From Classical Antiquity through Michelangelo to Verlaine, via Godard and Tarkovsky and an essay-load of other makers, Murdo Macdonald shows us how the whole gang of western clever clogs in turn feel the pain of Laocoon - for if art shows us anything it is this: that nothing exists for sure, except the torture of the knowledge that is so, and will be so forever.
First in a scheduled triptych of albums, composer Claire M Singer's Saor, will be released digitally and on CD by Touch on 3rd November. Neil Cooper talks to her about her composing and playing career in, and her love for organs and organ music.
In all campaigns and struggles with authorities it is important that the process is documented and made accessible so that lessons can be learned. This is no mere footnote to the struggle of the Wyndford Residents Union to save their homes from the wrecking ball. They commissioned Fraser/Livingstone Architects to produce a Report on the condition of the estate to respond to those reports produced by the authorities. We're delighted to reproduce that Report here with an introduction/preface by Malcolm Fraser.
'Things in process ... objects out of place and time.' Frances Lightbound's exhibition Tectonics at the John David Mooney Foundation in Chicago, reconfigures and re-enacts the languages of architectonics and manages to refuse the colonial configurations of power and brute strength in structural materials and components. Pia Singh reviews and finds a striking refinement in these rare and enigmatic arrangements.
For Greg Thomas, the music in Kim Moore's new release with Blackford Hill is at once a physical thing which moves, an image, and a word provoking profound affect. There is something 'urgent' here, he writes.
What can an artist do when faced with another war? Engage as a war artist ... that is, stand by and reveal the horror? But surely, art always challenges the neutral? Artists make things that engage with ideas and situations. Michail Mersinis proposes a repurposing of the instruments of war to make sensitive participatory gestures that constitute a respite from the language of war and hate. The tragedy is happening in Ukraine now -but is it even possible to act innocently?
What cast of work is this, we might say of Peter Howson's new show at Edinburgh City Art Centre. He gives us a lot of matter to grapple with and a lot of things to ponder over. This is the first major retrospective of Howson's work with over 100 paintings over four floors. Arresting and compelling says Greg Thomas in review, and also grim and dark. Get along and make your own mind up is best.
Everyone, like Samuel Johnson, has an opinion on Macpherson's Ossian, but few of us ever manage to get a hand on an actual copy of the works. Fortunately, Murdo Macdonald does the bibliographic work for us, and details the doggedness of his desultory browsings and subsequent musings which led to the composition of his own versions. (is there ever anything but versions to work through here?) So, this is the big chance to find out what it was about the versions of this poetry that set Europe aflame with romantic passion and melancholy, and, as Napoleon himself put it, 'Devour Ossian!'