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#70 - December 2023 Poetry

‘…saudades is an overrated word, simple to translate’

Two poems by filmmaker and writer Ali Sargent
Garden refuse sacks
#70 - December 2023 Review

re-routing, rooting, writing

Lucy Rose Cunningham examines the idea of change through recent works exploring gardens
Liz Ligon study now steady live
#70 - December 2023 Review

Parallel Play

Jenny Wu reviews Ligia Lewis’s exhibition study now steady at the Center for Art, Research and Alliances (CARA), New York
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#70 - December 2023 Review

Radio Talk

Rebecca Wilcox takes to the air with Glasgow’s Radiophrenia
Andrew Black
#70 - November 2023 Reflection

‘Only the mineral remains’

A commentary by writer, researcher and activist Keir Milburn in response to Andrew Black’s Margaret Tait Commission film, ‘On Clogger Lane’
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#3 - August 2005

Seeing Things

Contemplating the connections between belief, art and illusion, parapsychologist Peter Lamont offers a perspective on magic, psychic phenomena and the paranormal. New York artist Cai Guo-Qiang also seeks to reach the other side  
Jeanette Doyle Rough
#50 - July 2019 Documentation

OH MY GOD, I DIDN’T SEE YOU

Thinking about air, fire, smoke, volcanoes and immateriality with The Enquiry
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#44 - May 2018 Essay

Xenofeminist Ecologies

(Re)producing Futures Without Reproductive Futurity by Helen Hester (Laboria Cuboniks) philosopher
#4 - December 2005 Review

British Art Show 6

Baltic, Gateshead 24 September 2005–8 January 2006 
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#21 Spring - March 2010 Review

Anthony Green

19 November–19 December 2009, Limoncello, London
Final Stubby
#66 - September 2022 Tender a response

My name is Stubby

by Rodrigo Vaiapraia
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#21 Spring - March 2010 Review

Moyra Davey

7 November–24 December, 2009, Murray Guy, New York
Dolores Dorantes Untitled
#54 - December 2019 MAP Reading Group

Untitled

A new text by Dolores Dorantes. Translated by Catalina Barroso-Luque
Fig5
#48 - January 2019 Journal

The cheapest notebook purchased hastily and a pencil decorated with the newest generation of Pokemon

Last in a series of research texts by Gordon Douglas reporting on encounters with collaborative practice in Japan.
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#22 - June 2010

Remarks: 10 Dialogues

Euan McArthur, one of the curators of 10 Dialogues: Richard Demarco, Scotland and The European Avant Garde, discusses the large-scale project.
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#6 - April 2006 Review

Books: Ron Mueck

By Robert Rosenblum, published by Fondation Cartier Pour L’Art Contemporain, 2006 
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#20 Winter - November 2009 Review

Head-Wig (Portrait of an exhibition)

25 September–29 November, 2009, Camden Arts Centre, London
#21 Spring - March 2010 Review

Live Film! Jack Smith! Five flaming days in a rented world!

Berlin 28 October–1 November Various venues
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#66 - September 2022 Short Story

Costa Del Sol

By Roisin Agnew
Personal Phrases Redundancy LD
#64 - February 2022 MAP Project

Personal Phrases: Redundancy

By Lydia Davies
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#42 - February 2018 MAP Event

The Body in Motion // In Motion, Glasgow Film Festival 2018

Glasgow Film Theatre, 10 June (rescheduled from 1 March), 7.45pm. Screening includes work by Maya Deren, Anna Hoetjes, Aideen Doran and  Margaret Tait
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#7 - September 2006

The Young Athenians

Edinburgh’s young artists move into the Royal Scottish Academy this autumn. Are they beating or joining the establishment game? Alex Kennedy tiptoes into hallowed spaces and asks a few of the players what side they are on.
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#15 Autumn - September 2008 Review

Aïda Ruilova

2 May–14 June 2008, Galerie Guido W. Baudach, Berlin
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#66 - September 2022 Tender a response

Conviviality

An audiotext by Amelia Barratt
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#6 - April 2006 Review

Books: Lost in Space

By Andrew Dodds and published by Book Works Chap Series, 2006
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#13 Spring - March 2008

Remarks: Wild West Show

Patricia Bickers on new show Print the Legend
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#2 - May 2005

Portfolio: Nigel Peake

Deborah Jackson gets close to the drawings of Nigel Peake, a prolific sketcher and young emerging artist who recently showed work at Red Door Gallery in Edinburgh
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#60 - February 2021 Poetry

Blue Monday, Part 1

The first 3 in a suite of poems by Zara Joan Miller, published by MAP across 3 days. These form part of a larger collection by Miller, written over the past 3 years. The ‘Blue Monday’ phenomenon claims that the third Monday in January is the most depressing day of the year
Liberating The Canon
#43 - May 2018 Review

We’re all strangers in someone’s pub

Nasser Hussain reviews Liberating the Canon: An Anthology of Innovative Literature edited by Isabel Waidner, published by Dostoyevsky Wannabe
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#21 Spring - March 2010 Review

Andreas Bunte

7 November–9 December, 2009, Galerie Ben Kaufmann, Berlin
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#38 - January 2017 Review

Once you cut off your braid, where do you reattach it?

Tereza Hrušková reviews the exhibition ’33 – ’29 – ’36 at UM Gallery, Prague, until 25 February  
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#25 - July 2011 Review

Akram Zaatari

29 January–5 June, MUSAC, Léon
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#25 - July 2011 Screening

Reproductive Labour: Cinenova

Screenshot 2020 12 01 at 09 31 45
#59 - December 2020 MAP Project

TENANCY Part 9: Stephanie

by Victoria Adukwei Bulley
#2 - May 2005

Editorial

#28 - April 2013

In the Shadow of the Hand : Object 5b

‘Witness Statement’  A collaborative project by Sarah Forrest and Virginia Hutchison
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#19 Autumn - September 2009

Etienne Chambaud: The Hole of the Matter

Joanna Fiduccia discovers the work of Etienne Chambaud is punctured with an element of surprise
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#65 - March 2022 Good on Paper Series

Performance & Language: 1st invitation from Good on Paper

Over six months, Gordon Douglas and Cicely Farrer share a series of invitations that look into the futures of performance art making in Scotland. The first invites readers to attend a workshop on 27 March 2022
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#58 - August 2020 Review

Chunky, alive things

Romy Danielewicz concludes a series of three artist responses to ‘Strangers’—a new book of essays by Rebecca Tamás, Makina Press, 2020
Alicia Reyes Mc Namara living with Maria de Lima
#63 - September 2021 ‘Living With’

Alicia Reyes McNamara Living With Maria de Lima

Part 4 of Living With: 6 artists, 6 homes
Black
#25 - July 2011

Karla Black’s Abstraction

Briony Fer examines the tone and texture of the Glasgow-based artist’s work