Charles James Fox by Karl Anton Hickel, 1794. Fox is smartly dressed, holding a bundle of papers, and looks worried.
A collage. Fractured figures, objects, and patterns from South Asia, pasted onto a fuchsia background. Artist: Ravista Mehra. Artwork title: Kusmi Tea, English Breakfast. Date: 2016.
Front cover of 'Very Spaghetti', a 1992 report on the uses of digital interactive multimedia in museums.
This leather case contains sixty-nine miniature reproductions of Duchamp's works. This is number two of twenty-four de-luxe versions of the case. Each of these features a different, hand-coloured 'original' fixed to the inside of the lid. The box 'unpacks' in such a way that some sections slide out, with other folders and black-mounted prints inside. For Duchamp there was no clear distinction between the original and the reproduction, a concept cleverly embodied in this piece. The case is also reminiscent of a travelling salesman's display case, containing a selection of Duchamp's pre-1935 work like a portable museum, made for his move to New York in 1942.