Drouth Weekly
Latest Review
9th May 2021
Photographer Nicky Bird's engagement with memory, community, place and legacy is put in artistic and intellectual context by Eszter Biró in a review of Bird's new show at Streetlevel Gallery (until 6th June).
The Drouth Review
13th December 2019
The Coventry Biennial describes itself as the UK’s ‘social biennial’. More than any other biennale, the Coventry questions how the festival engages with the local community, and what relationship there […]
12th August 2020
There's been no shortage of big screen entertainment based on the Christian story - especially in the years immediately after 9/11 and the Anglo-American adventure in Iraq. What exactly is/was their appeal and what is the measure of their success? Are they just for the faithful and the fervent? David Robertson surveys the field.
13th July 2019
Beautiful and poetic though geologist/philosopher James Hutton’s orginal conception of deep time through the formation of rocks may have been ‘no vestige of a beginning, no prospect of an end’ […]
4th December 2019
Pascal Gielen once defined art ‘scenes’ as ‘the new factories in the economy of ideas’. The Glasgow art scene however, does sometimes seem more like an old stable for conjuring […]
21st November 2019
What is a 'Training Camp' organised for and by artists and activists? What would ‘Training for the Future’ mean at an International Arts and Music Festival? The Drouth was at ‘Training for the Future’ at the Ruhr Triennale.
19th July 2019
The comparison of the British status in the EU to one of slaves was a vile insult, mean, low and just wrong. But all the bleating and booing will avail […]
The Greenock Industrial and the Greenock Pastoral in ‘Just A Boys’ Game’ and ‘The Elephants’ Graveyard’ by David Archibald