Issues / #42 Fissile States

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#42 - January 2018 Editorial

Fissile States

Editorial: introducing a new season of reviews—runs to beginning March 
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#42 - February 2018 Review

A world through Colorado Pink

William Kherbek reviews Ian Giles’ exhibition After BUTT at Chelsea Space, London, 24 January - 2 March
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#42 - February 2018 Review

Physical or Otherwise 

Gwendolen Dupré on the alchemy of Suggestions and Encounters: Physical or Otherwise by Leontios Toumpouris at The Telfer Gallery, Glasgow, 9 February - 4 March 
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#42 - February 2018 Event

The Body in Motion // In Motion, Glasgow Film Festival 2018

CCA Cinema, 1 March, 6.15pm. Screening includes work by Maya Deren, Anna Hoetjes, Aideen Doran and  Margaret Tait
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#42 - February 2018 Review

The Breath From Fertile Grounds

Claire Walsh on Otobong Nkanga’s solo exhibition at Temple Bar Gallery and Studios, Dublin, 8 December 2017 - 10 February 2018
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#42 - February 2018 Review

The Conversation

Kathryn Lloyd on Holly Davey’s archival restagings at g39, Cardiff, 11 November 2017 - 3 February 2018
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#42 - February 2018 Review

Civil Rites

Fiona Anderson on Andrea Luka Zimmerman’s film at Tyneside cinema, Newcastle, part of Freedom City festival, 8 December 2017 - 22 January 2018
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#42 - January 2018 Review

Making Our Way

Anna McLauchlan navigates Shelter Stone: The Artist and the Mountain, a year-long public art project in the form of a newspaper 
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#42 - January 2018 Review

‘A Murderous Fury’

Felix Bazalgette on the politics and protest behind Art and Space at the Guggenheim Bilbao, 5 December 2017 - 18 April 2018 
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#42 - January 2018 Review

Fatal Softness

Henry Broome reviews an exhibition by Pauline Batista and Madeleine Stack at The Koppel Project, London, 17 November 2017 – 6 January 2018
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#42 - January 2018 Review

You Know, Things Like That

Catherine Spencer reviews Helen de Main’s collaborative exhibition at Platform, Glasgow, 26 November 2017 - 11 February 2018
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#42 - January 2018 Essay

The Engagement Party

Aniela Piasecka and Paloma Proudfoot share a text from their recent performance at Edinburgh Sculpture Workshop
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#42 - January 2018 Review

Wake up and the world is different

Anna McLauchlan drinks in The Last Hour!, a project curated by Timothea Armour, the fifth and final commission in Collective’s Satellites programme
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#42 - January 2018 Review

Spectres of the Deep

Mother Tongue review John Akomfrah’s Vertigo Sea at Talbot Rice Gallery, 21 October 2017 - 27 January 2018
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#42 - January 2018 Review

Wanderlust

Dominik Czechowski reviews Wanderlust: Actions, Traces, Journeys 1967-2017 at UB Art Galleries, New York, 7 September - 31 December 2017, touring to the Des Moines Art Center, Iowa, 17 February - 13 May 2018
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#42 - January 2018 Review

Choreography Concept for Untrained Amateurs

Gordon Douglas responds to a work by performance group, contact Gonzo, at BUoY, Tokyo, 28 - 29 October 2017 
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#42 - December 2017 Review

AVAILABLE FONTS

Phoebe Blatton reviews Lucy Skaer at KW, Berlin, 13 October 2017 - 7 January 2018
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#42 - December 2017 Event

Others got wings for flying: performance

Others got wings for flying, the MAP commission 2017, in collaboration with Megan Rooney, arrived at its conclusion with the premiere of Rooney’s eponymous performance at Tramway, Glasgow
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#42 - December 2017 Event

Posters take off in Glasgow

A set of 10 posters by Megan Rooney populated the city of Glasgow before and during her solo exhibition and performance at Tramway. Part of the MAP commission 2017.  
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#42 - December 2017 Review

so you see me

Lucy Weir reviews Ulay: so you see me, a solo exhibition at Cooper Gallery, Dundee, 27 October - 16 December 
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#42 - December 2017 Review

Cities of Joy

Anna Tudos reviews OFF Biennale, Budapest, 29 September – 5 November, 2017
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#42 - December 2017 Review

Lilt, Twang, Tremor

Ruth Barker reviews Sarah Rose, Susannah Stark and Hanna Tuulikki at CCA, 18 November 2017 - 14 January 2018
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#42 - December 2017 Review

You Are Not Alone

Calum Sutherland reviews NOW featuring Susan Philipsz, Michael Armitage, Yto Barrada, Kate Davis, Hiwa K and Sarah Rose, Scottish National Gallery of Modern Art, 28 October 2017 - 18 February 2018