We Are the Landscape of All We Have Seen

Audio recording of Live Art Development Agency event B Is for Blood: Nastja Säde Rönkkö in Conversation With Gemma Rolls-Bentley.

‘B is for blood in our veins, blood in our belly, between our legs, the flow of life within.’ – from Survival Guide for a Post-Apocalyptic Child

Survival Guide for a Post-Apocalyptic Child is a multidisciplinary project by award-winning video artist Nastja Säde Rönkkö, employing video, sculpture, text and workshops to explore strategies of survival in a world of contiguous crises.

Miranda Whall’s performance practice employs crawling as a tool that enables her to embody, inhabit and understand a place and its narratives from a four-legged rather than two-legged perspective. So far she has crawled through mountains, woodland, rivers, seaside promenades, tidal mudflats an island and urban centres. On Saturday 6th November 2021 she crawled with a 6-year-old potted Scots Pine on her back through the centre of Glasgow – from the Glasgow Sculpture Studios on Dawson Road to the COP26 Green Zone in the Science Centre on the Clyde Waterfront Regeneration area. Passers-by ignored, laughed, stared, cheered and filmed as the tree and Miranda silently and determinedly made their way through heavy rain and high winds to reach their destination. The intention of Miranda’s heroic/tragic/comic slow and gentle art activism is an expression of her grief, despair and outrage with a world dominated by corporate and personal greed and an insistence that non-human nature, and in this case trees, be put at the centre of discussions on how to mitigate the climate emergency and ecological crisis. Animals, plants, trees, air, earth and oceans should be, metaphorically, sitting at the discussion table with heads of government and delegates.

Miranda’s hope is that crawling to the COP26 United Nations Climate Change Conference carrying a tree, that was equal in size to her body, might inspire human beings to re-think and re-align their relationship to trees, seeing them not only as a resource to use and abuse but as an ally and a vital source of knowledge. She believes that we all literally need to get down from our human centric, two-legged, dominant and hierarchical position and start recognising our non-human vegetal others as equals, and as sentient beings with a voice – that we crucially need to listen to if we are to find a way out of our human made catastrophe.

Crossed Paths – Scots Pine premiered as part of LADA Screens and was available to watch online from 4 July until 4 August 2022.

This video was screened as part of Land, Material, Memory at Tate Britain on Saturday 28 February 2026.

The world’s biggest and only autistic green Drag Queen, Oozing Gloop is back and inspiring people to re-imagine the structures that govern their lives. Defying usual understanding of meaning and belonging, this world to come is run via a new economy of government – Commucracy!  (But what the fuck is Commucracy? Read the manifesto.)

Follow Oozing Gloop on this epic trip, where you’ll find psychoactive solutions for psychopathetic citizens trapped behind the very screens that are there to help them communicate. From the highest to the lowest Oozing Gloop will seek to link the universal to the particular to revive the democratic impulse and pose the communist hypothesis.

Commucracy Now! is a companion piece to Glooptopia!, Oozing Gloop’s latest theatre show, and is a direct challenge to the notion that people with Autism “struggle with social imagination”, and also to the simple fact it’s easier to imagine the end of the world than the end of capitalism. We have a wealth of apocalyptic omens, disaster movies and critique; but zero 21st century post-capital-culture. Oozing Gloop defies this with revolutionary zeal and determination to open radical new spheres of imagination and fantasy! Just as we got through that, we can get through this!

This video was screened as part of Land, Material, Memory at Tate Britain on Saturday 28 February 2026.

F A U L T L I N E S (2022) is a performance video from SITE, screened at LADA as part of Fringe! Queer Film & Arts Fest exhibition The Body Is a Thing in Time, curated by kane stonestreet.

peacefully if we can, forcibly if we must (2024) is a video by Joshua Woolford, screened at LADA as part of Fringe! Queer Film & Arts Fest exhibition The Body Is a Thing in Time, curated by kane stonestreet.

A poem by artist Tara Fatehi.

Let’s Pretend None of This Ever Happened documents neon, LED and other text works by the British artist Tim Etchells. The book creates a compelling and comprehensive investigation of Etchells’ projects in public space and galleries, leading with images of key works installed in sites all over the world.

Alongside its wide-ranging image survey, this work features an extended conversation between the artist and Jule Hillgärtner, director of Kunstverein Braunschweig, as well as a text by curator Ben Borthwick.

Surveying the full range and approaches of Etchells’ sculptural work with text, Let’s Pretend None of This Ever Happened creates dialogue across the artist’s works spanning sixteen years, as well as exploring the complex relation between individual works and the different contexts in which they have been installed over the last several decades.

This book is a philosophical essay on the sun. It draws on Georges Bataille’s theories of the solar economy and solar violence and demonstrates their relevance to a world affected by the COVID-19 pandemic and climate change.

Taking a step from solar economy to solar politics, Timofeeva locates the grounds for it in solidarity with nature, treated neither as a master nor as a slave, but as a comrade.

The book will appeal to students, academics, artists, and other readers interested in the philosophy of nature, ecology, social and political theory, postcolonial and decolonial studies, and the humanities generally.

An introduction by Alisa Oleva to her film Walking Home, which was screened as part of LADA Screens in February 2021.

Video documentation of an artist conversation with Lateisha Davine Lovelace-Hanson, on 26th APril, 2024 at The Garrett Centre. This conversation followed a screening of Lateisha’s film The Gift as part of our LADA Screens programme on Voice, Care and Healing. Lateisha was  joined by collaborators Kes Gill-Martin and Ava Riby-Williams for a discussion and interactive sonic/music offerings.

The Gift (2022) is a single-take style short film, weaving together performance for camera, original sound composition and poetic storytelling that fuses speculative fiction and autobiography. We are invited into the artist’s home, to witness them playfully uncover (and reclaim) stories of grief, body, love, nature and home-making.

This is a video file. For a version with closed captions, visit our vimeo channel

This special issue of Burlington Contemporary Journal is dedicated to drawing and has been realised in collaboration with Drawing Room. Surveying work made over the last sixty years, this issue examines the radical potential of drawing and its varied role in artistic practice. The issue includes artist commissions by Jade Montserrat and Emma McNally, and a profile of Massinissa Selmani by Roger Malbert.

Afterall Journal

Issue 49 Spring/Summer 2020 – ‘Extractivism’ – looks at a nexus of practices engaging with environmental issues and extractivist capitalism. In parallel, it covers alternative ways in which artists are occupying spaces of art, history or economics.

P.27-35
Nizan Shaked traces the interventions of Sonia Boyce’s work in received categories of artistic practice, considering how these interventions suggest means of classification beyond media, artistic intention and identity.