Mostar’s Partisan Memorial Cemetery - The most significant anti-fascist architectural landmark in the former Yugoslavia has been neglected and left as a ruin for decades. Having survived the 1990s Bosnian war, the Partisan Memorial Cemetery in Mostar now faces its biggest threat – and possible disappearance – as neofascists are intent on destroying the necropolis and all it stands for....
Nights when people, places and stars align to create an unforgettable experience very rarely happen. A few weeks ago I attended a unique event in The Revelator in the historic Barclay Curle Shipyard. In this extraordinary space – a handmade Wall of Death – I watched a live gig from the band The Tenementals and listened to a rectoral speech from RMT General Secretary Mick Lynch. Nights like this are never to be repeated.
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'.
Chris Leslie has spent 25 years documenting Sarajevo. He has followed the changes in that city through the post war period and engaged on many levels with the legacy of conflict. His latest work asks how the city stages its recovery and how we can know it as that city in recovery. What shapes our approaches to it now, and what does it tell us?
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).
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.
We are currently witnessing some fundamental changes in the conditions and the status of images: More and more images are networked; cameras and screens (portable or fixed) are everywhere; image data is geotagged; databases can be navigated in real-time; the prevalence of the phenomena of operative images and "machine vision" detached from human control and sense-perception rapidly increases, etc.
If photography is the temporal art of the gaze, what is its condition at the edge, or the limit of space? What bonds, what risk of naming can secure it from being drawn off in the 'undertow'? Frances Scott walks the native territory.