Sam Moore

Tickets just dropped 4 Lucy Petersen’s fundraising double bill 🔥 TISSUE are making our GLASGOW DEBUT at @thegladcafe on 28th May, after business as useful at @goldsmithscca on 24th May. And we have a *very* major billing: London Line-Up: @biogal @leobbussi @nodollsbutaprayerwheel_ Hesse K. @mumblequeer Mo Mamode @mar_sl Markéta Slaná @tradwifi Alice Speller @tgirlsonfilm Glasgow Line-up: @fashion_vacuum Carle Gent @iziccc Isaac Harris @daisylafarge @oisin.roberts @sweatmother @evelynwh_ell Hosted by @donna.the.first & @sam.moore94 T-shirts by @fort.london Food by moot aka @katemrgn & @palmtreemirror

Jaw Filler in @dazed . Whoa. And also: thank you.

What’s the Point of a Private View? The private view is one of the art world’s most beloved institutions, and also one of its most contradictory. It’s supposed to be about the work, but it’s also about free wine, the right eyes on the work, and enough social anxiety to warrant a Xanax on entry. Sam Moore speaks to the gallerists and artists navigating that tension, one glass of warm white wine at a time, to ask what – and who – the private view is really for. Read the full opinion piece now. Link in bio. Guest Writer: Sam Moore (@sam.moore94 ) Contributors: Laurie Barron (@laurietgbarron ) / Herald St (@herald_st ) Freddie Powell @freddieppowell ) / Ginny on Frederick (@ginnyonfrederick ) Henry Hussey (@henryhusseystudio ) & Sophia Olver (@sssssssssssssssophia ) / OHSH Projects (@ohshprojects ) Augustine Paredes (@augustineparedes ) Dan Guthrie (@danglefree ) / Spike Island (@spikeisland ) 📷: 1. Saatchi Yates’s ‘Once Upon a Time in London’ private view, 2025. Photo courtesy of Saatchi Yates. 3. Nigel Van Wieck, The Silent Treatment, 1990. 5. Merlin Carpenter, The Opening: The Black Paintings: 8, 2007. 7. Nathanial Hone, The Pictorial Conjuror, 1775.

On 14th March we’re baccck at @goldsmithscca fundraising 4 @mumblequeer 🔥 Saturday, 2-5pm, food + drink by moot (aka @katemrgn & @palmtreemirror ), T-shirts printed by @fort.london , and major performances from: Nico3000 (@palmtreemirror ) Danielle James (@d.aniellejames ) Harry Josephine Giles (@hjosephinegiles ) Edith Marlowe Geenty (@speedith ) D Mortimer (@fragile_masculinity ) GABA Oolong (@gabaoolong ) & MORE!!! Get ya tickies, PWYC available, no one turned away from lack of funds xoxo LINK IN BIO

TISSUE are back raising for @lulubennett at @goldsmithscca on Saturday 21st February 🔥 we have baked by Moot (aka @kaetmrgn ), T-shirts made in collaboration with @fort.london , posters by @futurevon and readings from possibly our most GOATed line up yet: hannah baer (@malefragility Baggio (Live) (@baggioband Biogal (@biogal ) Rene Matic (@rene.matic ) JC McCormack (@j.c.mccormack ) Stuart McKenzie (@stuart__mckenzie ) Emily Pope (@emily_pope90 ) Hosted by: @donna.the.first & @sam.moore94 All proceeds go to Lulu’s healthcare costs. Link in bio!! Pay what you can ❤️

Some new writing out in the world! Dusted off the newsletter to write about the act of writing, the new year, and trying to take a breath; and returned to @anothermagazine to write about my beloved Infinite Jest and the map Wallace left us for this brave new world. Link where links go

URSULA K LE GUIN’S SPECULATIVE CARTOGRAPHY A recent exhibition at London’s Architectural Association, curated by Sarah Shin & Harriet Jennings, presented maps drawn by author Ursula K. Le Guin as part of her authorial worldbuilding process. Sam Moore visited to explore her maps and drawings to think not only about the imaginary places represented, but our own personal and collective relationships to the world we inhabit. Read & See More at: https://recessed.space/00310-Ursula-Le-Guin-AA Link in bio ----- In the short story On Exactitude in Science, Jorge Luis Borges writes about a people who were dissatisfied with the already grand scales of their ambitious cartography, wherein “the map of a single Province occupied the entirety of a City, and the map of the Empire the entirety of a Province.” The Cartographers Guild grew to think that maps of this size were unable to capture the details of their lands, and so a map of the Empire was created, one the size of the Empire itself. Cartography has always had a speculative aspect to it; maps and globes and records of a land exist to tell a story of that land. Even the way in which we understand our own planet is informed by these things; where some maps distort the size of locations, the Peters Projection Map aims to show countries that are all correct in size, relative to one another. The map then, is a political document as much as anything else, something which echoes through the speculative cartography of author Ursula K. Le Guin. ----- @aaschool @ursulakleguin @aa.publications @spiralhouseeditions @sarah_shin_ @sam.moore94 @harrietgjennings

URSULA K. LE GUIN’S SPECULATIVE CARTOGRAPHY A recent exhibition at London’s Architectural Association, curated by Sarah Shin & Harriet Jennings, presented maps drawn by author Ursula K. Le Guin as part of her authorial worldbuilding process. Sam Moore visited to explore her maps and drawings to think not only about the imaginary places represented, but our own personal and collective relationships to the world we inhabit. Read & See More at: https://recessed.space/00310-Ursula-Le-Guin-AA Link in bio ----- In the short story On Exactitude in Science, Jorge Luis Borges writes about a people who were dissatisfied with the already grand scales of their ambitious cartography, wherein “the map of a single Province occupied the entirety of a City, and the map of the Empire the entirety of a Province.” The Cartographers Guild grew to think that maps of this size were unable to capture the details of their lands, and so a map of the Empire was created, one the size of the Empire itself. Cartography has always had a speculative aspect to it; maps and globes and records of a land exist to tell a story of that land. Even the way in which we understand our own planet is informed by these things; where some maps distort the size of locations, the Peters Projection Map aims to show countries that are all correct in size, relative to one another. The map then, is a political document as much as anything else, something which echoes through the speculative cartography of author Ursula K. Le Guin. ----- @aaschool @ursulakleguin @aa.publications @spiralhouseeditions @sarah_shin_ @sam.moore94 @harrietgjennings

Trying to be on here less while also attempting to use it as a source of freelance work / generally seeing what my friends are doing in the world is something I’ll be testing to breaking point in 2026. But until it breaks me, here’s some fun work from the end of last year/start of this one: a feature on Salo for @guardian , and a guide to some fascinating 2026 gallery programmes for @friezeofficial (link where links go)

Incredibly surreal to think that this book came out five years ago(!!!). It feels closer and further away than that, and I’ll always think of it as something I’m surprised and grateful to have written (given basically nobody had read a word of mine up to that point!). I think about this book and the friendship I’ve found through it a lot; always attempting to do my bit to pay it forward. Forever grateful to @pilotpresslondon for publishing this all those years ago

This beauty arrived from @secondsightfilmsofficial today. a special edition of MaXXXine that I’m thrilled I got to write an essay for; about the ghost of elevated horror and the genre’s future. Seemed like the perfect way to write about a film I watched late at night at a drive-in theatre

Wrote a little something about the Eva Gold show at @roseeaston223 . On Janet Leigh, Blow Out, and the distorting violence of disembodied screams. Link where link goes, and subscribe to the newsletter for more bits and pieces like this!