Issues / #66 tendencies
Touch the Veil
Corin Sworn visits Buenos Aires and finds a collection of written tracings in Leticia Obeid’s installation at Hache Gallery
THAT GNAWING FEELING
Sara O’Brien responds to Paige Silverman’s Pleasure Pest
Cat’s have paws, can’t take them off
Kate Morgan responds to On Not Knowing: How to Love and Other Essays by Emily Ogden
Cuts in the Day
Mathew Wayne Parkin talks to Dani and Sheilah ReStack about their show at Camden Art Centre
ALL AT ONCE, AT A PACE OF AWE
A review of Brazilian artist Ana Vaz’s film Look Closely at the Mountains. By Kate Timney
My 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 Gort
MESHES AND MELDING OF PAST AND PRESENCE
Sara O’Brien responds to Chimera, work by Nashashibi/Skaer at Cooper Gallery, Dundee
Threat and allure. The shore line. Close attention. Death.
As part of MAP’s ongoing collaboration with the Portobello-based project SALT, Melissa McCarthy responds to films selected by Rosy Naylor
‘I’m still a painter and will die a painter’
Neil Cooper surveys the epic homage to Carolee Schneemann: Body Politics at Barbican, London
So you want to live like common pipistrelles?
Timothea Armour (sometime member of Moth Death) surveys the bat music scene
Untitled (the likeness of lightness in Abney)
By Pierce Evan Eldridge
On traces of rhythm
Marina Iodice at Listen Gallery, Glasgow. Review by Laura Plant
A Year of Carte Blanche & Other Chimeras
A Year of Carte Blanche and Other Chimeras
A summary of the year long MAP series commissioned by Daniela Cascella, November 2021-October 2022
A Year of Carte Blanche & Other Chimeras
A Prayer to Tláloc – Fragments of an Invocation
edited and translated by Autumn Richardson
A Year of Carte Blanche & Other Chimeras
Listening with Eunice
by Helena Hunter and Mark Peter Wright
A Year of Carte Blanche & Other Chimeras
The Sick Train, Part 2
by Gemma Blackshaw
A Year of Carte Blanche & Other Chimeras
The Sick Train, Part 1
by Gemma Blackshaw
A Year of Carte Blanche & Other Chimeras
Vocal Recall: Reading for a Friend’s Voice
by Julia Calver
III. pray for a life without a plot
The final text by Harvey Dimond, in a trio that unravels real and imagined oceanic journeys in South Africa, Scotland and Barbados
II. Maps
Part of a trio of texts that unravel real and imagined oceanic journeys in South Africa, Scotland and Barbados. By Harvey Dimond
I. nobody dies of old age in the ocean
A trio of texts by Harvey Dimond, published across three days, unravels real and imagined oceanic journeys in South Africa, Scotland and Barbados
I wondered if I would care if I saw him again
People Person by Sam Cottington. A review by Caitlin Merrett King
no dearer time
Rosie Roberts responds to Norman Gilbert: an exhibition of work by the Glasgow artist in his south side neighbourhood
Workaround
‘The Creep of Life’. Kate Morgan reviews the solo exhibition Workaround by Charlie Hammond at The Hunterian Art Gallery, Glasgow
Bodies Proximity and Place
Reading event to celebrate Hatty Nestor’s MAP project and forthcoming publication
MOTHER OF PEARL
Catalina Barrosso Luque’s new poem takes a journey of transformation
BRICK, BLOCK, INK, STONE
Cheryl McGregor reviews Craig Coulthard’s new solo show
A Year of Carte Blanche & Other Chimeras
Learning to Live with Ghosts, Part 2
by Moosje M Goosen
A Year of Carte Blanche & Other Chimeras
Learning to Live with Ghosts, Part 1
by Moosje M Goosen
A Year of Carte Blanche & Other Chimeras
How to Sew a Scream, How to Cut a Sigh
Project editor Daniela Cascella writes in response to last month’s contributions by Enxhi Mandija and Alice Butler
STRINGS RESUME DANCING
Alice Hill-Woods finds a collaborative refrain resonating through the Institut français d’Écosse, Edinburgh
Airing Laundry Part 2
Rose Higham-Stainton considers the mechanisation of laundry from the perspectives of Kate Bush’s washing machine and an exhibition by Hendrickje Schimmel at Camden Art Centre
LANDSCAPES OF RUMOURED LONELINESS
Clara Raillard reviews Don’t Believe Everything Yves Leather Tells You at The Pipe Factory
Radio on the Union Canal
Timothea Armour takes the train and tunes into the noise. ‘Background noise is about foregrounding the background—everything that is usually seen as sideline to what has been made’
SALT
Tom Jeffreys interviews Rosy Naylor, artist, curator and founder of Art Walk Projects in Portobello, as she embarks a new season of artist commissions. This also marks the beginning of a new editorial partnership with MAP, culminating in March 2023
Whilst physical, a body is always infinite - a response to Holy Bodies by Clay AD
by Adrien Howard
STONE ARCHES HOLD NO HUMAN HEAT / BLOODLINES BY AMIE SIEGEL
by Juana Adcock
Double Time
An hour-by-hour report on Cooper Gallery’s 12hr Sit-in Revel by Jamie Donald and Alison Scott
Airing Laundry Part 1
The first of a two part exploration by Rose Higham-Stainton into domestic laundry in art-making, from feminist protestations of the late seventies to contemporary art practice
A Year of Carte Blanche & Other Chimeras
Too Likeable (To the Side of Rosemary Mayer), Part 2
by Alice Butler
A Year of Carte Blanche & Other Chimeras
Too Likeable (To the Side of Rosemary Mayer), Part 1
by Alice Butler
A Year of Carte Blanche & Other Chimeras
Singing, Fading
Project editor Daniela Cascella writes after last month’s contributions by Snejanka Mihaylova and Jen/Eleana Hofer
Surface Tension
A review of Domestic Bliss, curated by Katie Bruce, by Rhian Williams
Forever
Appendix 4 of Good on Paper’s third invitation to readers to join a workshop on Performance & Comfort & Discomfort
Every 3 years
Appendix 3 of Good on Paper’s third invitation to readers to join a workshop on Performance & Comfort & Discomfort
Not at All
Appendix 2 of Good on Paper’s third invitation to readers to join a workshop on Performance & Comfort & Discomfort
Once
Appendix 1 of Good on Paper’s third invitation to readers to join a workshop on Performance & Comfort & Discomfort
Performance and Comfort & Discomfort: 3rd Invitation from Good on Paper
In their last of three invitations to Good on Paper, Gordon Douglas and Cicely Farrer reflect on comfort and discomfort in the encounters with and around performance art. Readers can attend a workshop on Sunday 21 August 2022
Analogies
Enxhi Mandija responds to a speculative exhibition, sometime in Aberdeen. Works by Caitlin Dick and Phoebe McBride
Genealogy as a matter of tracking shots: Amie Siegel’s Bloodlines
by Dominic Paterson
Sickness In The Sacristy
Hayley Jane Dawson reviews recent work by Megan Rudden at Saltspace Gallery, Glasgow
YOU’VE GOT A NICE VOICE ACTUALLY, SCOTT
A review of Scott Caruth & Alex Hetherington’s joint exhibition Seen and Not Seen by Jess Higgins
Tender a response
Editorial for a review-based series commissioned by editor-in-residence Sara O’Brien