Issues / #66 tendencies

Leticia Obeid Lusco fusco 2022 Still de video HD color Duración 9 min Edición de 5 14
#66 - December 2022 Review

Touch the Veil

Corin Sworn visits Buenos Aires and finds a collection of written tracings in Leticia Obeid’s installation at Hache Gallery
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#66 - December 2022 Review

THAT GNAWING FEELING

Sara O’Brien responds to Paige Silverman’s Pleasure Pest
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#66 - December 2022 Review

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
#66 - November 2022 Conversation

Cuts in the Day

Mathew Wayne Parkin talks to Dani and Sheilah ReStack about their show at Camden Art Centre
Ana vaz
#66 - November 2022 Review

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
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#66 - November 2022 Script

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
1 MAP Header Chimera install Film Bear
#66 - November 2022 Review

MESHES AND MELDING OF PAST AND PRESENCE

Sara O’Brien responds to Chimera, work by Nashashibi/Skaer at Cooper Gallery, Dundee
Still from Eva Jack Whale Watching 2021
#66 - November 2022 SALT on MAP

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
Schleemann Meat Joy
#66 - November 2022 Review

‘I’m still a painter and will die a painter’

Neil Cooper surveys the epic homage to Carolee Schneemann: Body Politics at Barbican, London
Timothea bats
#66 - November 2022 Reflection

So you want to live like common pipistrelles?

Timothea Armour (sometime member of Moth Death) surveys the bat music scene
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#66 - October 2022 Short Story

Untitled (the likeness of lightness in Abney)

By Pierce Evan Eldridge
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#66 - October 2022 Review

On traces of rhythm

Marina Iodice at Listen Gallery, Glasgow. Review by Laura Plant
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#66 - October 2022
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
Tláloc Vessel
#66 - October 2022
A Year of Carte Blanche & Other Chimeras

A Prayer to Tláloc – Fragments of an Invocation

edited and translated by Autumn Richardson
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#66 - October 2022
A Year of Carte Blanche & Other Chimeras

Listening with Eunice

by Helena Hunter and Mark Peter Wright
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#66 - October 2022
A Year of Carte Blanche & Other Chimeras

The Sick Train, Part 2

by Gemma Blackshaw
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#66 - October 2022
A Year of Carte Blanche & Other Chimeras

The Sick Train, Part 1

by Gemma Blackshaw
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#66 - October 2022
A Year of Carte Blanche & Other Chimeras

Vocal Recall: Reading for a Friend’s Voice

by Julia Calver
Lisa Williams Twisted Dreams 2022 Photo Natasha Ruwona
#66 - October 2022 SALT on MAP

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
Khadea Santi Salt Wounds 2022 Photo Natasha Ruwona
#66 - October 2022 SALT on MAP

II. Maps

Part of a trio of texts that unravel real and imagined oceanic journeys in South Africa, Scotland and Barbados. By Harvey Dimond
Tanatsei Gambura When we come out of the water 2022 Photo Natasha Ruwona
#66 - October 2022 SALT on MAP

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
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#66 - October 2022 Review

I wondered if I would care if I saw him again

People Person by Sam Cottington. A review by Caitlin Merrett King
Norman Gilbert
#66 - October 2022 Review

no dearer time

Rosie Roberts responds to Norman Gilbert: an exhibition of work by the Glasgow artist in his south side neighbourhood
Charlie Hammond
#66 - October 2022 Review

Workaround

‘The Creep of Life’. Kate Morgan reviews the solo exhibition Workaround by Charlie Hammond at The Hunterian Art Gallery, Glasgow
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#66 - October 2022 MAP Editions

Bodies Proximity and Place

Reading event to celebrate Hatty Nestor’s MAP project and forthcoming publication
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#66 - October 2022 Poetry

MOTHER OF PEARL

Catalina Barrosso Luque’s new poem takes a journey of transformation
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#66 - September 2022 Review

BRICK, BLOCK, INK, STONE

Cheryl McGregor reviews Craig Coulthard’s new solo show
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#66 - September 2022
A Year of Carte Blanche & Other Chimeras

Learning to Live with Ghosts, Part 2

by Moosje M Goosen
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#66 - September 2022
A Year of Carte Blanche & Other Chimeras

Learning to Live with Ghosts, Part 1

by Moosje M Goosen
Christof Migone Neverything IMG 6726 min
#66 - September 2022
A Year of Carte Blanche & Other Chimeras

Neverything

by Christof Migone
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#66 - September 2022
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
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#66 - September 2022 Review

STRINGS RESUME DANCING

Alice Hill-Woods finds a collaborative refrain resonating through the Institut français d’Écosse, Edinburgh
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#66 - September 2022 Tender a response

Conviviality

An audiotext by Amelia Barratt
Camden Art Centre Tenant of Culture Installation View Low Res 2
#66 - September 2022 Essay

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
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#66 - September 2022 Review

LANDSCAPES OF RUMOURED LONELINESS

Clara Raillard reviews Don’t Believe Everything Yves Leather Tells You at The Pipe Factory
Final Stubby
#66 - September 2022 Tender a response

My name is Stubby

by Rodrigo Vaiapraia
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#66 - September 2022 Short Story

Costa Del Sol

By Roisin Agnew
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#66 - September 2022 Review

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’
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#66 - August 2022 SALT on MAP

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
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#66 - August 2022 Tender a response

Whilst physical, a body is always infinite - a response to Holy Bodies by Clay AD

by Adrien Howard
2022 Am S TDG Duke Street 1962
#66 - August 2022 Tender a response

STONE ARCHES HOLD NO HUMAN HEAT / BLOODLINES BY AMIE SIEGEL

by Juana Adcock
12 hour sit in
#66 - August 2022 Documentation

Double Time

An hour-by-hour report on Cooper Gallery’s 12hr Sit-in Revel by Jamie Donald and Alison Scott
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#66 - August 2022 Essay

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
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#66 - August 2022
A Year of Carte Blanche & Other Chimeras

Too Likeable (To the Side of Rosemary Mayer), Part 2

by Alice Butler
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#66 - August 2022
A Year of Carte Blanche & Other Chimeras

Too Likeable (To the Side of Rosemary Mayer), Part 1

by Alice Butler
Enxhi Mandija Shore 2 2022 min
#66 - August 2022
A Year of Carte Blanche & Other Chimeras

To Be Elastic, Part 2

by Enxhi Mandija
Shore 1
#66 - August 2022
A Year of Carte Blanche & Other Chimeras

To Be Elastic, Part 1

by Enxhi Mandija
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#66 - August 2022
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
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#66 - August 2022 Tender a response

Surface Tension

A review of Domestic Bliss, curated by Katie Bruce, by Rhian Williams
Forever
#66 - August 2022 Good on Paper Series

Forever

Appendix 4 of Good on Paper’s third invitation to readers to join a workshop on Performance & Comfort & Discomfort
Every 3 years
#66 - August 2022 Good on Paper Series

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
#66 - August 2022 Good on Paper Series

Not at All

Appendix 2 of Good on Paper’s third invitation to readers to join a workshop on Performance & Comfort & Discomfort
Once
#66 - August 2022 Good on Paper Series

Once

Appendix 1 of Good on Paper’s third invitation to readers to join a workshop on Performance & Comfort & Discomfort
Comfort and discomfort
#66 - August 2022 Good on Paper Series

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
Slime Mould research and experimentation slime mould agar Perspex box 2022 photographed by Caitlin Dick RESIZED
#66 - July 2022 Tender a response

Analogies

Enxhi Mandija responds to a speculative exhibition, sometime in Aberdeen. Works by Caitlin Dick and Phoebe McBride
Watts Hughes Voice Figure
#66 - July 2022 Bodies, Proximity and Place

CHURN

A poem by Francis Jones
1 2022 Am S Bloodlines SNGMA RGB web angle 1 shot 14 ph Isobel Lutz Smith SML
#66 - July 2022 Tender a response

Genealogy as a matter of tracking shots: Amie Siegel’s Bloodlines

by Dominic Paterson
Bible Cake
#66 - July 2022 Review

Sickness In The Sacristy

Hayley Jane Dawson reviews recent work by Megan Rudden at Saltspace Gallery, Glasgow
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#66 - July 2022 Tender a response

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
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#66 - July 2022 Tender a response

Tender a response

Editorial for a review-based series commissioned by editor-in-residence Sara O’Brien
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#66 - July 2022 Bodies, Proximity and Place

Shaking the world: Hannah Black’s Tuesday or September or the End

A review by Rosie Woodhouse