JAMES WALSH is moved by an exhibition of graphic art that relates horrors that would be much less immediate in other media
MATTHEW HAWKINS surveys the upcoming programme of contemporary dance in Glasgow, and picks some highlights

DIG is, in many ways, deep. This is Dance International Glasgow, happening now and running to May 24. Here is an established festival of contemporary dance produced by Tramway – surely one of the most beautiful venues to be found anywhere. Each curated DIG show is a full production, centring on an individual’s creative initiative, manifesting as boldly or as waywardly as its author would desire.
Beneath the surface is a co-operative process of making that involves vital peer support, wise mentoring, pockets of state funding, and careful test stages. This may be an industry.
DIG looks to position artists as drivers of their public exposure. This is evidenced by the apparition of striking soul-baring images. In tandem, advance descriptions spool out with unedited abundance. Such words could inspire or mystify, weaving around the general message: “We can’t really outline what this will be like, but here is a bundle of motives.”



