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In recent years sexualised drug use, usually referred to as chemsex, has become the object of intense media health‐related panic and increasing academic scrutiny. Critical social scientists have challenged pathologising perspectives, analysing the socio‐cultural and political economy dimensions of chemsex. Against the silence of geographers in this emerging field, the paper develops a geographical relational analysis of chemsex, focusing on the experiences of gay men living with HIV in two Italian cities (Bologna; Milan) and Italian gay men living with HIV in three English cities (Leicester; London; Manchester). Demonstrating the constitutive role of place in the practice of chemsex, the paper frames place relationally, that is, as the encounter between here and there, the material and the virtual, imagined geographies and lived spaces. To emphasise the central role of place and geographical knowledge to understand chemsex, the paper builds on 'weak theory', as it conceives things as open, entangled, connected and in flux, while focusing on ordinary practices and heterogeneity in more‐than‐human worlds. Showing how chemsex represents an embodied, relational geographical encounter among different human and non‐human actors, places (both physical and digital), imaginations and desires, the paper highlights the role of sexual practices in the relational construction of place‐making, therefore calling for an increased engagement with sex itself within the field of geographies of sexualities. The paper introduces a relational geographical perspective to the analysis of chemsex. Demonstrating the constitutive role of place in the practice of chemsex, the paper frames place relationally, i.e. as the encounter between here and there, the material and the virtual, imagined geographies and lived spaces. The paper calls for an increased engagement with the materiality of sex within the field of geographies of sexualities. [ABSTRACT FROM AUTHOR]

Whilst the link between young people's well‐being and the creative arts is strengthening, there is a lack of research which focuses on the roles that artists play to help teachers and parents engage young people in the creative arts. This paper explores the benefits of and barriers to artists working in education in six European countries (England, Iceland, Germany, Greece, Italy and Austria). Using the '5A's model of creativity' and a view of professional development taking place within 'landscapes of practice', the data were analysed in order to explain how creativity is operationalised in the different contexts. Our study highlights the need for policy at a national and transnational level to value the creative arts in order to help teachers cross boundaries and utilise the full potential of the creative arts in schools. Our study also highlights that further research is needed into how artists shape teaching and curriculum and how schools engage parents in the creative arts in order to build an evidence‐base relating to young people's positive mental health that can affect policy at these levels. [ABSTRACT FROM AUTHOR]