Content to Gather

Content to Gather’ is the first collaborative project between Joe Devlin and David Mackintosh. It takes the form of a book of writing from Devlin, drawings by Mackintosh and an afterword by Martin Holman. It is designed by Daren Newman anc published by Aye-Aye Books.

Devlin, who is known for using the library as his studio, often finding his material in the margins of long forgotten tomes, has for the first time turned to the written word himself. His prose reads like snatched reminiscences, fleeting observations of human adventure where characters incidentally connect and find meaning. Martin Holman describes his style in the afterword as an: ‘ungloved but affectionate portrayal of communal celebrations, economic tribulations, everyday frustrations, bureaucratic intrusions and nocturnal piss-ups that unite his cast of life-bruised and chance-repulsed characters.’

Mackintosh’s stream of consciousness drawings, like Devlin’s writing, elevate the detail of chance to art. Holman again: ‘A scuffle on the page? For that song that must be written or the stage act that is looking for material; the story that is waiting to be dressed in vocabulary or the sardonic grin the artists yearns to wipe off an expanse of bare canvas.’

Together in the book the two artists support each other’s position, their personal take on the world¬¬, one does not illustrate the other, rather than points a finger in the direction of the individual’s ideas.BUY IT NOW!

Line Vocabulary

In their new book Line Vocabulary poet Arild Vange and visual artist Per Formo play with a series of tactile, erotic encounters between figures, submarines, economics, plants and movements.

The work frames Vange’s writing in a tightly constrained format where tiny fragments pattern two broad forms: firstly, of expansion and contraction through nine letters of the alphabet in relation to vertical forms/standing figures; and secondly through a series of almost pastoral, horizon-based accumulations of images. The poems were written in response to Per Formo’s digital drawings, and vice versa; the constraints employed in the construction of the images being echoed in the constraints used in the writing process: syllables, letters, number of lines etc.

Line Vocabulary has been translated from Norwegian by Neil Davidson, working in close collaboration with Vange to produce this English-language iteration of the poet’s text.

Vange’s poetry has been informed and influenced by sound and listening for a number of years; starting with his book Fjordarbeid from 2006 and on into annerledes enn from 2010 and improvisasjon person in 2013. His work explores listening and responding, finding and crafting a voice amidst ambiguity and questioning. He carries this principle through into collaborations with musicians and artists and in the theatre company DVELL that he started with Neil Davidson in 2012. His poems and texts are frequently read with improvisers; a process of reading which is a kind of improvisation where new paths through the texts are produced each time.

Arild Vange (1955) is a poet, artist and translator. Following some early years studying economics and singing in punk/new wave bands Arild Vange’s first novel “Ene og Alene” was published in 1990. He lived for many years in Germany and occupied for 5 years the honorary writer’s residence “Adrianstua” belonging to the city of Trondheim from 2008 – 2013. He has written several critically acclaimed books of poetry. His translations include the works by Franz Kafka, Georg Trakl, Peter Waterhouse, Yoko Tawada, Thomas Kling and Anja Utler. He collaborates regularly with musicians including Lemur, En En En and Neil Davidson. In 2012 the improvisation company DVELL was formed around his long standing collaboration with Davidson. Vange is also working together with the visual artist Per Formo.

Per Formo (1952) is a visual artist working mainly with painting, wall painting, drawing and printing. He was educated both in music and visual art, and the interest in and experience of music has been very important in developing his visual expression. Since 1990, Formo has used a number of geometric structures and simple rules or procedures to generate the visual material for his paintings. He often works in series where the individual works are variations of a given structure or the same procedure. He has exhibited extensively in Norway since 1989, and he has also participated in exhibitions in Sweden, Finland, Australia and the Netherlands. He has had many public commissions in Norway, and he is represented in several museums and public collections.

Neil Davidson (1977) is a composer, writer and guitar player specialising in improvised musics. In particular: a new pop/composition project with composer Anneke Kampman, a longstanding project with Norwegian poet Arild Vange, regular collaborations with Michael Duch, Lemur, Jean-Luc Guionnet, Mariam Rezaei, Liene Rozite, Fritz Welch. He is also in the groups Asparagus Piss Raindrop, The Final Five & Glasgow Improvisers Orchestra.

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Urban Agriculture Growing Care

As a post-industrial city, Glasgow has a glut of derelict land. Over recent years the city has witnessed a growth in community gardens. These places and the groups that maintain them are playing a significant role in re-shaping both the city’s landscape and its relationship with food and community.
Blair Cunningham has documented this grass-roots regeneration across the city, his publication represents a glimpse of another Glasgow, one that generates new forms of value in places and people beyond neoliberalism.
The publication takes the form of a double-sided print using a selection of photographs to vividly depict the changes to post-industrial Glasgow’s land-use, in the process mapping the city’s community gardens.
This artwork is derived from a larger body of research by Dr John Crossan, Profs Andrew Cumbers, Robert McMaster and Deirdre Shaw at the University of Glasgow, which considers community gardening as an example of a more caring city.

Who is this who is coming?



The first major publication of the paintings of Andrew Cranston. Cranston’s observed and imaginary scenarios often involve the human figure, engaged and absorbed in particular activities. His work presents seen and possible actualities, credible and absurd. Realism re-arranged. Painting is a kind of beautiful way of lying, and Cranston’s work affirms a belief in painting as a real kind of fiction. The notion that like a writer he can explore feeling, thoughts, scenarios, characters and none of them might be about him; some might be though.
This new book includes images of 32 recent paintings, contextual photographs and an essay by Liza Dimbleby.
Hardback, 82pp, 237 x 215 mm

Andrew Cranston was born in Hawick, Scotland 1969 and lives and works in Glasgow. He studied for BA at Grays School of Art in Aberdeen and MA in Painting at the Royal College of Art, London. Recent solo exhibitions include Paintings from a Room, Ingleby Gallery, Edinburgh (2016), Who is This Who is Coming?, Display Gallery, London (2014), What to do After Death in Scotland, Hamish Morrison Galerie, Berlin (2013), Paintings, Summerhall, Edinburgh (2013), Walter, do you remember?, Hawick Museum, Hawick (2013). In 2014 he was awarded the Arts Foundation Fellowship for Painting.

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