SAHAR MARANLOU explores a novella, newly translated and republished in English that tells the history of Iran through women’s bodies
Eh? Aye! Definitely!
In an exhibition of the graphic art of Lorna Miller, MATT KERR takes a lungful of the oxygen of dissent
Second Cumming - Bella Caledonia 2020, by Lorna Miller
CHRISTOPHE DOMEC relishes a dizzyingly precise fiction that relays the problem of reporting the truth
DAVID NICHOLSON applauds the revival of a joyous production that deals with choirs, competitions and communism
New releases from Peruvian Ranil y Su Conjunto Tropical, Leve Leve: Sao Tome & Principe, and South African BCUC
MARY DAVIS welcomes a remarkable documentary about the general strike — politically spot on, and featuring accounts from the strikers themselves — that is available for screenings
MICHAL BONCZA and MARIA DUARTE review The Stranger, Undertone, and Outcome
Eh? Aye! The Artwork of Lorna Miller
Glasgow School of Art
CLIMBING up Garnethill last week, I wandered past the Glasgow Film Theatre festooned with the flag of Palestine as protesters stood in solidarity with the workers within who had chosen to serve solidarity rather than the products of companies profiteering out of the Israeli state’s illegal occupation.
Their victory in persuading their employer to do the right thing came as a result of concerted action when it was at its most visible, during the Glasgow Film Festival.
Turning the corner to continue the climb onto Renfrew Street we are faced with the results of what happens when scrutiny fails. Appropriately enough, what remains of the once world-renowned Mackintosh building at the Glasgow School of Art remains under wraps.
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If true, the photo’s history is a damning indictment of the systematic exploitation of non-Western journalists by Western media organisations – a pattern that persists today, posit KATE CANTRELL and ALISON BEDFORD
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