Issue 2
This special print edition of the Fourdrinier brings together highlights from across the magazine’s two-year run. The issue includes poetry, essays, exhibition reviews, artist features, and an experimental text exploring the borders between writing and drawing.
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Issue 2 contents:
Camgirls and boiler cupboards, Moomins and masturbation – Anna Columbine peers inside Polish artist Paola Ciarska’s miniature floating rooms.
“Sometimes all it takes for a chain of generational trauma to collapse is a ‘weak’ link” – Greg Thorpe reviews the South African artist Lady Skollie’s first UK solo exhibition, presented at Eastside Projects in Birmingham.
Charlotte Robson explores the still partly concealed human ties and political connections between Liverpool and Shanghai in response to a life-sized photograph by Hong Kong artist Luke Ching.
Natalie Bradbury speaks to Spanish-born, Yorkshire-based artist Hondartza Fraga about her melancholic drawings made in response to ‘raw images’ of Saturn.
Have you ever placed yourself in history? Laura Robertson steps into the picture following a visit to Cézanne at the Whitworth in Manchester.  
‘To see is to taste is to touch is to smell is to be held on the precipice between living and longing for a beyond’ – Alison Criddle takes a voyage through ‘On Sleeping and Drowning’, a solo exhibition by German-American artist Esther Teichmann at Flowers Gallery in London.
Sara Jaspan reviews ‘Well Done, Good Draw’, an exhibition of new drawings by Manchester-based Venture Arts artist Jennie Franklin at Bury Art Museum.  
‘Even in his 80s and 90s, he remains like a machine; voraciously devouring paper’ – Jo Manby reviews the Royal Academy of Arts’ spring 2020 headline exhibition, Picasso and Paper
Laura Harris and Edinburgh-based artist Elise Ashby set out to investigate how writing can represent the act of drawing and whether a drawing exceeds what can be said of it.
Issue 1: PAPER in Venice
Issue 1 contents:
This special print edition of the Fourdrinier features six articles, each focusing on one of the six artists whose work was presented by PAPER at the fifth edition of ‘Personal Structures’ in Venice from 11 May to 24 November 2019.
‘Personal Structures’ occurs every two years in the context of the Venice Biennale and is organised by the European Cultural Centre. It includes work by more than 200 artists at all stages in their career from over 50 countries.
The PAPER Pavilion, housed within Palazzo Mora, was curated by PAPER’s director, David Hancock, and explored the notion of the artist’s studio.
The first issue contain features on Iain Andrews, Tim Ellis, David Hancock, Matthew Houlding, Hannah Leighton-Boyce, and Jill Randall.
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