TILLIE OLSEN AND TIME'S COAL
ETHICALLY SURFACING MUSEUM CONNECTIONS WITH EMPIRE
PARIS IS A PARTY, PARIS IS A GHOST BY DAVID HOON KIM
THRIVING IN DISTURBED GROUND, 16 NICHOLSON STREET
DRINK IN THE BEAUTY,
GALLERY OF MODERN ART
GLASGOW WOMEN'S LIBRARY
TONICO LEMOS AUAD,
Writing, reviews and artworks by Paul Barndt, Phoebe Barnicoat, Neil Clements, Hannah Devereux, Gwen Dupré, Brent Garbowski, Ruth Gilbert, Sky Goodden, Laura Haynes, Jessica Higgins, Maria Howard, Will Jenkinson, Poppy Jones, Morwenna Kearsley, Aïcha Mehrez, Kate Morris-Millar, Rebecca O’Dwyer, Oliver Pitt, Natasha Ruwona, Nina Silverberg, Frances Stanfield, Marissa Stoffer and Calum Sutherland.
In Tillie Olsen and Time’s Coal: Some Verses on the Limits of Practice and Discipline, Laura Haynes navigates the constraints of late capitalist time on the woman writer. Questioning a societal demand for the day’s optimisation, Haynes asks instead, where is the good-enough setting? In our Hybrid column, Jessica Higgins’ Now, for the doubters and the sceptics moves through the syncopated rhythms of office hours, clock-time and domestic boredom, cutting between Jane Arden’s film Anti-Clock and Clarice Lispector's The Hour of the Star. In Do You Ever Remember Books You Haven’t Read, Brent Garbowski recounts a trip across Pennsylvania, tasked to pick up thousands of books for a Jim Lambie show in noughties New York. For our Writing Through column Rebecca O’Dwyer considers Rosemarie Trockel’s Manu’s Spleen 1, reflecting on its graveyard scene from the perspective of post-lockdown Hamburg, noting a world picking up where it left off. Aïcha Mehrez’s essay Ethically Surfacing Museum Connections with Empire and Slavery addresses the ongoing harm caused by Tate's decision to frame its colonial history in neutral terms, and its refusal to acknowledge the institution’s power to shape national narratives. Similar themes are outlined in exhibition reviews by Natasha Ruwona and Maria Howard. Ruwona looks at how Drink in the Beauty at GoMA falls short of its aims to address ‘current debates on climate justice and legacies of the British Empire’. At Tramway, Howard reflects on Amartey Golding’s Bring Me to Heal, its meditation on the generational trauma of colonialism and the iterative rituals that become a form of processing and resistance. Elsewhere, Ruth Gilbert reviews Life Support: Forms of Care in Art and Activism, last year’s major show at Glasgow Women’s Library. She looks at the ways care has been taken up by various women artists not only as a necessary tool for survival, but an ‘articulation of hope’. In a review of Thriving in Disturbed Ground at 16 Nicholson Street, Gwen Dupré questions the curatorial assertion that female empowerment can be achieved through reclamations of vulnerability and spirituality. Calum Sutherland writes on the assimilation of artisan materials into tasteful contemporary art via Tonico Lemos Auad’s Unknown to the world. In light of their shared experience of growing up in Belfast, Neil Clements considers Cathy Wilkes’ installation at The Modern Institute. Paul Barndt’s book review takes us through David Hoon Kim’s Paris Is a Party, Paris Is a Ghost, touching on language and translation, love and wasted time.