Photographer Julie Howden documents Scottish sub-culture phenomenon, in particular, recently, the resurgence in the clothes, accessories, style and sounds of the 1950s when teddy boys and girls and the emergence of rock and roll defined teen culture. Drape jackets, drainpipe trousers, zoot suits, brogues and brothel creepers epitomised the era.
Howden captures those who embrace this period within contemporary lifestyle in beautiful colour images, exhibiting their possessions – clothing, jewellery, records and even a “B” movie amongst the portraits.
A selection of work from the Summerhall Studio of figurative sculptor Deirdre Nicholls. The exhibition shows two aspects of the artist’s work: contemporary portrait heads in bronze and plaster, and a selection of pieces inspired by the work of Amnesty International, including portrayals of Ai Weiwei and Aung San Suu Kyi.
The Dark Would
7th December-24th January
World-leading poets and text artists explore the maze of living and dying in The Dark Would. Contributors: Jenny Holzer, Richard Long, Susan Hiller, Tom Phillips, Simon Patterson, Mike Chavez-Dawson, Tony Lopez, Richard Wentworth, Caroline Bergvall, Lawrence Weiner, Fiona Banner and many others, including outsider artists.
7th December-24th January
“The map began as just a doodle. I just made little rectangles and crosshatched them. Carefully. And I just kept adding rectangles and I put a river in….and some railroad stations. But there was this moment when I came to the edge of that sheet of paper…got out another sheet of paper and put the two together…and I think I taped them together. That’s when I realized that it kind of had a life of its own.”
An internet sensation, 50 years in the making, Jerry’s Map (as it is known – it has no official title) is an awe-inspiring artwork on a colossal scale. Jerry Gretzinger has been slowly drawing and painting his “map” one 8 x10 inch panel at a time. Working in makeshift studio spaces during spare moments plucked out between career and family. Jerry began with a singular doodle of a fictitious city centre, evolving it into a sublime world of more than 2,500 individual drawings.
Jerry utilises paint brushes, X-Acto knives, adhesive paper, Sharpie markers, acrylic and watercolour paints as well as informational tools such as numbered archival stacks and Excel spreadsheets. However, the most important and unique amongst the tools is chance. He has created systems governing the growth and decay of the map through what he has defined as the “future predictor” – a stack of modified playing cards which he draws from many times a day during his creative process. They are designed to introduce serendipity and chance into all facets of his “world.”
Jerry’s Map has never been seen outside of the United States and Jerry will continue to make modifications to his work at certain periods during the exhibition.
The Boys Keep Swinging
Walt Cessna, Scooter LaForge, Norn Cutson, Matthew Stradling , Jonny Dredge, Darius Amini, Dom Agius, Lee Baxter, David Hoyle, Kevin Alexander Bennett, George Mellor
7th December- 22nd January
Featuring the works of artists from New York, London and Manchester, this new exhibition looks at different aspects of contemporary society from the male perspective. With an eclectic mix of artists working in a variety of mediums, this exhibition showcases the works of celebrated and award-winning international artists, as well as up and coming artists and artists exhibiting for the first time.
7th December-26th January
Goldin+Senneby with Rob Drummond (playwright), Mark Jeary (actor), Philip Grant (anthropologist and former equity fund manager), Donald MacKenzie (sociologist), Anna Heymowska (set designer), and Ybodon (computer scientist).
Anti-VWAP is part of a series of new productions explicitly utilising the infrastructure supporting exhibitions, such as staff, funding, and administrative supports, to develop algorithmic trading models.
Anti-VWAP features a commissioned, speculative theatrical script, which will be performed on a daily basis and the development of a new algorithmic trading model to be tested in the financial markets of today. In the interplay between these two modes of speculation, the work gives itself over to the mysterious forces of capital that it simultaneously stages in the gallery.
Mark Dion: 200 Years 200 Objects
Claire Barclay: Another Kind of Balance
Talbot Rice Gallery
16th November-15th February
A series of commissions realised in collaboration with Artlink to commemorate the bicentenary of the Royal Edinburgh Hospital.
The 200-year history of the Hospital covers many lifetimes and diverse experiences of the psychiatric system. These experiences, some sad, some heartening, some funny and some down right odd, give a different insight into the everyday life of the Hospital and the ways in which it has changed since it opened in 1813.
Over the past year a substantial programme of research was undertaken, with artists Mark Dion, Claire Barclay, Anne Elliot, Laura Aldridge, Laura Spring, Alex Wilde and writer Nicola White finding and developing ways to engage with the history of the Hospital and the individuals connected to it. Patients, staff, managers, archivists and local communities have all contributed to the dialogue; some became researchers, others characters in stories, consultants offering advice or co-creators making work. Their collated experiences now offer us new perspectives of the Royal Edinburgh Hospital’s history.
Louis e Bourgeois : I Give Everything Away
26th October 2013-23rd February 2014
This is Iran do Espírito Santo’s second exhibition at Ingleby Gallery and it follows on from his successful solo presentation as part of the 2010 Edinburgh Art Festival.
Espírito Santo presents four new gigantic glass sculptures, alongside a series of delicate paintings made directly onto the gallery walls. Both series of work, under the collective titleAside, transform the experience of being in the gallery both by their physical presence, and by offering an altered relationship with light, shade and space.
Dennis J Reinmüller
11th October-22nd November
There are claims that this installation explains the suicide of Kurt Cobain while dissecting contemporary ideology – most likely it is yet another misreading of Hegel’s ‘Phenomenology of the Spirit’, though.
At the heart of “Subject – Room #1″ is the sincere desire to attempt to visualise and understand our current place in the world. It is understood to be a starting point of an inquiry, rather than an end in itself.
COBRA (which stands for Copenhagen/Bruxelles /Amsterdam) was an artistic group that was founded in 1948 and in its first form lasted until 1951. The name was coined by Christian Dotremont but the group also included important artists such as Asger Jorn, Karel Appel, Constant, Corneille and Joseph Noiret. Influenced by expressionism, the group looked to the art of children and medical patients with mental illness for inspiration.
A small collection of documents, artists books, journals and small works from the Cobra artists will be displayed in Summerhall Project Room. The title of the show comes from Asger Jorn’s first artist’s book. All items are taken from the Heart Fine Art Archive.
Edinburgh painter Bissett, taught art in Scottish schools for many years and his twenty-five years of experience show in these old and new works – all first shown here at Summerhall. Large highly coloured abstract paintings on paper evoke mechanised movement in urban landscapes, the passage of time and the horizontal structures of high-rise and modern constructions. Smaller works on wood follow the contours of the medium (taken from doors and window frames in themselves references to housing) and create bright small delights.
A selection of work by New York-based multimedia neo-Pop artist, Dan Colen, consisting of paintings made by smashing artificial flowers onto raw canvas.
Black Cube Collective Annual Show 2013
Whitespace & Old Ambulance Depot
As part of its on-going programme of exhibitions, BCC will launch its first Annual Show across two galleries in Edinburgh. On Friday 13th September a dual opening event in Whitespace and The Old Ambulance Depot will feature new contemporary painting, sculpture, video, performance and more. Artists from Iran, South Korea, China and America will participate alongside new artists from the UK and Europe as part of BCC’s policy to promote international links between artistic communities worldwide.
Megan Convery, Casey Coxon, Esther Fuentes Cano, J M, Stacey McDougal, Shannon McIntyre, Calvin McCluskie, Cameron Wallace, Sophie Waters
31st August-4th September
New Moves is an exhibition of work made by young people on the Art Works programme at The Fruitmarket Gallery. Taking the Gallery’s exhibitions as inspiration, the group have been working regularly with artist Beth Dynowski to use their encounter with how artists think and make work to explore their own artistic responses and ideas.
The group experimented with a multidisciplinary and responsive approach inspired by the art of twelve artists who made work as part of a residency on the Galápagos archipelago. They made subtle transformations to objects in response to Massimo Bartolini’s studio works, and explored colour and abstraction in the urban environment to create moving image work inspired by David Batchelor’s exhibition Flatlands. Most recently the group investigated patterns of thinking and making with objects, the body and movement in relation to the current exhibition Gabriel Orozco: thinking in circles.
New Moves presents a diverse range of work including film, photography, sculpture, drawing, painting and poetry that is representative of the group’s play with ideas and concepts that are new to them.
Art Works is a year-long programme enabling young people aged 16–19 to work with professional artists to develop art skills and achieve a national qualification, Arts Award. Twice-weekly artist-led workshops take inspiration from The Fruitmarket Gallery’s exhibition programme and support young people in developing creative skills and confidence through making new work.
This exhibition of works by Alberto Morrocco OBE (1917 – 1998) spans the artist’s entire career, from early student drawings and sculptures to paintings and graphics produced in his final years.
Many of the works included are being shown for the first time in public. Ranging from classical studies to abstract composition and from landscapes to portraiture, the exhibition helps to illustrate Morrocco’s influence on artists of the 20th and 21st centuries. Quality of line and meticulous draughtsmanship were fundamental to his approach throughout his life and this exhibition highlights the importance that observational drawing continues to play in stimulating and facilitating the development of contemporary artists and makers.
Morrocco was born in Aberdeen in 1917, the son of Italian immigrants. At the young age of 14 he gained entrance to Gray’s School of Art and travelled in Europe after graduating. Most of his professional life was spent as Head of Painting at Duncan of Jordanstone College of Art in Dundee where he maintained a nostalgic approach to art education with emphasis on technique and practice. His belief in the preservation of conventional teaching methods provided motivation for his own work in which his still lifes and portraits can be interpreted as laments for a lost tradition.
3rd August-14th September
Shelly Nadashi’s new body of work offers a glimpse into her recent history as an artist, sharing with us the new concerns and developments of her practice. Her show develops from some of her most recent commissioned works such as A Good Bowl of Soup, in which producing and sharing a simple meal of soup results in a mediating focal point that is able to bring social ambitions, supposed transparency and the artist’s position to the table.
This allegorical performative act stars a puppet manipulated by the artist in a live setting, where it is unclear who has the upper hand over an audience, if a performance is truly an open process and how uncertainty within disciplines can grow into something productive. Concentrated through various disciplines, her interest is in how objects can contrast their own status, revealing the irony of the conditions and flexibility of meaning we attribute to these objects. Her personal experience is mobilised to make sardonic, ambiguous comments on a wider universe.
Kathryn Elkin: COVERS
Intermedia Gallery, CCA, Glasgow
2nd August-23rd August
Performances: Fri 2, Fri 9, Fri 16 & Fri 23 August, 7.30pm
Kathryn Elkin works mostly with performance, video and writing. Citing a source – such as an artwork, artist, writer or performer – she applies her own personal methods of translation, transcription and representation to realise the work. For Intermedia, Kathryn will present a series of weekly performances, which will involve collaborations with musicians and artists working in Glasgow.
No other artist has had greater influence on the use of technology in art than Nam June Paik; he prophesied changes that would shape the contemporary world, exemplified in his pioneering ideas, Participation TV, Random Access Information and Video Commune.
Transmitted Live: Nam June Paik Resounds celebrates the 50th anniversary of Paik’s first solo exhibition, Exposition of Music – Electronic Television (Wuppertal, 1963), when the artist brought television into the realm of art for the first time, presenting it as a tactile and multisensory medium. As part of the counter-cultural movements of the 1960s, Paik believed that artists should humanise technology, get their ‘fingers in and tear away the walls’ of the establishment. Paik, a trained musician, treated technology as a material part of his repertoire, which later expanded to include video, satellite transmissions, robots and lasers.
Drawn primarily from the Nam June Paik Art Center’s collections, the exhibition demonstrates how revolutionary the artist remains for contemporary audiences in encouraging creative engagement with technology. Building on Edinburgh’s philosophical heritage, Transmitted Live embodies a critical engagement with the physical world and Paik’s fluid, kinetic intelligence. The first Nam June Paik exhibition in Scotland, birthplace of electromagnetic theory and television technology, will resound throughout the city and beyond.
No Foreign Lands
Scottish National Gallery
3rd August-3rd November
Peter Doig is one of the most internationally-renowned painters working today and this is the first major exhibition of the artist’s work to be held in the country of his birth. No Foreign Lands
During the period covered by the works in this exhibition Doig has split his time between Trinidad, London, New York and Düsseldorf. Having left Edinburgh as a small child, Doig’s peripatetic life and memories of growing up in Canada, before studying and living in London for 20 years, have given him a particularly rich visual knowledge and archive of motifs which enliven his works. As fellow Scot, Robert Louis Stevenson, wrote in The Silverado Squatters: ‘There are no foreign lands. It is the traveller only who is foreign.’ Although Doig may travel a lot, he is no foreigner seeking out the exotic. Rather his eye spots that significant detail which transcends locale and spans both time and space.
Over a career of nearly three decades, Doig has reinvigorated a medium considered by many to have fallen into irrelevance. His inventive style, uncommonly sensuous palette and suggestive imagery set him apart from the conceptual approach of much contemporary art. A willingness to take up the challenge still posed by the paintings of Gauguin, Matisse, Bonnard, Marsden Hartley and Edward Hopper places Doig in a long line of great colourists, expressive handlers of paint and creators of richly textured worlds.
Doig Klasse: Düsseldorf – Edinburgh
1st August-1st September
The artist Peter Doig, whose recent paintings are on show at the Scottish National Gallery, has maintained a professorship at Kunstakademie in Düsseldorf since 2004, part of a tradition at the academy of classes being taught by artists that has previously included Joseph Beuys, Gerhard Richter, Paul Klee, Markus Lupertz and Georg Herold.
Despite embodying a wide variety of practices, Doig’s students will show together for the first time in Edinburgh, around a shared interest in narrative. While the students’ work stands at a distance from the traditional forebears of German art, the exhibition develops the artistic exchange between the city of Edinburgh and the Kunstakademie Düsseldorf initiated by Richard Demarco in 1970.
A major new installation by this forceful German artist, created especially for Summerhall’s imposing and ominous basement. For one month the space will be transformed into a series of contrasting light and dark rooms and corridors. The work promises a deeply intense experience and a strong, perhaps controversial statement about racism and slavery.
Visitors to Süßer Duft enter the space alone and are emerged in an artwork that for many will be far from a comfortable experience but will also be unforgettable.
Schneider’s previous works and installations such as Haus u r (1985 – present day),Totes haus ur (2001) in Venice (where he won the Golden Lion Prize), Die Familie Schneider (London, 2004), Weisse Faulter (2007) and END (2008) have established him as one of the foremost artists working in Europe today and one not afraid of tackling controversial or even taboo subjects.
Please note that this installation is open only to those over 18 and includes nudity.
Michael Nyman’s first ever exhibition in Scotland will consist of a major installation showing simultaneously the video film-maker, photographer and composer’s ten (10!) remakes of the famous vintage film “Man with a Movie Camera” by the Russian film-maker Dziga Vertov and his wife Yelizaveta Svilova (who edited the film).
Nyman’s ten films share identical frames which are synched exactly to the original film and additionally all of the films share a common soundtrack written by the artist and composer. All ten films and the original work will be able to be viewed from a single view point in the gallery space or the visitor may walk amongst the screens and monitors.
Other photographic works by Nyman will be shown also in the side rooms of the upper gallery. The works in this series are entitled “Sublime” and consist of photographs taken by Nyman as he travels the world.
Martin Green: Scuffed Underside
Summerhall, Dean’s Office Gallery
2nd August-27th September
Green creates delicate artworks half-way between sculpture and paintings. Using a strange assortment of unusual found objects, a series of experiments lead this quiet contemplative man to form works that see parts of memorial poppies inserted in to books with sawn pages, dye from discarded baseball hats seeping into strips of paper transcribed with lines from Philip Larkin, torn painted paper held against the wall solely with umbrella spokes and images of footballers’ faces lined with pocket fluff. Despite the bizarre ingredients, Green is a remarkable artistic find and this represents his first ever solo exhibition.
Chinese Modern Abstract Art: Moving Beyond
Summerhall, The Long Corridor
2nd August-27th September
Six contemporary Chinese artists (Liu Guofo, Guan Jing Jing, Yang Liming, Liang Qian, He Gong and Wu Jian) will be exhibiting works in an arts project conceived by Chinese poet Yang Lian and Dr Janet McKenzie (Editor: Studio International) . The exhibition seeks to open a new page on Contemporary Chinese Art, to move forward from the perception in the West of a contemporary Chinese art, based on many artworks that are in the view of Yang and fellow artists and intellectuals who experienced the Cultural Revolution at first hand, largely derivative of Western language and sources and failing to do justice to the diverse work being produced by artists who seek a deeper intellectual and spiritual standard in their work, a canonical basis for Chinese contemporary art.
Bobby Niven: Palm of the Hand
Old Ambulance Depot
1st August-1st September
This exhibition of new work by Bobby Niven brings together anthropomorphic sculptures with more solemn, abstract structures, finding humour in the tension between animate and inert forms.
Made from mud, sprayed concrete and carved wood, Niven’s sculptures act as plinths for found objects and artifacts which they generously offer up to the viewer. A complex layering of motifs between prop, artifact and sculpture is repeated and distorted through scale and form across the installation, creating a conversation between the objects on display and their component parts.
The work presented here was developed during Niven’s residency at Triangle France in Marseille as part of the Glasgow Sculpture Studios exchange programme, supported by Glasgow Life.
Follow the Thread – Fleece to Fibre: The Making of the Large Tree Group Tapestry
2nd August-14th September
Follow the Thread is a celebration of weaving and wool, presenting three distinct exhibitions which celebrate the diversity, skill and ingenuity of artists, designers and makers who choose to work with yarn and textiles.
Victoria Crowe’s celebrated painting, Large Tree Group (1975), was chosen by Dovecot Studios in 2012 to be transposed into a large tapestry as part of its centenary celebrations. Finally complete after hundreds of hours of careful work by Dovecot’s master weavers using only un-dyed wool sourced from around the country, the tapestry is presented at the heart of this exhibition.
Fleece to Fibre: The Making of the Large Tree Group Tapestry explores the process behind the project, tracing the journey from sheep through to yarn and into the completed to tapestry. Some 70 producers across Great Britain, from small-scale crofters to large estates, provided wool from a wide range of sheep breeds and the yarn has been spun by a range of specialists – again from individual spinners and small groups to commercial operations on a semi-industrial scale. The un-dyed wool produced by this remarkable range of breeds has created the entire natural colour palette which has been used in the creation of this unique collaborative tapestry.
Accompanying this story are a series of commissioned photographic portraits which celebrate the diversity of those people who have contributed behind the scenes to this complex project.
1st August-18th September
Gabriel Orozco (born Jalapa, Veracruz, 1962) is one of the foremost international artists of our age. Rising to prominence in the early 1990s, he has developed a consistently innovative practice, making work which not only captures the imagination but also powerfully engages with key material and conceptual issues of what it is to make art.
This new exhibition takes the 2005 painting The Eye of Go as its starting point, and looks at how the circular geometric motif of this painting – part of a way of thinking for Orozco, a way to organise ideas of structure, organisation and perspective – migrates onto other work, recurring in other paintings, sculptures and photographs. A highlight of the exhibition is a series of large geometric works on acetate, made in the mid 1990s, yet never before exhibited. Rather than surveying the whole range of Orozco’s practice, the exhibition seeks to cut a conceptual slice through it, to look deeply into the mechanics of the artist’s thinking and working process. Not only does the exhibition propose a different view of Orozco’s major contribution to changes in art in the 90s but it brings to the fore the urgent problem of art’s ‘makeability’ now.
Peter Liversidge: doppelgänger
1st August-21st September
Peter Liversidge’s exhibition for the festival unpicks the powerful and strange story of Ein Handschuh, a suite of etchings from 1881 by the Austrian Symbolist Max Klinger. Klinger’s ten prints tell the story of a lost glove, dropped by a beautiful, rollerskating woman, and picked up by the artist, in whose imagination the glove goes on to live a bizarre and independent life of its own. Liversidge’s response re-imagines Klinger’s narrative as a life-size cycle of giant screen-prints with the dropped glove as a recurring motif, carved from white marble and dropped out of the image onto the gallery floor.
Every element in an exhibition of work by Peter Liversidge begins at his kitchen table with the artist writing proposals on an old typewriter. These hand-typed pages present an array of possible and impossible prompts for ideas and artworks in almost every conceivable medium. In a sense the first articulation of every work is in Liversidge’s head, then on the typed page, then in the mind of the reader, and finally (perhaps) as a realized object or happening.
Bringing together works by Rachel Adams, Jacob Dahlgren, Nilbar Güreş and Haroon Mirza, this exhibition considers materials, space, physicality and body image within the context of the sporting arena. The show is situated in Meadowbank Sports Centre, the main athletics venue for the 1970 and 1986 Commonwealth Games in Edinburgh.
Over the next two years Collective will place works by contemporary artists into sporting venues which were built for the Commonwealth Games in Edinburgh and those to be used for the 2014 Commonwealth Games in Glasgow. Entitled All Sided Games, this series of events will invite audiences to consider the relationships between participants and spectators, winners and losers, and private and public spaces.
Lovely Sky (Participatory Imagineering)
Rhubaba Gallery & Studios
1st August-1st September
For the duration of the festival, artist Lucy Pawlak will adopt the role of Producer for a narrative feature film. The resulting work will be designed and directed in collaboration with a writing team of imagineers and advisors made up of visitors to the gallery and invited experts.
Through constant brainstorming, hothousing and focus group sessions spliced with roundtable discussions, participants will be party to the construction of a narrative according to the 3 Act Rule (A.K.A. The Hero’s Journey – Hollywood’s failsafe screenwriting structure). The unfolding script will inform the design of Rhubaba, with the intention of deploying narrative in the production of a strategically induced, scripted experience in actual space: a brandscape.
‘Magic Hours’ will be held at intervals – a series of round table discussions for analysis, deconstruction, and development of the narrative cartography, with the assistance of experts from multiple fields including film theory, psychoanalysis, interior design, neurology, art therapy, branding, game design and more.
This process aims to function as a lens for practical and critical exploration of how architectural brandscapes and virtual realities relate to languages of mainstream cinema (such as use of framing, editing, lighting, back-story, special effects, sound design, colour correction etc.). How might a narrative structure manifest itself as a tangible reality? In the era of the so-called ‘Experience Economy’ we are increasingly subjected to scripted experiences, but who gets to be an author and what might be gained from becoming an actor? Can we build the potential to improvise, interfere or deviate from the script?
In addition, this venture will explore how living in a project might relate to socially sanctioned isolationism, addressing questions about the role of the artist and creative production in society.
Edinburgh Fire Poem
1st August-1st September
Fire rituals have long been a familiar feature of the Scottish landscape – from the Celtic Beltane Fire to the burning of Viking longboats. Indeed, the use of fire in Robert Montgomery’s work is connected to his childhood in Bathgate, West Lothian, where an historical fire torch procession is still a key part of the town’s annual Gala Day.
Montgomery’s sculptural poem, created in oak to be burnt on the opening day of the festival, references another vivid childhood memory. The artist spent a term receiving lessons in an adhoc classroom set up in the hallway of his primary school after it had suffered a serious fire, and keenly recollects the smell of burnt wood which permeated the building.
Free education is a subject very close to Montgomery’s heart. His grandparents were miners in West Lothian and Lanarkshire, and he speaks passionately about Scotland’s tradition of free education and of the generations of miners who campaigned for education for their children – a concern that, the artist suggests, is just urgent today as it ever was.
Montgomery’s latest work reflects on another cornerstone of Scottish identity, the Jacobite tradition of rebellion and exile chosen in the pursuit of freedom. The poem will stand for the duration of the festival, a charred monument to the choice of freedom over power, a literal expression of the artist’s words, ‘rather burned than captured’.
21st July-22nd September
This new work by Ilana Halperin, produced in collaboration with DCA Print Studio, explores the artist’s longstanding fascination with geological phenomena. Halperin has a highly experimental approach to print based processes: her work includes sculptures formed by immersion in the 80 degree Celsius water of the Blue Lagoon, an active geothermal spring in Iceland and a delicate ‘book’ of laser-etched mica leaves. The series of five woodblock prints are copies of the stencils fabricated for use in the geothermal sculpture process at the Blue Lagoon in Iceland.
There Will Be New Rules Next Week
20th July-23rd September
An exhibition of works by Sister Corita Kent (1918 – 1986) alongside five contemporary artists inspired by her printmaking and life-affirming teaching: Peter Davies, Ruth Ewan, Emily Floyd, Scott Myles and Ciara Phillips.
Born Frances Elizabeth Kent in Fort Dodge, Iowa, Sister Corita Kent was an artist, illustrator and educator who worked in Los Angeles and Boston. She was also one of the most innovative and unusual pop artists of the 1960s. A political and religious rebel, she organised nuns and students to make ambitious installations, processions and banners, revolutionised graphic design and encouraged the creativity of thousands of people. Corita’s art reflects her spirituality, her commitment to social justice and her delight in the world around us. Her prints combine slogans and poetry and are now recognised as some of the most striking and joyful American art of her time.
Peter Davies will exhibit two large-scale paintings referencing Corita’s approach to language and poster advertising. Ruth Ewan and Scott Myles both re-exhibit work from their recent solo shows at DCA, allowing the pieces to take on new associations in the context of this exhibition. Emily Floyd is an Australian artist undertaking a month-long residency at DCA through the Scottish Print Network Commonwealth Project, while Ciara Philips has produced new work in DCA Print Studio.
There Will Be New Rules Next Week is part of Print Festival Scotland, a nationwide exploration and celebration of print which runs from Fri 23 August – Sun 1 September. The festival coincides with the Impact8 International Printmaking Conference, which will be held this year in Dundee.
Group exhibition featuring work from six fourth year Fine Art students. Work shown ranges in style and subject matter, with the central theme being the capturing of ephemeral moments. Rather than ‘improving’ on the scenes captured, the artists seek to transcend the ordinary and provoke an evocative response. This response is triggered through a connective process as the viewer projects their own memories and emotions on to the images depicted.
The first exhibition in the UK by the great Austrian artist Franz West (1947-2012) of works made in collaboration with other leading visual artists, including Douglas Gordon, Marina Faust, Mike Kelley, Sarah Lucas, Albert Oehlen, Michelangelo Pistoletto, Rudolf Polanszky, Andreas Reiter Raabe, Anselm Reyle, Rudolf Stingel and Heimo Zobernig.
Mostly West encapsulates Franz West’s belief in the juxtaposition of various viewpoints: ‘…like the known fact that a radio is made of screws, glass and wires but that it can be used to listen to speeches or music. But of course I don’t mean to refer to the exhibiting artists as a conglomeration of glass, screws and springs, but rather like the English empiricists, and later Marx, who understood a collective co-operation like a machine. And that it results in something other than what one would see in a solo exhibition’ (West, 2008).
Franz West collaborated throughout his career and saw art as participatory. His hugely influential Adaptives, early sculptural works begun in 1974, were made to be held and adapted to the human body. Later works also invited participation and interaction, including furniture and his brightly-coloured aluminium sculptures which were the subject ofMeeting Points, an outdoor exhibition held at the Royal Botanic Garden Edinburgh in 2002. Throughout his life, West combined works from different periods to produce new readings, often integrating works by other artists with his own.
The exhibition is curated by Ines Turian, Chair of the Franz West Foundation. Kindly supported by The Austrian Consulate and Gagosian Gallery.
A Conspiracy of Deatil
Mackintosh Museum, Glasgow chool of Art
13th July-29th September
This group exhibition looks at the ideas contemporary practice has around adornment, exploring cultural, social and material aspects as we as at the status that detail and embellishment has now in contemporary practice.
Old Ambulance Depot
Artist Gregor Morrison presents a body of work made during his tenure as Artist In Residence at Edinburgh College. His work is an enquiry into print and sculptural practice.
ECA In Residence
Evolution House, Room 1.09
An exhibition of work by Artists and Designers in Residence across 6 disciplines from Edinburgh College of Art. Works in Illustration, Glass, Product Design, Film & TV, Jewellery and Textiles.
Jill Martin Boualaxai, Damian Michael Malone
Old Ambulance Depot
New work built from internal and external elements either invented or observed separately in different places.The title ‘Composite Landscapes’ comes for the german word Mischlandschaften.
Edinburgh based artist Steven Cox presents new work ahead of his New York show. Clinging To The Wreckage will present a series of new large scale works by Steven Cox that explore painterly defacement and destruction as creative process. Through pushing the material boundaries and limits of painting, the works exist as a trace to what was once vibrant and visible.
Who Is This Who Is Coming
31st May-12th July
Glasgow based painter Andrew Cranston stages real and imaginary scenarios that often unsettle and unnerve. His work explores architectural space as a catalyst for images, elaborating on situations experienced directly or found in cinema, theatre and literature.
Painting is illusory, a way of lying, and Cranston’s work affirms a belief in painting as a real kind of fiction. This premise offers the notion too that a painter could be like a writer and explore feelings, thoughts, scenarios and characters rhetorically; that none of them might be about him, though some might be…
Space itself might be the main character here, and the canvas acts as another kind of interior, an analogous spatial box which has its own perimeters: walls, floors, ceilings…
In this solo show at Summerhall, Cranston will present large-scale paintings produced over the last 4 years.
The Irishman (Nostos: End of Exile)
31st May-12th July
Since 2001 Denis Buckley has created a persona entitled :The Irishman” for use in performance, moving image and stills. After his spectacular performance in Summerhall courtyard in the 2012 Edinburgh Festival where he burnt a “long shovel” in front of a screening of the second film from Buckley’s Irish Trilogy, , Buckley returns to complete his work.
“The Irishman” comes from Philip Donnellan’s 1965 frank documentary of Irish emigration, The Irishman: Portrait of Exile, where a fictitious young man leaves Galway for London. Intercut with the young man’s journey are interviews with Irishmen already in London. The Irishman in question was in fact a young musician and his emigration was only for the purpose of the film, yet the suitcase he carries and the shovel he takes up are motifs found in Buckey’s films and performances.
Summerhall is one of the funders of this final film in the Trilogy – and Buckley’s exhibition consists of a series of images “The Burning Shovel Series” already made by showing “The Irishman” as well as new initiatives based on the theme. The existing works are street actions and site-specific photo works where the persona predominates. From this there is a 2004 moving image work ‘A Rose For Jack Doyle’ showing a ‘Lawrence of Arabia’ beach walk in Co Kerry with Buckley dragging the suitcase behind him.
Six artists working in Philadelphia and the surrounding region are represented in this exhibit put together by EIXchange and Summerhall as the first of several cultural exchange exhibits between American and Scottish artists. Emerging International Xchange was conceived from the needs of emerging artists and curators with aspirations to exhibit internationally. EIXchange’s role is to facilitate and aid emerging artists and curators in building an international network.
The show’s title, 1759 references the year Benjamin Franklin took his first journey from Philadelphia to Scotland. Franklin eagerly participated in the intellectual and cultural life of Edinburgh and formed lifelong friendships with some of the most important figures of the Scottish Enlightenment. It is in the spirit of that historical cultural exchange that EIXchange titled its inaugural project, 1759.
Noise is all signals on and off.
If “silence is assent,” then noise testifies to that which is deemed unwanted, exceeding the normative limits and expectations of behaviour, social interaction and cultural production by disrupting conventional structures – rendering its negative character as something excessive, destructive, with a viral and contingent potency. Noise is the system-killer that generates a ‘pestilential creativity.’
Noise is manifest in diverse practices, in their persistent negativity, in their formal recalcitrance, in their cosmological excess, in their denial of service.
Beagles & Ramsay – Ash Reid – Benedict Drew – Head Gallery – Michelle Hannah – Robin Mackay – Plastique Fantastique
Part of the Prologue exhibition programme at Summerhall. Prologue is a project that awards three emerging visual artists & one emerging curator based in Scotland a significant visual art exhibition to be realised at Summerhall. Through an open application Prologue identified, supported and showcased some of the most exciting practitioners working in the Visual Arts in Scotland.
31st May-2nd July
Tim Sandys’ latest sculpture is a direct progression from his award-winning debut at the Duncan of Jordanstone College of Art and Design and the Royal Scottish Academy’s New Contemporaries exhibition. His work expands on themes of overwhelming presence using elemental materials and universal themes of structure, process, corrosion and destruction. Reminiscent of scientific imagery or industrial by-products, Tim’s recent work echoes mathematical and physical processes in which materials such as water, steel, petroleum products and wood are allowed to dictate the finish of the work. Imposing and sometimes bleak, Tim’s work promotes rigour over sentimentality.
Part of the Prologue exhibition programme at Summerhall. Prologue is a project that awards three emerging visual artists & one emerging curator based in Scotland a significant visual art exhibition to be realised at Summerhall. Through an open application Prologue identified, supported and showcased some of the most exciting practitioners working in the Visual Arts in Scotland.
Alexander Storey Gordon
31st May-12th July
Alexander Storey Gordon’s work combines, scripted performance, film, painting, sculpture, and printmaking to form responses that explore the links between societal, and personal histories. His practice continues the idea that art is marked by its ability to disturb the historical and the imaginary and make them political. For the Prologue show Gordon will be producing a new experimental film work, entitled Acephale – Headless.
Part of the Prologue exhibition programme at Summerhall. Prologue is a project that awards three emerging visual artists & one emerging curator based in Scotland a significant visual art exhibition to be realised at Summerhall. Through an open application Prologue identified, supported and showcased some of the most exciting practitioners working in the Visual Arts in Scotland.
31st May-12th July
Alex Tobin is an early-career interdisciplinary artist based in Fife. He has exhibited and performed at CCA, DCA and Tramway (among other places); written for Central Station and Yuck ‘n Yum (with whom he serves as a committee member); and talked at Gray’s School of Art and NEoN festival. His practice is rooted in the principles of Intermedia, and incorporates such disparate elements as performance, software, music, drawing, 3d imaging, installation and filmmaking.
Glasgow School of Art-Fine Art Practice (MLitt)
Glasgow Print Studio
11th May-23rd June
The recently established MLitt in Fine Art Practice at Glasgow School of Art is an intensive one year programme of postgraduate study in which students specialize in one of four pathways: painting; printmaking; sculpture; fine art photography. As the work on display in this exhibition suggests, this means that some of the artists embark on a focused exploration of their chosen medium, whereas others begin to challenge the very limitations conventionally associated with that medium.
Sumin Bak, Ary Cahyono, Omercan Cirit, Conor Cooke, Ruaridh Crighton, Mitra Forouther, Elisabeth Grant, Birthe Jorgensen, Mine Kavuncu, Jeemin Lee, Branko Lesjak, Si Ne Lee, Emil Lillo, Qiheng Liu, Sheena Mayer, Aoife McGarrigle, Steph Norwood, Joanna Peace, Marta Perovic, Iede Reckman, Michelle Semple, Suzanne Taylor, Christopher Thomas, Rongwei Zhan
Bronwen Sleigh: Construct
25th May-20th July
Bronwen Sleigh makes prints, drawings and objects, taking inspiration from industrial architecture, unused and forgotten urban spaces and the environment at the edge of the city. Her work aims to provoke a dialogue with these spaces – these vast engineered constructions, which have been carved into the natural landscape. Borrowing the aesthetic of the industrial and the weathered, these elements are transformed through the processes of her practice, to create images and objects that resonate with the energy of these inhuman lands.
Through Sleigh’s study of inner city and industrial environments, she considers today’s city space through the eyes of yesterday’s planners, idealists and sceptics. Her work represents the tension she sees in her subject matter between the destructive nature of urban and industrial sprawl opposed to the technological possibilities these developments offer to the future.
Sleigh uses photography, drawing and model making to explore a given space allowing the processes used to distort and abstract from the studied space or building. The work moves between 2D to 3D and back again; this continuous evolution through process is key to her practice. Sleigh’s use of printmaking is an essential continuation of this method; the almost industrial printmaking processes resonate with her chosen subject matter and are used to continue the evolution of her work.
Sleigh’s work translates places by folding, twisting and abstracting them. This sees the work exploring space rather than describing it, challenging perceptions of the ordinary by presenting it in an unfamiliar way.
This solo exhibition showcases prints, drawings and objects spanning the last three years including work that has been commissioned and published by Edinburgh Printmakers.
FAIR was conceived as an art fair for art students and was built on the fair, or democratic, principle that, “it emerges from the interests and desires of its participants.” This year the participants, postgraduate students from Edinburgh College of Art’s Masters of Contemporary Art programmes, working in 6 separate groups, have freely interpreted the concept of a fair or ‘fairness’ to produce a diverse range of projects. The resulting works share a desire to question the spaces in which art and art history is manufactured, distributed and consumed. They include elements of performance, film, sculpture and installation.
This year’s projects feature: a bespoke pub modelled on the refreshment tents found at traditional fairs, hosting acoustic music sets, live comedy and a pub quiz; a group who travelled together to Paris to approach the Louvre to acquire their work, with certainty of rejection; a living archive service aiming to dissolve the barriers between artist, archive and audience; sculpture and performance reflecting the liminal aspects of a fairground; a group reinterpreting each other’s work to be critiqued by a comedian; and an exhibition entitled ‘Tolerably Good’ by curator Cartel Orbit.
It’s a Beautiful World
Rupert Ackroyd, Jiří Kovanda, Oscar Charles Laughridge, Fiona Mathison, John Smith, Emma O’Sullivan, Jennie Temple
Rubabba Gallery and Studios
17th May-2nd June
It’s a Beautiful World brings together artists who strive to discover moments of mystery and wonder found within their immediate surroundings. The artists share an inquisitive and contemplative sensibility exploring the experience of being fascinated by particular objects and situations, both found and created. The artists use various approaches to highlight the kind of quiet and unspectacular moments which hold significance and meaning for individuals. The exhibition, film screening and publication explore the power language has to frame meaning and in turn value and ways in which certain objects and images can hold sensibility and potency.
As part of the exhibition Rhubaba present, Pictures of car radios taken while good music was playing, a publication based on responses from artists and writers to an artwork by Hans-Peter Feldmann of the same name and a one off film screening of John Smith: Early Shorts at Filmhouse Edinburgh on 27 May.
A major exhibition featuring new works on paper and fabric made for Inverleith House by the Glasgow-based artist Ciara Phillips (b.1976) in response to the Garden’s unique collection of nature printed books.
David Batchelor (born 1955, Dundee) is best known for his vividly-coloured sculptural installations of illuminated lightboxes, industrial dollies, and other found objects. These three-dimensional works perhaps belie the fact that the root of his interest is and always has been in drawing, painting, abstraction and the monochrome – preoccupations that are best charted in his immensely varied two-dimensional work. This exhibition is the first in-depth presentation of David Batchelor’s drawings and paintings.
Having originally studied painting, Batchelor has, over the last twenty years, made colour his leitmotif. Not the colour found in nature, but the synthetic colour of the illuminated street sign and lurid glare of the nocturnal metropolis. Whether using conventional materials such as pencil, ink, pastel, gouache and acrylic, or highlighter pen, spray or gloss paint and industrial tape; whether making drawings or paintings intended to be simply drawings or paintings, or making carefully-plotted diagrams of proposals for sculpture, Batchelor’s two-dimensional works show how formal rigour and a modernist aesthetic can be subverted by the deployment of intense, exuberant colour.
Julie Brook is a British artist who works with the land, where her response to the forms and materials to hand is expressed through her work. Over the past twenty years she has lived and worked in a succession of wild and remote landscapes, creating sculptures, paintings, drawings and films.
During 2008/09 Julie Brook travelled and worked in the black volcanic desert in central Libya and in the Jebel Acacus mountains in South West Libya. The stark landscape influenced a corresponding shift in the way she made large scale drawings and sculptural work in situ. This led to further exploration in 2011/12 in the semi-desert of North West Namibia where the absolute nature of the light and shadow is expressed in the new sculptural work.
The work is transient and changes significantly according to the light and time of day it is seen. Brook explores these changes through film and photography which become in turn the expression of the work.
RSA New Contemporaries 2013
13th April-8th May
Ade Adesina, Alexander Aitken, Sarah-Louise Alexander, Ruaridh Allen, Khalid Alsayed, Heather Anderson, Katy Anderson, Rachel Badger, Laura Barr, Andrew Black, Georgina Bolton, Nicola Brennan, Stephanie Jane Burt, Katarina Chomova, Lucinda Cook, William Darrell, Flora Debechi, Scott Bruce Doig, Laura Duncan, Rebecca Edgar, Hayley Fisher, Amy Gear, Steven Grainger, Rachel Grant, Mike Hughes, Caroline Inckle, Alice Jacobs, John Kennedy, Justine King, Slyvia Law, Kathryn Lloyd, Philip Longstaff, Madeline Mackay, Miriam Mallalieu, Fiona Mcgurk, Eilidh Mckay, Liam J Mclaughlin, Alexander Millar, Polly Mills, Theresa Moerman Ib, Andrew North, Naomi Ojima, Sophie Radcliffe, Owen Ramsay, Emma Reid, David Sampethai, Tim Sandys, Lisa Schmalstich, Katie Shambles, Claire Simpson, Kevin Smith, Nick Thomas, Liam Walker, Sally Webster, Sam Wilson, Lendita Xhemajli, Harriette Yarrington, Petter Yxell, Phil Zoechbauer
RSA New Contemporaries is a curated annual exhibition which focuses on the finest emerging artists & architects in Scotland. It features 60 graduates selected from the 2012 degree shows by a team of RSA Members.
Oliver has worked for many years with medical imaging data to create sculptures and installations. This solo exhibition, the first since the artist has moved to Sub Saharan Africa, sees the artist refining her practice to a series of dark and haunting etchings. Continuing her project of working with the anonymised dataset Melanix, Oliver uses radiology software to produce digital 2D renderings that are later combined with intricate collagraph drawings. Oliver’s inspiration for the images in this series comes from the many powerful experiences she has had since living in Africa that have caused her to rethink her relationship with the scanned body. Whereas before the CT dataset was a material that she could manipulate and transform to create complicated sculptures, it now has a strong symbolic resonance, signifying privilege both in terms of wealth and access to digital technology. In ‘Confusao’ Melanix is shrouded in the dark, weightless void of digital space, emerging to find herself appropriating traditions and rituals of African cultures she barely understands but is captivated.
Marilène Oliver works at a crossroads somewhere between new digital technologies, traditional print and sculpture, her finished objects bridging the virtual and the real worlds. She works with the body translated into data form in order to understand how it has become ‘unfleshed’, in the hope of understanding who or what it has become. To this end she uses various scanning technologies, such as MRI and PET, to reclaim the interior of the body and create works that allow is to materially contemplate our increasingly digitised selves.
Jones is an artist, filmmaker, photographer and writer, whose work centres around the appropriation of documentary and historical research, disseminated through still and moving imagery, sound and text. Working across these mediums Jones’ ambition is to “unsettle or subvert unthinking and habitual ways of seeing”. Having held a strong reputation as a filmmaker, Jones has made a creative shift from producing feature length films, screened in cinemas, towards producing shorter and visually concentrated gallery-based works.
For his exhibition in The Modern Institute’s Aird’s Lane gallery space, Jones will present a film installation incorporating three films screened in succession across three consecutive walls. These works, referred to by Jones as sequences of digital files rather then films, are obliquely autobiographical and call upon moments of political and cultural upheaval in America during Jones’ childhood, and highlight the role of the momentary spectator.
Stuart Gurden, Michelle Hannah, Christian Newby, Gordon Schmidt, Katri Walker, Stina Wirfelt, Annie Crabtree, Zoë Fothergill
Embassy and Modern Edinburgh Film School in association with Edinburgh Sculpture Workshop are proud to present Green Screen, the first installment of a season of projects that will be appearing and disappearing at spaces and venues across Edinburgh in the Spring / Summer of 2013. Green Screen seeks to question the semantics of art and the moving image with particular reference to the ongoing discourse surrounding the convergence of documentary, poetic cinema and performance practices.
Events and Performances:
22.03.13 | 7pm – 9pm | Embassy Gallery
Michelle Hannah performance: licht und blindheit,
Annie Crabtree screening: This Given Land, 2013
Zoë Fothergill screening: Be Touching, 2013
27/03/13 | 1.30pm | Edinburgh College of Art, Room J05
Modern Edinburgh Film School and Embassy In Conversation
29/03/13 | 7pm | Embassy Gallery
Gordon Schmidt Performance: borrowed tune part 2
Richard Taylor, Dickie Webb, Claudia de la Peña
Newhaven Station, 85 Craighall Road, “Bridge No. 12”, Edinburgh, EH6
Newhaven Station is an explorative exhibition into the transformation of space by three Edinburgh-based artists, responding to the North Edinburgh site with new video, sculpture and wall-mounted works.
Richard Taylor, Dickie Webb and Claudia de la Peña, all artists who have previously worked on separate projects, come to together for the first time with works investigating Newhaven Station’s current stasis.
Since its discontinued use as a railway station in 1962 the building has evolved from a carpentry workshop into an abandoned space ripe for development. In its present reality Richard Arnot, the owner of Newhaven Station, has gifted the artist’s use of the station as it nears a final transformation into freelance office space.
The artists will respond to this flux in the station’s use, peeling away layers of history and community, to decipher new avenues in their individual practices and discover journeys as a collective group. Richard Arnot, “As a resident of North Edinburgh I felt this would be an interesting project to support. It’s great to be able to provide much needed space for Richard, Dickie and Claudia, and to see how Newhaven Station might continue to contribute to a steadily expanding cultural scene in the north of the city.”
Holly Knox Yeoman, the exhibition organiser, first realised the potential for the space during Doors Open Day Edinburgh 2012 and has since been working to coordinate an exhibition of artists’ work. Yeoman adds “I grew up round the corner from the building and was always intrigued by its destitute structure. Through Doors Open Day and meeting Richard Arnot, it was fantastic to see the building returning somewhere closer to its former glory. The site-responsive works produced between the artists will hopefully create a welcoming invitation to local people, furthering dialogue surrounding the nature of the building as a forgotten landmark.”
Drawn Away Together
Rachel Barron, Miranda Blennerhassett,Kevin Henderson, Paul Keir, Lorna Macintyre, Andrew Mackenzie, Jo Milne, Neil Nodzak, Malcolm O’Connell, Eric Schumacher, Alan Shipway
16th March-14th May
Talbot Rice Gallery, White Gallery
‘Abstract Art’, a term grappled with and appropriated by the 11 Scottish artists of Drawn Away Together has come to mean an art that, fundamentally, you have to deal with. Words on a website should not take the place of the works themselves; it isn’t about what other people can tell you. And saying this isn’t a case of bypassing or avoiding critical rigor, but rather of attending the bias that presumes artworks in-themselves are not part of a critical process. Painting, making and doing are thinking processes; a kind of thinking we probably need to take more notice of than we do. Where words can provide a notional indication of how you might get the most from artworks, let these words say that Drawn Away Together provides a platform from which to consider art as process of inhabiting the world, a visual, tactile and often tacit relationship between people and their material environment. As with the making of the work, viewing requires spending time with objects and images and allowing the resonant ambiguity of that experience to suggest things to the imagination and memory.
Now or Whenever
Owen Lacey, Laura O’Neill, Rupert Dorey, Andrea Herrada, Lara Kenworthy, James Griffiths, Kostas Synodis, Alex Dumset, Zoe Billingham, Joe Davis, Thomas Murphy, Max FitzGerald, Joss Heierli, Antonio De La Herra, Maria Forque
Old Ambulance Depot
2nd March-3rd March
Group 101 is pleased to present Now Or Whenever, a group exhibition of works by fifteen artists reflecting on the on the variety and dynamism of London’s emerging makers and shakers.
The Onesie Cycle
Rhubaba Gallery and Studios
1st March-17th March
Working with sound, video, projection and their associated technologies, Benedict Drew (b. 1977) creates fantastical worlds that are both mesmerising and unsettling. For his show at Rhubaba Drew will be showing a body of new work.
The Vancouver-based artist transforms the Whitespace gallery to produce the sensation of being inside her work, allowing viewers to experience her work in a more physical sense.
The exhibition will comprise of individual works from each student and highlights the diversity of their professional practice in the field of painting before they will present a comprehensive body of work for the Gray’s School of Art Degree Show in June 2013.
New Work Scotland Programme
Conor Kelly, Calvin Laing
23rd February-24th March
Conor Kelly and Calvin Laing will present solo exhibitions of work developed through the New Work Scotland Programme.
NWSP is a Collective initiative recognised as giving artists based in Scotland their first significant visual art project or commission. Through an annual open application NWSP identifies and supports some of the most promising new practitioners working in the visual arts in Scotland, providing them with the opportunity to make new work and bring it to the attention of a wider public.
Fred Bushe, Doug Cocker, Fiona Dean, Ian Hamilton Finlay, Gareth Fisher, Jake Harvey, Kenny Hunter, Eduardo Paolozzi, Frances Pelly, Frank Pottinger, Prof Bill Scott, Marion Smith, Andy Stenhouse, Fred Stiven, Antoni Tapies, Michael Visocchi, Arthur Watson, Ed Smith, William Tucker
The Royal Scottish Academy
23rd February-31st March
Many sculptors make prints. The hands-on nature of printmaking, coupled with an often very graphic 3-dimensional drawing technique, brings many sculptors to realise their work in print. Whether this is carving or gouging of wood or lino to make reductive prints, biting plates in acid for etching, separating images for screenprint or dousing limestone slabs for lithography, the maker and the material are inextricably linked in a very physical process.
This exhibition looks at a selection of the printmaking output of a number of sculptor members of the Royal Scottish Academy. Works by current members investigate the diversity of contemporary practice whilst the resource of the RSA Collection is used to enhance the selection with fine examples of 20th printmaking by past members and Honorary members of the RSA.
Last year’s Scottish contribution to the Venice Biennale showcased projects from four practices that responded to the Biennale’s theme of ‘Common Ground’ exploring the social role of the architect and the creative boundaries of architecture. The practices – DO Architecture, Gras, Pidgin Perfect and Stone Opera – ran a week-long programme of activities and collaborations with local communities in Venice. The resulting work will be shown at The Lighthouse along with a series of activities based in a Scottish context.
Thomas Dozol, Sian Hislop, Leslie Kulesh, Sam Levackle & Jen Lewandowski, Jon Nash, Nick Pankhurst, Berry Patten, Lucy Woodhouse
22nd February-3rd March
A group exhibition showcasing the artists who have worked with French Riviera during its first two years and featuring works by Thomas Dozol, Siân Hislop, Leslie Kulesh, Sam Levack & Jen Lewandowski, Jon Nash, Nick Pankhurst, Berry Patten and Lucy Woodhouse.
Thomas Dozol works with silkscreen prints on paper; his practice begins with the photographic image, which he shoots on film, he then removes the background context and highlights the figure using geometric shapes and colour.
Siân Hislop works with acrylic ink and oil on paper, her series of screen kisses investigate the space between triumph and decay in Americana.
Leslie Kulesh’s work presents environments situated between the digital and the organic, using the filter of popular culture to tackle contemporary feminism and late technology.
Sam Levack & Jen Lewandowski present a new film work inspired by dance with experimental music by their band Das Hund.
Jon Nash’s A4 laser-jet prints show images lifted from the internet, digitally painted on, then replaced with corresponding metadata; widely disseminated, the image exists as multiple versions of the original, repeated on blogs, forums and websites.
Nick Pankhurst’s sound piece, originally composed for French Riviera’s gallery answerphone, is a conversation collaged together from late night telephone calls to empty offices.
Both Berry Patten and Lucy Woodhouse show film works, commissioned by French Riviera and screened at the South London Gallery as part of PAMI, Peckham Artists Moving Image Festival.
Roy Lichtenstein: A Retrospective
21st February-27th May
The first full-scale retrospective of Lichtenstein in over twenty years. Co-organised by The Art Institute of Chicago and Tate Modern, this momentous show brings together 125 of his most definitive paintings and sculptures and will reassess his enduring legacy.
An exhibition of contemporary painting, sculpture and installation exploring drapery and fold.
Italian artist Massimo Bartolini is regarded for his interesting large scale works. Last year he created twelve bookcases which followed the rows made by the grape vines in St. Peter’s Abbey Vineyard for the Track: A Contemporary City Conversation art festival in Ghent. His piece Untitled (Wave) made for dOCUMENTA (13) is a rectilinear pool in Karlsaue Park in which a wave of water continually moves back and forth. These works show an interest in continuity and integrating works with their natural surroundings.
Bartolini thinks through ideas by making small sculptures alone in his studio; to make larger or more complex works as later installations. Bartolini’s first solo show in Scotland contains the large light installation La strada di sotto and his ‘studioworks’, a collection small sculptures and pictures.
The magical sea of lights in La strada di sotto (The Street Below) is activated by the approach of the viewer, with the level of illumination controlled by voices from the film playing in the adjoining room. This film shows Don Valentino, the man responsible for setting up the lights in the town, recounting his adventures. Here Bartolini has made the senior illuminator, an ordinary man who would usually be behind the scenes following instructions, deserved attention and authority.
Upstairs are Bartolini’s eclectic studioworks, 24 objects sat on a large white architect’s table and 38 pictures on the walls. These objects bear no apparent connection to each other but form an interesting collection. Some have been made from things that were lost or broken. They can be viewed without any explanation, or the exhibition catalogue in the reading room provides short descriptions or stories behind each work given by Bartolini for further contemplation.
Songs of Innocence and Experience
Alfred Wallis, Forrest Bess, Frank Walter
9th February-30th March
This exhibition of work by Alfred Wallis (1855-1942), Forrest Bess (1911-1977), and Frank Walter (1926-2009) presents three unique and uncompromising figures from the story of 20th century art. Each worked in isolation, outside the conformity of their respective societies: in Cornwall in the 1920’s; Texas in the ‘50’s and Antigua in the ‘70′s, but only two of the three (Wallis reluctantly and Bess enthusiastically) have been absorbed into the written and recorded histories of the last hundred years. The work of the third, Frank Walter, is being presented here for the first time.
On loan from the Tate, this sculpture is one of three full-scale versions made in Rodin’s lifetime. The couple are the adulterous lovers Paolo Malatesta and Francesca da Rimini, who were slain by Francesca’s outraged husband. They appear in Dante’s Inferno, which describes how their passion grew as they read the story of Lancelot and Guinevere together. The book can just be seen in Paolo’s hand.
Wendy Ramshaw: Room of Dreams
1st February-30th March
As one of Britain’s leading contemporary designers, Wendy Ramshaw is renowned for her stunning jewellery and distinctive, large scale public art. This major exhibition will exhibit key pieces spanning the past fifty years of her acclaimed career – the centrepiece being her magical environment ‘Rooms of Dreams” in which her work , inspired by stories and the world of the imagination, are displayed.
Schwitters in Britain
30th January-12th May
This exhibition focuses on work Kurt Schwitters produced in his British period, from his arrival in Britain as a refugee in 1940 until his death in Cumbria in 1948. Schwitters was forced to flee Germany when his work was condemned as ‘degenerate’ by Germany’s Nazi government and the show traces the impact of exile on his work. It includes over 150 collages, assemblages and sculptures many shown in the UK for the first time in over 30 years.
Oliver Benton, Sarah Boulton, Ainsley Bowman, Jessica Dunleavy, Melanie Dutton, Hannah Edward, Emma Finn, Calum Finnigan, Alyssa Flegg, Louisa Harper-Charles, Scott McGuigan, Frances Morgan, Emily Rimmer, Freya Steadman, Ben Warren, Sarah Wynne
1st February-7th February
The difficulty of assimilating the wide range of works produced by final year ECA Intermedia students into a coherent exhibition was addressed in the explanation of the broad title Expensive Space– a title that aimed to comment on the cost of hiring exhibition spaces and also on the cultural value of art. Highlights of the show include Scott McGuigan’s film (image above) Ashes to Ashes in which shows a film interview of a man talking is overlaid over footage of a fire and Hannah Edward’s intriguing Positive Negative slide images.
Two ideas in short contention.
Whiteness as a hidden behemoth, we are on the outlook for signals of a snap-frozen gargantuan and stare upon the surface tension of water for the peaks of disruption.
A quiet object will drift, migrate on its own accord. Trade in an alternative identity with unlikely company, a pretence to mystique.
An Iceberg Exchange.
Folly and Landscape
12 January-10th February
A new exhibition by Andy Holden. Incorporating a diverse array of outputs, Holden’s practice often combines plaster, bronze and wooden sculpture, painting, knitted textiles, performance, recorded music and film. The works act as carriers for multiple ideas and references, traversing the spaces between personal anecdotes, material experiments, storytelling and natural history. For his first solo exhibition in Scotland, Holden will exhibit a collection of recent sculptures, films and artifacts.
The exhibition will be accompanied by a collaborative performance between Andy Holden and his father, ornithologist, Peter Holden, titled ‘Lecture on Nesting’. The performance provides a detailed insight into how birds construct their nests, and proposes an analogous way of thinking about the complex relationship between material, site and the form of an object, first conceived for The London Festival of Architecture.
‘Lecture on Nesting’ will take place on Saturday 12th January, at Central Library, 7-9 George IV Bridge, Edinburgh, 3pm.
The Slovak Republic only became a fully independent country in 1993. During the communist years artists had to make work of an ideological nature and were restricted in their subject matter. They concentrated on their technique and found freedom in illustrations. When in the 90s all the taboos were lifted, they were able to rely on their highly technical skills, but embrace and develop new printmaking techniques too. This reliance on a huge technical range resulted in a highly dynamic surge of exploration, iconic images and experiments in the transformation of traditional subject matters.
The exhibition shows seven paintings and two neon pieces which are new works created by Summerhall’s artist in residence. Stephen Thorpe graduated with a First Class Honours in painting from Gray’s School of Art in 2010 and has since received the Alexandrina McKenzie Legacy and the Royal Scottish Academy (RSA) New Contemporaries Award. Built of layers of thickly applied paint that drips down over the canvas, his scenes are mainly devoid of figures. The canvases are rough at the edges and lit by spotlights in a darkened room. Thorpe’s outdoor scene Void (pictured above right) is reminiscent of Hockney’s A Bigger Splash. Influence from artists of New Leipzig School painters David Schnell and Matthias Weischer can also be seen in his work.
From Death to Death and Other Small Tales
Masterpieces from the Scottish National Gallery of Modern Art and the D.Daskalopoulos Collection
Scottish National Gallery, Modern One
15th December-8th September
Works from the D.Daskalopoulos Collection, one of the world’s most important private collections of contemporary art, alongside many rarely-seen major pieces from the Scottish National Gallery of Modern Art.
To coincide with a major retrospective of his work at the National Galleries this exhibition offers a rare and exciting opportunity to see a collection of works on paper from the collection of the artist.
A Passion For Life
Scottish National Gallery
17th November-27th January
Curated by Glasgow-based artist Merlin James, this is a unique exhibition of work by Franco-Russian painter Serge Charchoune (1888 -1975). Connected to movements including Cubism, Dada and Purism, Charchoune nevertheless evaded easy definition or stylistic consistency within Modernism, commenting, ‘I keep a low profile, and thus a lot of freedom’.
A History of Dreams Remains to be Written
Talbot Rice Gallery, White Gallery
17th November-16th February
This is the first solo exhibition of native-born Zoe Beloff’s work in Scotland, including never before seen drawings and film connecting Occupy Wall Street and the Paris Commune (1871). The exhibition also includes a recreation of The Coney Island Amateur Psychoanalytic Society and its Circle
Turner Prize 2012
Elizabeth Price, Spartacus Chetwynd, Luke Fowler, Paul Noble
2nd October 2012 – 6th January 2013
Winner announced on 3rd December
The Turner Prize is awarded each year to a British artist aged under fifty based on work they have exhibited in the past year. Named after J.M.W. Turner and founded in 1982 by the Patrons of New Art group, the award was created to help buy new art for the Tate Gallery’s collection and encourage wider interest amongst the public in contemporary British art.
This year’s winner of the £25,000 award is Elizabeth Price, nominated for her exhibition HERE, held at the BALTIC Centre for Contemporary Art in Gateshead from February to May earlier this year. On display at the Turner Prize Exhibition is her video installation The Woolworths Choir of 1979. Spartacus (formerly Lali) Chetwynd’s performance artwork Odd Man Out challenges the boundary between performer and spectator inviting audience participation. Luke Fowler was nominated for his exhibition at Inverleith House. His video work explores the life and work of Scottish psychiatrist, R.D.Laing interweaving new material with old footage to investigate how the relationship between individuals and society changes with time. Paul Noble was nominated for his exhibition at the Gagosian Gallery in London. His work consists of painstakingly detailed pencil drawings of fictional metropolis Nobson Newtown, a project that he has worked on for the past 20 years.
BP Portrait Award
National Portrait Gallery
3rd November-27th January
The 2012 BP Portrait award features fifty-five painted portraits which were selected from 2,187 international entry submissions.
Also on display is the work of Jo Fraser, the recipient of the 2011 BP Travel Portrait Award. The £5,000 award allowed Fraser to observe and capture the labour-intensive textile production in small, indigenous communities in the Cuzco region of Peru.
3rd November-26th January
For Harland Miller’s first exhibition in Scotland, Ingleby Gallery presents a group of new paintings alongside a selected survey of the artist’s work across several years. Common to all of these paintings is a basic structure of shape borrowed from decades of Penguin paperbacks: a motif that automatically suggests a very British kind of nostalgia, but which Miller turns back on itself with invented titles that prove the dictum that you can’t judge a book, or a painting at least, by its cover.
The Scottish Colourist Series: SJ Peploe
Scottish National Museum of Modern Art, Modern Two
3rd November -23rd June 2013
This exhibition will bring together more than 100 of Peploe’s most significant paintings from public and private collections around the world, including highlights such as the 1905 masterpiece, The Coffee Pot, early 1920s work, Red and Pink Roses,Oranges and Fan, and a selection of the original objects used within Peploe’s still life arrangements.
The Rinse Cycle
9th November-17th February
Los Angeles-based Jim Shaw is one of America’s most important and prolific contemporary artists. Part of a ground-breaking group including Mike Kelley, John Miller and Tony Oursler that graduated from California Institute of the Arts in the late 1970s, Shaw has one of the most distinctive visual imaginations of his generation. The Rinse Cycle is the first ever full-scale survey of Shaw’s work internationally and will bring together more than one hundred paintings, sculptures, drawings and videos from the last twenty-five years.
When Dinosaurs Become Modernists
Andy Hope 1930
1st November-20th January
When Dinosaurs Become Modernists is the first Scottish show by the German artist formerly known as Andreas Hofer. The exhibition features forty one pieces of work, many of which were created this year, with some created specifically for the context of Inverleith House after a visit by Hofer to the Botanic Gardens in 2011. The ferns located in the Gardens provided the prehistoric link to the theme of dinosaurs.
Preoccupied with Modernism and comic books, Hofer took the name Andy Hope 1930 in 1998, a superhero-style name that references the year Modernism entered popular culture. The exhibition is diverse with works ranging from drawings and paintings to collage and sculpture. Andy Hope 1930 often uses paintings found in charity shops which he then reworks with new layers of paint. Such a work featured in the exhibition, With Kurt in Exile, references Modernist artist Kurt Schwitters and hangs askew much like windows seen in Expressionist cinema and the angular shapes of Schwitters’ Merzbau. The felt tip pen and painted depictions of superhero characters are reminiscent of the artwork of Daniel Johnston. The Educational Dinosaur Movie Hall, a cardboard box peep show installation which contains a pterodactyl and T-Rex amongst an audience of dinosaurs watching a colourful animated film from the 1930s, sums up the fun nature of the exhibition.
Jyll Bradley, Paulo Catrica, Filipa Cesar, Marcus Coates, Dorothy Cross, Alexis Deacon, JeremyDeller, Tania Kovats, Kaffe Matthews, Semiconductor (Joe Gerhard & Ruth Jarman), Alsion Turnbull
2nd November -13th January
This exhibition brings together work by twelve artists who have travelled to and spent time in the Galápagos archipelago through a residency programme initiated in 2007. Each artist was invited on the basis of their profound engagement with the opportunity, and each found the experience transformative for their artistic practice and their life.
Collectively they demonstrate considerable variety of approach and discipline within the visual arts, ranging across film-making, video, installation, painting, sculpture, photography, animation, illustration and sound. The artists also brought to the project, and developed during it, considerable skills of communication and interaction with scientists, tourists, and local inhabitants of the Galápagos, allowing them to explore subjects of scientific or social interest consistent with their artistic concerns in depth. The works they have produced individually give compelling form to profound personal visions developed through their experiences on the islands. Shown together, they build a unique dreamscape of a remarkable place, messages for mankind from the stark realities of Galápagos.
Book Exhibition by Kalopsia Collective
The Colour Room, 68 Henderson Row, Edinburgh
November 30th Opening: 7-9pm
1st-3rd December: 10am-4pm
Student based website Architecture Is features a wide range of fresh informative and informal articles on architecture.
WE ARE the passionate students of our generation
WE AIM to bring a bright and diverse view of architecture and related arts
WE DENOUNCE the elitism and inaccessibility that seems ingrained in the profession today
WE ASK for other students to join us
The contemporary paintings of the Scottish artist Gordon Picken portray a landscape of absence; of lost histories and memories. This is a landscape in which the human figure is implied and yet absent. Not only does the figure appear to be missing from these works but also the spectators’ reading of these paintings is continually disrupted by the process of the works construction.
These large scale works are constructed from numerous small scale works, with each fragment marking a new beginning. The scale of these works is not merely an aesthetic affectation but reflects upon the ghosts of these locations which were once landscapes of monumental architecture and industrial production.
Informing all of the work in this show is the artists’s belief in the sense of dislocation and loss that people feel when they perceive changes to their local environment.
Artists: Sarah Boulton, Martina Martin, Hannah Reilly, Rosie Shepley, Hannah Topalian, Yuan Zhang, Saule Zukaityte
Curators: Nella Aarne, Sean Bell, Jemma Craig, Gordon Douglas, Yasemin Hacioglu, Elizabeth Hudson, Rachael Smith
Platform 7 features the work of seven emerging artists, selected and exhibited by seven young curators, whose work is united by theme of ‘the body.’
It is the first touring visual art exhibition produced by the somewhere_to team in Scotland, and is delivered with the support of The Skinny magazine and website, and Glasgow’s CCA, whose resident curator Emma Braso mentored the group of new curators.
Sarah Boulton‘s video installation East West East West questions what would happen if a jar of sea water from the East Coast of Scotland was swapped to the West Coast of Scotland and vice versa. Boulton took the role of an intermediary, carrying each piece of ocean in their respective jars across Scotland, and letting them go and swim off in their opposite destinations. The work explores what it means to belong to a ‘body’ especially one that might be tangible- a mind’s construction- and thus, perhaps might lead the viewer to consider the artist’s role in taking apart, and reconstructing, concepts
Iteration Circles I and IIby Martina Martin are part of a series of artwork highlighting the simplicity of various shapes re-creating themselves over and over through precise placement and colour. The cellular forms suggest the scientific, basic structure of matter, by which we can see the parts that make up the body of a work. Created using digital programs, the work questions how it is viewed under the banner of ‘art’; having been made by a machine, it brings to question the role the artist’s hand-their own physical presence, or absence in creation.
Hannah Reilly‘s Dolls in Contemporary Art address cross cultural identities and question the dichotomy of projection and perception of identity by the ‘self’ and the ‘other’. Reilly is particularly interested in the ways in which identity can be misunderstood, mistranslated or flattened into a two-dimensional view. Through appropriating embroidered designs from around the world depicted in Western books whilst using traditional British stitches, the work reflects on notions of the post-colonial and the Western gaze on culture.
‘s work focuses on the presence of nature-especially the animal-in human society. She is interested in the long history and prevalence of artworks relating to animals and what they signify-from the earliest hunting scenes to the fusion of human and animal in anthropomorphic children’s animations. With We Wanted Their Feathers to Bud from our Flesh, through the fusion of human and bird, Shepley hopes to draw on our ambivalent reactions to the hybridity: what is both beautiful and gruesome about the human animal. The title is a reference to Eating the Birds by Margaret Atwood.
Hannah Topalian is interested in man’s political and evolutionary position of man on earth; in her work this is streamlined into working with the mediums of nature and science. Her current work, Everyday Submergence deals with the theatrical and sometimes premeditated grandeur of science. By dropping ink and milk water using various tools, she captured elusive images experimentally. They rely on the power and spontaneity of the fleeting moment while simultaneously relying on a contrived action. Through using a chemical phenomenon to represent an ephemeral moment in time, she explores the perpetually evolving momentum of scientific discovery. The photographs also relate to science by expressing the connection that science and nature has to the human body.
Yuan Zhang‘s work combines Chinese Taoism philosophy spirit and Western contemporary art form. She sees everything as an ongoing journey, only the record of a certain moment. The wormhole suggests the ongoing journey in physics, a wormhole is a hypothetical topological feature of spacetime that would be fundamentally a “shortcut” through space and time. Open the Wormhole in Our Hearts relates this journey to human organs, having used casts of the body; it suggests that people can open their heart to the unknown space, activating one’s sense’s to travel, and to make a change.
Often starting her creative process with a found object, Saul Zukaityte uses the piece to create another way of looking at everyday objects, and the thoughts and feelings they form. She hopes to question these initial reactions we have to objects, giving the viewer the choice of re-affirming their preconceptions, or breaking them. In Slough the absence of the body leaves its outer shell, clothing, which isolated forms beautiful, ephemeral, almost organic images, despite being a ‘cover’. This might lead us to question identity, its formation, and how we view our physical shaping of it.
images and text: exhibition guide
100 Curators 100 Days
18 July- 26 October 2012
Each day at 12am pacific standard time Saatchi Online will reveal a new collection of 10 works, selected by top curators from the most prestigious museums and galleries around the world.
Images: some of the curators’ selections (clockwise from top right): Trans Cerebral-Juliet Vles, Game-Nick Mobbs, Loosing Yourself by Becoming Famous-Catlin Andelean, From the Sea-Marco Tabach
White Stuff, 89 George Street
4th August-2nd September
Harry Hill’s first art exhibition is brilliantly surreal and humorous. The works gently poke fun at TV celebrities such as Cheryl Cole, Chris Tarrant and Bruce Forsyth. Subjects also include members of the royal family and a golden retriever. The works are brightly coloured and well painted with captions that add to their nice weirdness. Also on display are a series of coconuts painted with the faces of Brit-Pop celebrities Jarvis Cocker, Gaz Coombes, Damon Albarn and Noel Gallagher. Hill’s wife Magda Archer is also a painter who produces similarly colourful and quirky works.
Dieter Roth: Diaries
2nd August-14th October
German-Swiss artist Dieter Roth was an artist of immense diversity but is probably best known for his artist’s books. Roth always carried a diary with him and meant to stick to a system of keeping a set of diaries for recording appointments with another set to be used for deeper analysis of these appointments. However, over time, the separate functions of the diaries became muddled and included drawings, doodles, silly poems and deeper thoughts. Roth incorporated pages of his diaries into his public artworks from 1967.
Together with some of these diary books on display downstairs are the 128 television monitors of Solo Scenes (1997-8). Each screen shows a different video diary of Roth going about his daily business at home and in his studios in Iceland, Switzerland and Berlin. In 1982 Roth was innovative in the use of using Super-8 film in his work A Dairy, made before the video diary was a common practice.
Upstairs in the gallery is the installation Flat Waste (1975-6/1992). 1975, Roth set out to collect all the waste material less than 1cm thick he encountered on a daily basis, punching, flattening or folding it in order to place it all in ring binders.
Edvard Munch at the National Gallery of Modern Art
-showing 7th April-23rd September, Modern Two
A superb exhibition of Munch’s gloriously preternatural and psychological work reminds us that there is more to this Norwegian artist than the ubiquitous Scream. While this crowd pleaser is not denied its place amongst the others, the emphasis of this exhibition (as a collection of prints rather than paintings) is on Munch’s exquisite and eccentric craftsmanship. His serial woodcuts and lithographs reveal just how much form for Munch contributed to content, with exposed wood grain and jigsaw-like assembly of woodcuts symbolising themes and moods.
Mondrian-like, Munch returned to certain prints again and again to revise their composition. This is especially apparent in the series entitled Two Women on the Shore, with each reprint revealing a different mindset, swerving from naturalistic to stylistic. One woman’s face is gradually and shockingly subsumed into a death mask, contrasting with her pastel landscape.
Munch (for whose life the term “a series of unfortunate events” seems to have been coined for) surprisingly retained a wry sense of humour. His macabre musings still delight the eye with his memento mori scattered amongst the trompe l’oeil, rewards by the magician for careful scrutiny. However, one leaves with the feeling that Munch’s intention is to expose the farcical nature of life. While this is not the most cheerful of exhibitions, it is certainly one of the most memorable, and will ironically refresh even the most jaded art-lover’s palate with its disenchanted genius.
All The Bells
Work No.1059, the Scotsman Steps
On 27 July at 8.12am, The Fruitmarket Gallery will stage part of Martin Creed’sWork No. 1197: All the bells in a country rung as quickly and as loudly as possible for three minutes, on his Work 1059 the Scotsman Steps to ring in the start of the Olympic Games.
Creed was awarded the Turner Prize in 2001 with his Work No. 227, the lights going on and off. Work 1059, 104 steps each of different marble, was commissioned by the Fruitmarket Gallery. The steps were designed as a permanent public artwork to coincide with and compliment Creed’s 2010 summer exhibition Down Over Up but opened the following summer.
Tent Gallery, Evolution House (ECA), 78 West Port
Curated by: Breann DeCoste & Elizabeth Lyne (MSc Modern Art: History, Curating & Criticism)
Artists: Hans K. Clausen, Claudia de la Peña , Clare Flatley, Sarah Gittins, Robert Pereira Hind, Darius Kowal, Geri Loup Nolan, Alexander T. Oleksyn, Tim Sandys, Beth Shapeero, Eva Ullrich
Falling presents various perspectives on the overarching theme of ‘falling’. These include references to literary sources, social or political connotations, and even focus on material form and process.
At the Top of a Jump – Hans K. Clausen
‘At the top of a jump…’ are the word of a teenage girl used in a counseling session to describe the only place and time in life when she felt free from the worries and fears that lay at the root of her depression. She was referring to the split second when, while dancing, he left the ground. The sad reality of the momentary freedom was the inevitable fall back to reality. This installation tries to capture something of the precarious fragility and tension that exists in all our ephemeral moments.’
Fabric with Cluster– Claudia de la Pena
‘Fabric with Cluster was created as a part of a series of spontaneous actions made at HMS Jackdaw RAF base near Crail in February 2011. The orange fabric is draped from the ceiling and weighted down by a collection of plaster spheres. By introducing these vulnerable interventions, attention is drawn to an environment that has withstood a longer, more complex aging process.’
Freeze – Clare Flatley
”Freeze’ is a kiln-formed, hand polished glass sculpture which represents the sensation of movement, of creating a spiraling motion around a particular point. This plays a dual role as the work appears to collapse in on itself while simultaneously expanding
into infinite space.’
Pale Blue Window – Sarah Gittins
Gittins’ drawings and prints explore issues of social and ecological justice, creating a space where the activities of everyday life [in Western culture] encounter incidents of [global] environmental concern. This brings issues that are often put to the edges of consciousness into the forefront of personal awareness.
Challenging Chromophobia– Darius Kowal
‘This plinth supports a liquid medium falling with gravity. The colours combine in depth, reminiscent of artists who allow the fall of paint to dictate their practice. Paint descends within the void and around the plinth in multicolour, thereby challenging chromophobia in the viewer.’
Rainfall 123 – Geri Loup Nolan
Rainfall 123 was made in the week running up to the exhibition and involves capturing falling raindrops and pigment onto canvas. Having been preoccupied by installation and participatory artworks recently, Loup Nolan hoped to create a work involving paint that would be experimental, sponataneous, and poetic.
Untitled– Alexander T. Oleksyn
‘From the time it is hung, the painting begins a process of transformation as it approaches its inevitable destruction. This anticipated moment not only marks a departure, a literal feeling, out of th e space of the painting, but also emphatically states the ephemeral nature of the work’
Elephant’s Foot I – Tim Sandys
A combination of runaway nuclear fission and gravity, the Elephant’s Foot refers to a molten conglomerate of steel , concrete, and uranium nuclear fuel- an artifact beneath the remains of Chernobyl reactor four, which catastrophically failed in 1986.
Glass Paint Suspended in Polythene Sheeting – Beth Shapeero
Gloss paint Suspended in Polythene Sheeting uses a tight balance of weight and tension acting against one another to hold three pools of paint. The installation literally alludes to the anticipation of falling, with tension in the material,striving to keep the paint at balance, visually apparent. The filled polythene works allow us to comprehend every physical aspect of the paint, its surface colour, viscosity, and weight.
Cadmiae Ferrum – Eva Ullrich
In Cadmiae Ferrum, the evident thrill of the dynamic painting process is at once chaotic and serene. The marks on glass cascade through real space, inviting a fall into a world of infinite scale. Cadmiae Ferrum provides glimpses of recognition formed through remembering the essence of places, qualities, and events in the natural world.
text: exhibition guide
EDINBURGH ART FESTIVAL MAP
Edinburgh Art Festival was founded in 2004 and is the UK’s largest festival of visual art. This year over forty five exhibitions will be featuring in the festival between the 2nd of August and the 2nd of September.
Postal’s First Exhibiton
Wee Red Lounge, ECA
21st June-23rd June
The fist exhibition of Postal, a publication promoting new and emerging artists and designers working in and around Edinburgh, features work by:
Raffaella Buck, Hans Clausen, Elly Cottrill, Hannah Edward, Louise Harper, Nicola Herd, William Holmes, Rebecca Howard, Ian Jackson, Ellyce Moselle, Stella Phipps and Cerny Yaun.
The Edinburgh Annuale is a visual art festival involving Edinburgh galleries and art projects,especially ones that promote local activity. The first Edinburgh Annuale took place in 2004. It is co-ordinated by Edinburgh Artist Run Initiative The Embassy with a programme including publication launches, live events and exhibitions.
The Annuale runs from 8th-24th June 2012.
‘My work is a construction of imagery, incorporating traditional printmaking and drawing techniques with the iconic style and visualisation of early cinema. By utilising the qualities of light and shadow, I manipulate the familiar. By creating images inspired by my own interpretation and memories of film, there is a sense of nostalgia in these mysterious yet identifiable scenes.’-Monica Lafferty
‘Sabian Ya Bas’
‘My work is about the fast changing nature of our world, and the beauty within it. Our world is full of wonderful landscapes and I would like to call peoples attention to the artificial and natural forms of damage such as deforestation and endangered animals. Nature is beautiful and I am committed to fulfil my purpose to humanity through my work. I also wish to be a motivational artist. My practice is influenced by artists like Bruce Onobrakpeya who is a Nigerian painter, sculptor and print maker and Chris Ofili, a Turner Prize winning British painter who is best known for his art works which references his Nigerian heritage. Yinka Shonibare uses media such as painting, sculpture, photography, film and performance. He examines the relationship between Africa and Europe throughout their histories. Shonibare’s work explores cultural issues, alongside those of race and class. Mixing Western art history and literature, he asks what constitutes our collective contemporary identity today. He also described himself as a ‘post-colonial’ hybrid. He questions the meaning of cultural and national definitions. I hope to explore similar themes within my work; to combine my African culture together with my British culture and produce work which makes people think about themselves and their histories.’-Ade Adesina
Inspired by nature and animals in mythology, JJ McKeown incorporates ancient folklore and creates his own myths based on modern sources including science journals and encyclopaedias.
Lianne Barrie has photographed the beaches of St Combs, Fraserburgh, Inverallochy, Rattray, St Fergus, New Aberdour and Pennan in her bid to chronicle all 23 beaches that make up the Buchan stretch of coastline.
‘My work explores the edges of the relationship between photography and painting through works that abstract the real, often with the aim of raising questions of a metaphysical nature. For the most part, the images are an attempt to record my surroundings and explore my understanding of them through a physical artwork while avoiding jarringly faultless pieces of literal documentation.’
Anna Broe Kristensen
‘You are vulnerable. I am vulnerable. We all know that moment when we find our-selves in a public place and suddenly realise that we are staring or gazing at a person way too long and too intensely. While it is going on it is almost a meditative trance, just gazing and completely loosing ourselves in that person’s specific look and features. It will stop because we suddenly become aware or are made aware that it is inappropriate. In my work I am trying to evoke that meditative feeling where you simply just loose yourself in looking. Disappearing into a face, a gaze, a body without having to stop in this context photography holds its greatest values for me.’
-Anna Broe Kristensen
‘The work I have been making of late has all stemmed from a journey I embarked upon following the path of electricity from a lightbulb – in my bedroom in the city – back to the power station from where it once came. For the past year I have been following the powerlines and the progression along this journey has been documented in a standardised way. The structure of pylons and the powerlines they support have provided a standard measure for the changing weather conditions, light and the topography of the landscape.’
‘Informed by the reciprocal relationships that exist between humans and the built environment, my work deals with perceptions of space and attitudes towards architecture. Post-war architecture is of particular interest to me, given the uneasy legacy of modernism in twenty-first century Britain. Through photography, printmaking and installation, frequently referencing the formal languages of modernist abstraction and design, I hope to enhance a viewer’s awareness of their own relation to space, to their attitudes towards this language – with its persistent influence upon the contemporary urban environment – and to the way certain lines and constructions may influence movement and interaction.’
‘Through out the course I worked on projects mainly involved in landscape, portraiture, alternative processes and travel photography. My work is influenced by American propaganda.’ -Ryan Miller
‘A Drift of Repeated Manipulation’-‘This work is about the constant manipulation caused by the sea. Objects that used to have a stronger form are now seen as a small fraction of what they once were. I have taken pictures of these objects and then printed on to found bits of drift wood picked up around the Fife coastlines. These have been scanned and further manipulated through digital editing. This process mimics the natural cycle of the seas transformation of the objects.’-Holly L Sands
Chaneva ran a blog, www.loveandsweat365.tumblr.com, for 365 days from March 2011 to March 2012. Its purpose was to look upon what always seemed unimportant and remained unimportant in the daily grind.
‘Part therapy, part diary, part a visual exploration of the everyday.’
‘In his project ‘Nylon Chysalis’ Mokrynski explores scaffold structures within the European streetscape. The presence of scaffold is seen as a symbol of rejuvenation and as a synthetic architectural cocoon concealing a mystery within.
Nylon Chysalis began as a documentary project. While traveling the cities of Europe, Mokrynski formally photographed the temporary existence of scaffold structures within their nocturnal setting. Capturing their place within the theatre of the nighttime city.
Within the current phase of the project , Mokrynski explores the possibilities of the scaffold. He connects the encounter of a scaffold clad building with childhood wonders, of science fiction superstructures, arcades and Rubik’s cubes; dislodging the structure from reality and nudging it into the realm of the possible. Reanimated within the confines of a static photograph, the scaffold entity attempts to signal and communicate.’
‘My focus for this show has been the existing concerns within society regarding domestic dogs; these issues are close to my heart as I have worked with canines for many years. My works tackle the often unpalatable contemporary issues that have arisen as a result of our society’s preoccupation with dogs, such as: dogs as commodities; over breeding; mass abandonment; and the obsessive ‘pure-bred’ phenomenon. I also considered our relationship with dog’s ancestors-wolves-and how their historical persecution represents an attitude of disposability still present today in the treatment of our canine companions.’-Andrea Beverage
Bricker hung his small paintings of sunflowers in public spaces in front of CCTV cameras in numerous locations throughout Beijing, including the underpasses that flank Tiananmen Sqaure, and outside artist Ai Weiwei’s studio.
‘My fundamental interests are the fragility and volatility of human physicality and, also, human nature. This has always drawn me towards deteriorative states such as death, violence, suffering and the stasis of sleep. Specifically, I am preoccupied with the nature of the violent and/or political photographic image and its repercussions as a document. My anchored attraction to such imagery remains within the ‘ruin-lust’ that hides within people, and the juxtaposition between brutality and beauty. My process is important in this respect, in that I work from photographs and create layered, detailed drawings. These have quite a solid physicality, but also a delicacy which attempts to mirror the unstable nature of both the photographic image and human nature.’-Katherine Lloyd
Hans K Clausen
‘The interaction between people and material culture is a recurring area of enquiry in my artistic practice; how we read visual language, how we make sense of our material world and how the stuff that surrounds us defines us. I am intrigued by the narrative qualities, associations, provenance, and power of ubiquitous objects and by the forces of materialism, marketing, consumerism and obsolescence. Through the language of ‘stuff’ my work examines the relationship between artist, object and viewer and questions the boundaries between thinking and making, discovering and discarding, creation and craft, authorship and ownership, what is art and what is not.’- Hans K Clausen
‘My inspiration emanates from my sense of family and belonging to something intangible more ephemeral than actuality. Inspiration flows from travel, making new homes in foreign places; traditions, found aged photographs and Diaspora. Inspiration comes from experiences real and imagined.
I cojoin these interweaving elements using rich, precious and ethereal sculptural materials primarily by casting, particularly in bronze, resin, wax and iron, as well as using fabrics and found period furnishing. The combination of all of these elements allows my aesthetic to emulate feelings of the surreal, tales and myths.
My rich cultural background (Italian – Irish) encourages my work to convey personal narratives, whilst allowing viewers to project their own stories. The juxtaposition of the personal story and my sculptural interpretation creates a new sense, a new experience.’
‘My research interrogates ways to draw through, and alongside, a machine, whilst looking to the importance of a simple gesture. Through drawing by proxy, I look at the overall importance of the hand of the artist in contemporary art, and in turn ways to remove the ‘romanticised’ aspect so commonly related to it.
Through building new machines, and tinkering with existing ones, I look to ways of altering the runnings and uses of a machine, transforming them from what essentially is motors and steel, to ‘living’ machines which have a personality and appearance of a ‘free will’ which determines its own motions and movements, and therefore how a drawing will develop. I hope this will open up the possibilities within the machines about the marks that they can create and the expanse (and limitation) of their movements. It is these personalities that I wish to develop.’-Kirsty MacDonald
Drowned Dust, Sudden World
19th April-8th July 2012
Tony Swain uses acrylic paint over newspaper collage to create his landscape artworks. Drowned Dust, Sudden World features a completely new body of work made with the Fruitmarket Gallery in mind.
Mounted directly onto the walls with Blu-Tack, the works weight is supported in a way that imitates how a newspaper is held.
Swain is attracted to the aesthetics of the printed images and text he finds in newspapers rather than their subject matter. Sometimes Swain will save selected images for months or years until he can find partners for them that he thinks are suitable. The final images are strangely abstract but vaguely representational, a mixture of images which have come from newspaper articles ranging from mundane to tragic mixed with exotic scenes obtained from the pages of the travel section. They require the viewers prolonged attention and encourage personal interpretation.
LEVEL (White Gallery)
-Curated by Relay
(Masters of Contemporary Art Theory students at Edinburgh University):
Cat Black, Elena Dolcioni, Lia Marie Hillers, Cecily Hughes, Joseph Priestly, Dane Sutherland, Aimee Webb
What is eye-level? What is the ‘correct’ eye level? The term hints there is an ideal vantage point from which to view art; the onlooker is expected to see what is intended to be seen, becoming a member of an unspecified community defined by the assumption of shared principles and values. Yet human physiology is not a level playing field-each human body is unique. Exhibits hung at eye-level, then, are not the actual eye-level of many viewers, making for varied experiences.
With the levelling gaze of the astute viewer, this exhibition will animate the conflict between encounters on an individual level, the possibility of a shared vision, and the impossibility of a universal, absolute way of seeing.
-Studio Schwitters (2010) by Pavel Büchler: a sound poem through a synthesiser by German Dadaist Kurt Schwitters which emanates from wall of speakers. The transcript of the gibberish text visible on the computer producing the sounds.
–Thread Installation #35 (2012) by Kate Terry: intricately twisted and strung neon threads that appears different depending on the viewer’s stand point and the play of light.
–Parthenon Rising (II) by Bill Balaskas: a video installation showing the Parthenon during a light display:
UNOCCUPIED (Georgian Gallery)
-Curated by students from
MSc Modern Art: History Curating and Criticism & MSc History of Art: Theory and Display:
Elizabeth Ibbotson, Elizabeth Lyne, Joowon Park, Alex Smith
Unoccupied is an interdisciplinary exhibition inspired by concepts of ‘emptiness’ and ‘nothingness’. Taking lead from groups like Fluxus, inspired in turn by artists like John Cage and Eastern philosophical ideas, ‘emptiness and nothingness’ are taken to be aspects of practices that pull back from the world of language and ideas to connect with primary experience. Given all the current precariousness of global economic conditions, it is both interesting and evocative to apply these ideas to a contemporary context. These notions have guided the curatorial vision for this exhibition, where the Georgian Gallery has become a vessel for exploration, through performances and events, in addition to the experimental and participatory artworks.
–Incense Painting (2012) by Ji-Hye Lee with an accompanying video showing the process of the holes being burnt onto the material canvas by the incense.
–Thawing Colours into Paper (2012) by Rocio Jungenfeld and Dave Murray-Rust: an installation piece comprising of colourfully dyed balls of ice attached to string which swing and drip onto the paper below to create a painting.
-MFA Contemporary Art Practice:
Kimberly Abbot, Lindsay Boyd, Yao -Lung Cheng, Zoe Fothergill, Andrew Gannon, William Mokrynski, Gregor Morrison, Despina Nisyriou, Simone Pereira Hind, Sander Schoonbeek, Iain Sutherland, Linda Rafferty, Kim Wilson
Interested in the spaces that people travel through on their way to somewhere else, students from the MFA Contemporary Art Practice create a novel exhibition based upon the gallery’s foyer space. The students have created a model of this space, exhibited in the Round Room in the White Gallery, which was curated with miniature exhibitions, photographed and exhibited as prints in the downstairs foyer area.
The models explore the interesting endless possibilities of an empty space including painting the walls brightly, a garden, Duplo and cardboard cut out figurines, and showering the model in artificial snow in a video installation to the tune of Sleigh Ride.