‘…saudades is an overrated word, simple to translate’
Two poems by filmmaker and writer Ali Sargentre-routing, rooting, writing
Lucy Rose Cunningham examines the idea of change through recent works exploring gardensParallel Play
Jenny Wu reviews Ligia Lewis’s exhibition study now steady at the Center for Art, Research and Alliances (CARA), New York‘Only the mineral remains’
A commentary by writer, researcher and activist Keir Milburn in response to Andrew Black’s Margaret Tait Commission film, ‘On Clogger Lane’Remarks: Eastside Projects
Gavin Wade, curator of Eastside Projects, which opened in Birmingham end 2008, talks about collaborative work with artists.Part 12: ‘Matter as a Hope of Finding Some Answers’ SERBIA
‘I am a European in a Brexit country, who curated a pavilion of a nation that is in the process of entering the EU but is not yet part of it.’ Response from curator Nicoletta Lambertucci continues our 15 part series.Light Translations
Rebecca Wilcox listens in and responds to ‘Stolen Voices Album Launch’ by Johanna Linsley & Rebecca Louise Collins, CCA, GlasgowAn upside down triangle with a two-headed arrow between the top two apexes. In the middle of this arrow, a dotted line with ‘SOCIAL’ written on one side and ‘SEXUAL’ on the other
Fourth in a series of research texts by Gordon Douglas reporting on encounters with collaborative practice in JapanSEEING SCOTLAND: Gazes and Articulations
Essay by Tiffany Boyle, writing for Mother TongueGardenlust #10: The Slug Murderers
A monthly column by Isabella StreffenA Year of Carte Blanche & Other Chimeras
The Sick Train, Part 2
by Gemma BlackshawHandwritten personal details on a deck of fluorescent green playing cards
Second in a series of research texts by Gordon Douglas reporting on encounters with collaborative practice in JapanReport: The Rise of Art Publishing
Artist-led publishing is on the increase, stimulating a growing number of both DIY and institutional publishing events. Kit Hammonds investigatesPotential
Appendix 2 of Good on Paper’s second invitation to join a workshop on Performance & EnergyThere’s a Ghost in my Machine
Melissa McCarthy attends the conference Photography and Memory in Edinburgh. Her story of the day includes a rollicking retrospective, cine film actually made of seaweed and storage unit musingsGI reviews and responses
Third in a series of reviews and responses to Glasgow International 2018 presentations, Neil Cooper reviews Katinka Bock at the Common Guild, Corin Sworn at Koppe Astner and Scott Caruth at House for an Art LoverDavid Burton, Ruth Ewan, Brian Moran
27 March–8 May, 2010, Rob Tufnell at 1 Sutton LaneThe word ‘Tradition’ with several circles around it indicating it’s been alluded to multiple times in a conversation
Third in a series of research texts by Gordon Douglas reporting on encounters with collaborative practice in Japan
#4 - December 2005
Review
Robert Smithson
Whitney Museum of American Art, New York 22 June-16 OctoberDorothea Tanning: A Canine State of Mind
Natalie Ferris on the artist’s retrospective at Tate Modern and communion with the animal worldEmerging: Maria Pires
We introduce two pairs of artists who attracted attention at the Edinburgh Art Festival 2006; and two individual artists who are making a visible mark on the landscape of environmental artPower Structures, Pantomimes and Parodies
The installations and performances of Paris-based artist Lili Reynaud-Dewar draw from a kaleidoscopic field of identities and histories—from Rastafarianism to Super Studio, from shorthand typists to burlesque entertainers. Here, in conversation with Joanna Fiduccia, she discusses the ambiguities, both sculptural and moral, behind her very particular Follies, and what it means to be the woman behind the curtainHayley Tompkins and Sue Tompkins
3 February–25 March 2007, Spike Island, BristolMy Mouth is Very Hot Now
A response by Lisa Freeman to Galalith, an exhibition and publication by Lauren Gault, guest curated by Katherine Murphy. The text is a script for two characters, Ghost & Wolf, and is set in a field on the outskirts of the small fictional town of Cúl GortAlejandro Jodorowsky’s ‘Dune’: An exhibition of a film of a book that never was
17 September–25 October, 2009, The Drawing Room, LondonFolded multi-page travel itineraries with stage directions
The first in a series of research texts by Gordon Douglas reporting on encounters with collaborative practice in JapanTax the Rich
Caitlin Merrett King visits Berwick Film & Media Arts Festival 2021 and considers the economics at play in the work of Ane Hjort Guttu, Rehana Zaman and Jordan Lord
#23 Autumn - September 2010