[mouthfeel]

A black and white still featuring water pouring in front of a textured rocky surface

A lectern made from metal welded together stands in a white room.

A close up of the top panel of a metal lectern, which has a small metal ring placed on it.

A metal sheet is on a white wall. From the bottom of the sheet is a pipe, which feeds into a clear box sitting on the group.

A close up of a dark sheet of metal, at the bottom is a trough that is gathering a liquid that runs down the sheet of metal.

A framed artwork featuring oil-like marks and a faded black and white photograph.

A white room which features artworks presented on walls and metal sculptures around the room, including a large metal lectern.

[mouthfeel] is an exhibition of new and recomposed work by Glasgow-based artist Camara Taylor, forged through new and old collaborations with 皚桐 (Ai Túng), Sharif Elsabagh and Slaghammers.

Camara’s practice builds around their research into archival documents, images, and fragments of language. They look particularly to those historical traces that register Black presence as a fugitive undercurrent of Scotland’s entanglement with racial capitalism. Their work, however, refuses the urge to index. In objects, reworked images, texts, sound and video, Camara instead looks to methods of material dissolution and failed speech: from the upending of analogue photographic processes to expose an image to liquid decay; to the visceral qualities of language as a bodily product.

In [mouthfeel], a moving-image work shows the last gold coin to be produced by the Scottish Mint – minted to commemorate the country’s colonial Darien scheme – as it dissolves on a tongue. The exhibition contrasts the hard, opaque surfaces of steel and tinted glass with spit, rum, regurgitated beats and the layering of affective communication and presences

Accessibility Guidance

This accessibility guidance was written in collaboration with Camara Taylor and Collective Text.

Exhibition Information

[mouthfeel] is an exhibition including 9 works. This includes a silent two-channel film which is 14 minutes, and a sound piece that is 12 minutes.

There is also a work which uses rum and the smell of alcohol is present within the space.

Subpac vests are available to visitors to enable the bass within the sound piece to be felt.

There is an audio described introduction to the exhibition and the exhibition artworks that can be accessed here.

The scripts of these audio descriptions can be accessed here.

The total running time of the exhibition audio description is 32 minutes 55 seconds, divided into 13 tracks.

At the gallery, audio description of the exhibition can be accessed via mp3 players with headphones. Instructions on how to use the players are given in Track 1 of the audio description. You can skip this track if you are using your own device.

An invigilator will provide you with headphones, and you can be assisted to a seat outside the entrance to the gallery or a bench inside the gallery to listen to the audio description.

The two-channel film is briefly described in Track 11 of the exhibition audio description.

There is also a separate audio description of these videos available here and in the gallery via radio frequency headsets. You can listen to a simultaneous audio description of both videos. The melting of the head occurs in the headsets left channel and the tail is the right channel.

There are large print exhibition guides and plain English text of exhibition introduction panel available through the invigilators.

The gallery is wheelchair accessible. General Access Information for the gallery is available here.

Audio Description by Collective Text & SoundScribe, 2024
AD Scripting and Recording: Elaine Lilian Joseph
AD Consultant: Kirin Saeed

Sound Description by Collective Text, 2024
Emilia Beatriz & Camara Taylor in conversation with 皚桐 (Ai Túng);
BSL consultant: Klarissa Webster