John Latham's 'Niddrie Woman' : former shale bings, a massive piece of land art, a nature reserve, a monument to the achievements and sufferings of the people and the territory of the industrial revolution. A documentation by Murdo Macdonald.
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.
As conservative interests look set to capture its Supreme Court, cities convulse in class and racial conflict and the skies burn along the west coast, the American horizon has never looked darker. Should we Seek an American hero to save US? According to Tom King’s recent take on the the ever-popular Batman, probably best if we didn’t.
Isobel Lutz-Smith is a Scottish artist based in Glasgow. In 2016 she graduated from the Master of Fine Art at Glasgow School of Art, as part of this programme she spent an exchange semester at Tokyo University of the Arts.
Clarity on the plague -on all plagues upon us! Owen Dudley Edwards reads the words of 'La Peste', looks at the history, and judges this as medical fiction, which might help our honesty with medical facts.
Abolish restaurants, statues, bars, mirrors and painting -the lot? The bourgeois desire to be served is inescapable in our urban contexts which consolidated in the 19th century city - the ideological hothouse of capitalist modernity. Hussein Mitha reflects on the glut of materials crowding the urban consumer.
Walter Benjamin's work is said to have much influence over contemporary thought. What has been the quality of that influence? And what could he possibly have to say about current winners and losers? Johnny Rodger looks at Benjamin in the context of some more recent work by Ahmed, Butler, Preciado and others.
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.
Dear Hunter are designers, map makers and ‘cartopologists’ who engage with the supposedly empty spaces of borderlands, ex industrial landscapes and wherever their blend of art, architecture and anthropology is most needed. Reaching into both past and future, their distinctive practice shows how the map is never more powerful or effective than when treated as a verb.