Drouth Weekly
Latest Review
30th September 2021
The Scotto-American photographer Thomas Joshua Cooper is a titan in his field. Dana Macfarlane reviews his new show, ‘The World’s Edge – The Atlas of Emptiness and Extremity’, at the Scottish National Portrait Gallery and discusses the tensions in the work which is 'unsettling' and 'subtly uncanny'.
The Drouth Review
30th September 2021
Published by TheDrouth
The Scotto-American photographer Thomas Joshua Cooper is a titan in his field. Dana Macfarlane reviews his new show, ‘The World’s Edge – The Atlas of Emptiness and Extremity’, at the Scottish National Portrait Gallery and discusses the tensions in the work which is 'unsettling' and 'subtly uncanny'.
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1st August 2021
Published by TheDrouth
Form follows Fuel -or is it, Form follows Food? -Or both? In advance of COP26 -and our own specially timed 'Climate' issue in November, Florian Urban assesses Barnabas Calder's new book. Its exposé of Architecture - and especially the production of its materials, steel and cement - as the worst of climate-change culprits is interesting, to say the least, in the light of Calder's published panegyrics on Brutalism...
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5th July 2021
Published by Johnny Rodger
Can climate change be discussed in isolation from racism? From slavery? Can it be discussed in isolation from anything? Johnny Rodger reviews the art work/film by Ferreira da Silva and Neuman commissioned for the Glasgow International Festival.
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2nd June 2021
Published by TheDrouth
Ewan Gibbs' book 'Coal Country' claims to be the first full length study of deindustrialisation in the Scottish coalfields. But its scope is actually much broader and much more ambitious in its treatment of an age of massive social upheaval. Johnny Rodger reviews and appreciates that ambition.
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19th May 2021
Published by TheDrouth
In advance of our own Neighbouring project (15-18 June @ GI), one of our Scottish Japanese collaborators, Naoko Mabon, writes here of the work of Scottish artist Ilana Halperin in Japan. Halperin's mineral investigations open us up to the urgency of our understanding of and identity with the geological in the age of Anthropocene.
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9th May 2021
Published by TheDrouth
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).
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3rd March 2021
Published by TheDrouth
In both Daisy Lafarge's poetry and prose -see her 'Metaphor as Parasite' in our Hollow issue - consciousness seems to float seamlessly in a fermentation of biology and minerology. Rochelle Roberts reviews her latest poetry collection here and finds it 'full of, and without air'.
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23rd January 2021
Published by TheDrouth
A major thinker and innovator in the understanding of the significance of Cognitive Capitalism, US artist and activist Warren Neidich has worked across fields from neurobiology and psychology to art and architecture. Here he probes, proposes and defines neuroaesthetics as an area of critical , politically engaged and creative thought.
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8th January 2021
Published by TheDrouth
Walls are being built, straits policed, high seas patrolled: in the frantic seeking after sovereignty the stranger is become a foreigner and foreigners are recast as aliens ... Storm the ramparts of the Capitol then, and ask not what we have done to them, but what they could possibly do for us? Gavin Mottram attempts to make an intervention...
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23rd December 2020
Published by TheDrouth
'Our public spaces are not designed for female bodies', runs the blurb on on Leslie Kerns' book feminist city published by Verso. Writer and housing activist Andrea Gibbons takes a critical read, and ponders on why our cities are still made for and by 'mostly men', and what are the possibilities for other, better cities for all sorts of bodies and beyond the already charted pathways...
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20th November 2020
Published by TheDrouth
In an exceptional article for the Drouth, Neil Cooper writes to mark the release of Shadow of Fear, the first new album from Cabaret Voltaire for twenty years. The piece is exceptional in its musical profile for The Drouth, its exceptional in its extraordinary length, and also in its personal take on a rock story from Cooper.
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27th September 2020
Published by TheDrouth
Artists have been adapting their practice to COVID-19 restrictions. In the open, is the Common Guild’s off-site response to the ongoing situation. Six artists have created new audio works designed to be listened to outdoors on headphones during government-sanctioned daily walks. Neil Cooper responds.
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Why Afghanistan? by Owen Dudley Edwards