We commissioned curator Karen Verschooren to respond to Helen Cammock's 'They Call It Idlewild' (2020) and we are delighted to publish Karen's response here.
We commissioned writer and critic, Chris Fite-Wassilak, to respond to Cal Mac's work, 'Agony to Ecstasy' (2020) and we are delighted to publish his response.
We commissioned artist and curator, Joud Al-Tamimi, to respond to Sulaïman Majali's 'false dawn' and we are delighted to publish Joud's response.
Adam Benmakhlouf’s introduction to of sugar and Bones by Thulani Rachia Tramway, Glasgow, 23 September 2021.
We commissioned anthropologist and writer Špela Drnovšek Zorko to respond to Maja Zećo's work 'In Search of the Sun' (2021)
We commissioned Glasgow-based poetry, performance and food maker, Sean Wai Keung to respond to Andrea Luka Zimmerman and Adrian Jackson's work, 'Here for Life' (2019).
We commissioned digital culture researcher and journalist, Mary McGill to respond to Rachel Maclean's work 'Hit Me Baby' (2007).
We commissioned writer Clay AD to respond to Renèe Helèna Browne's recent work 'Rebuilding Urania' (2021–ongoing).
We commissioned writer Marcus Jack to respond to Anne-Marie Copestake's 'A love'.
We commissioned writer Jen Martin to respond to The Unit by Sarah Forrest.
We commissioned CAConrad to respond to George Finlay Ramsay and Alexander Hetherington's 'CASTOROCENE' (2021).
We commissioned writer Tina Fiske to respond to Mark Lyken's '1300 SHOTS'.
Jessica McGoff's text for our partnership writing programme with Alchemy Film & Arts and The Skinny.
Derek McArthur's text for our partnership writing programme with Alchemy Film & Arts and The Skinny.
Lauren La Rose's text for our partnership writing programme with Alchemy Film & Arts and The Skinny.
As part of the Margaret Tait Award, Jamie Crewe presented a recorded artist’s talk in which they discuss a technique that recurs throughout their practice. They have named the technique PEOPLE HAVE COME, and it describes courting and avoiding publicness.
We commissioned writer Huw Lemmey to respond to Mathew Wayne Parkin's work 'I Believe in You' (2016).
Brian Dillon responds to Sarah Forrest's Margaret Tait Award commission 'April' (2018).
Two large sound monitors positioned at either side of The Anatomy Room’s project space have a distinctly commandeering presence, erected taller than most in the room.
Maja Zećo responds to Alexander Storey Gordon's 'These Are The Days My Friends, And These Are The Days My Friends' (2017).
Caroline Gausden responds to Andrea Luka Zimmerman’s 'Civil Rites' and Alex Martinis Roe’s 'Our Future Network'.