R. Buckminster Fuller and Shoji Sadao, ‘Project for Floating Cloud Structures (Cloud Nine)’, c. 1960 [1]

What makes a place hospitable, is it the terrain, the attachments, its gravitations? What might radical hospitality look like in publishing?[2] How do bodies and satellites become intertwined, who is the host? Some connections are drawn in from afar, the body reaches out, and some are sent out into a beyond, perhaps thinking towards a more distant transmission.

We leave a flickering behind. In the cold light of day our position shifts. For the next few months MAP’s role as host, to both editor and writer will be questioned, creating space around the idea for slow orbital thinking and observation.

We introduce ‘Through Motion’: a series of propositions—including film, writing, collaboration and documentation—of moving bodies negotiating charged time and space.

To launch this strand we present artist Ayla Dmyterko’s film ‘Solastalgic Soliloquy’, 2020, with a reflective text by Ranjana Thapalyal. We move through an interaction between Shade Théret’s bodywork by Sarah Messerschmidt. Adam Benmakhlouf writes on Christian Noelle Charles’ performance work. In addition, we collaborate with movement artist Kirstin Halliday and excavate the MAP archive with Debi Banerjee’s project ‘Dancing With Myself’.

Fragmenting the ‘review’, this summer we also re-view it’s political valance and publish critical reflections in chronicle format: instalments published over a few weeks, acting as a prolonged response, a journal, a diary, a thinking through.

Following Mathew Parkin’s four-part chronicle ‘Cottaging The Hedgerow’, foraging queerness and rurality in recent artist moving-image, this week we publish part one of four poetic pieces by artist Valerie Norris written in response to, and departing from, Joanne Tatham & Tom O’Sullivan’s The Bitter Cup, published by Book Works in 2019. ‘A Place For 4 Women’ cycles through four moons in four parts—a seasonal structure for an erotics of painting, colour, light, ekphrasis, dreams, memory, ritual, mythology and mysticism. We also look forward to upcoming chronicles from Rotterdam Art Writing and others.

MAP will host writings from the Talbot Rice Residents beginning with Hannah James responding to artist Rosie O’Grady and poetry by Alycia Pirmohamed after Tako Taal.

The commissions published over coming weeks are responsively and mutually embedded in an unstable environment, concerned with our capacity to coexist. A+E Collective undertake a group response to The Wild Book of Inventions, Sternberg Press, 2020, while Timothea Armour looks at Heather Phillipson’s first monograph alongside recent online presentations. Angeliki Roussou reflects on farewell, Art, 2020, a new solo project by French research and design duo Bureau d’études presented by Rhubaba (Edinburgh), imagining a possible habitable future for Earth.


We would like to highlight that as resident project and reviews editors of MAP, in post until October 2020, we are always open to proposals. A fee is paid for all work published.


[1] ‘Cloud Nine is the name Buckminster Fuller gave to his proposed airborne habitats created from giant geodesic spheres, which might be made to levitate by slightly heating the air inside above the ambient temperature […] A Cloud Nine could be tethered, or free-floating, or manoeuvrable so that it could migrate in response to climatic and environmental conditions, such as providing emergency shelters.’ Accessed 23/06/20.

[2] ‘Radical hospitality’ is an idea grounded in feminist and social art practice:

Caroline Gausden ‘Social Art Practices as Feminist Manifestos: Radical Hospitality in the Archive’, September 2016. Accessed 23/06/20

; ‘Feast: Radical Hospitality in Contemporary Art’, SMART, University of Chicago, 2012 Accessed 23/06/20