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  • Ludd - Crafted Interventions Ludd - Crafted Interventions

    • From: Thom.Isom
    • Description:

      One of a range of interventions adapting the materials of arts and crafts. For more please visit - www.craftedbyludd.co.uk

    • 1 hour ago
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  • MoveStream 02 with annotations MoveStream 02 with annotations is out!

    • From: jeannette.ginslov
    • Description:

      Movestream 02 Bending Cinema

       

      Jeannette Ginslov interviews Islandic cartoon artist Ingi Jensson & German choreographer Heike Salzer, 11 June 2010 at the Dansehallerne Copenhagen Denmark, about their dance video installation work that resides on several sites and cities, in a variety of formats and also on an internet platform.

       


      Is this a work that bends cinema? If it is, how?
      What traditional modes of presentation is the work challenging? Do all these formats, platforms and sites, break and challenge the viewers perception of dance video? What parameters did you change in order for these works to exist on different viewing platforms? What kind of viewing experience does the viewer have and expect or are these expectations challenged?

      Shot and edited
      Jeannette Ginslov
      Produced
      Walking Gusto Productions
      September 2010

    • Blog post
    • 9 hours ago
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  • Euro - Vision? Euro - Vision?

    • From: AmyLB
    • Description:

      It's hard enough to concentrate; to make the work, find a venue and rally a crowd, right? It's tricky enough to haul your peers away from their beers and into a gallery, theatre, cinema or co-op, right? Let alone engage with a European audience..

      But what about the artistic scenes simmering simultaneously across Europe? When we look further afield we see a plethora of parallels to our own close-knit creative community. Besides the whole 'single land mass' thing Mainland Europe's got going on they've sure got sure got a knack for drawing in the crowds.

      Now, thanks to the internet's international scope and budget air travel (cue enraged eco warriors)  Glaswegians  enetertain our continental cousins more and more regularly. Hailed for their hospitality Glaswegians thrive on the social aspects newcomers present. Never let it be said that the Glasgow's creative undercurrent is insular. Reciprocal projects are perpetually underway between, say, a Glaswegian film-maker and a Dutch writer, a French performance artist and a Glaswegian musician.

      Taken to its logical conclusion then, this Euro-wide mentality requires a base, a focus, an international profile and a programme of events to get people together. Potential collaborators can catch up, converse about key social and political issues and cook up ideas for future creative endeavours.

      Pooling practitioners from various countries, backgrounds, disciplines and philosophies the IETM Autumn Plenary taking place across Glasgow 4-7 November presents opportunities to forge ties, view high calibre contemporary performance art in a ream of citywide venues, listen to live music and drink whiskey into the early hours. Make sure your voice is heard in amongst the crowd.

       

       

      IETM Glasgow is a city-wide international performance arts convention and artistic showcase and is one of the most strategically significant cultural events in Scotland's 2010 calendar.  It will be an excellent forum for networking, education and exchange, with up to 600 performance arts practitioners from 45 countries attending.  In addition, the IETM Glasgow artistic programme is open to the public and will feature over 70 performances by many of Scotland's top performance companies and directors in a range of venues across Glasgow. 
        
      The theme for IETM Glasgow is 'Voices' and the programme will address topical issues - strategic, political and operational - that impact on the day-to-day work of arts practitioners all over Europe.  
        
      IETM is Europe's largest network of its type (see www.ietm.org) and its plenaries are attended by contemporary arts practitioners (performers, directors, administrative staff) working across a range of genres (theatre, dance, music-theatre, installation, film and video and new writing), as well as representatives of venues, funding bodies, policy makers and institutions.  The talks programme will be delivered by leading industry experts, practitioners and academics and social events planned include the welcome reception, late night meeting point, final night party and final day brunch.  The Scottish public are invited to join visiting international delegates for the 4 day artistic showcase.
        
      IETM Glasgow is sponsored by anCnoc Highland Single Malt - www.ancnoc.com.

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  • Impossible Nation - on tour no Impossible Nation - on tour now

    • From: Inflatablemonster
    • Description:

      Images from the Impossible Nation project I was happy to be part of recently.

       

      "The Travelling Gallery and National Galleries of Scotland Outreach team are collaborating to explore what the concept of the ‘nation’ means to young Scots. Featuring the work of contemporary Scottish artists - some of whose work was showcased in the Scottish National Portrait Gallery’s Rough Cut Nation in 2009 - this exhibition is a graphic representation of the challenge to define what it means to be Scottish.

       

       

      The interior of the Travelling Gallery is being completely transformed by the artists using every available surface and combining a range of media including drawing, painting, spray painting, sculpture, paste-ups and projections to explore themes of identity, landscape, portraiture and culture.

       

      As with all Travelling Gallery exhibitions, the TG team will be giving talks on the installation to groups to encourage a lively engagement and a comprehensive Education Pack will be produced and sent out in advance of our visits to inform teachers and group leaders. A number of artist-led workshops during the tour will also be available.

       

      Artists involved: Fraser Gray, Martin McGuinness, Richard Riach, Rabiya Choudhry, Pete Martin, Andy MacVicar, Mike Inglis and Kirsty Whiten."

    • 2 days ago
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  • JOBS FUCKED (stuck in a cul-de JOBS FUCKED (stuck in a cul-de-sac)

    • From: Fraser-MacDonald
    • Description:

      Plan Drawing for an installation highlighting problems encountered by bin motors entering cul-de-sacs undergoing construction work.

    • 3 days ago
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  • On Shapes and Things On Shapes and Things

    • From: stuartdfallon
    • Description:

      On Shapes and Things

      Richard Healy and Gemma Holt

      Sierra Metro

       

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      The sixth chapter of E.H. Gombrich’s 1979 book The Sense of Order: A Study in the Psychology of Decorative Art provides a ‘unique language’ through which Richard Healy and Gemma Holt (in a new creative collaboration instigated and supported by the gallery) have considered the bonds and hierarchies that exist between pattern and object, whilst effecting to explore the divergent and often contentious relationship that exists between fine art and design practice.

      Gombrich’s chapter begins with discussion of the kaleidoscope. Invented in 1816 as a scientific tool and named after the Ancient Greek for ‘beautiful form’, it quickly became appropriated as a toy, creating thrills and wonderment at its ability to subvert the natural order and familiar ways of seeing. Similarly in Shapes and Things, common and familiar order has been displaced and recontextualised, and whilst there is beauty here, it’s of a strange, awkward type, characterized by compositional peculiarity and visual clashes- a beauty that necessitates observation from many perspectives and allowed to unravel and reveal itself over time.

      The ‘fruitful tension between functional and ornamental hierarchies’ noted by Gombrich, appears to be of significant concern in the exhibition. Objects sit awkwardly in this interstice between function and ornament- the mirrors, the pouffes, the lighting, even the curtains have an inferred domestic purpose- yet their installation in the gallery renders them untouchable and facile. Two polarized exceptions exist: Holt’s hexagonal plinth, built and utilized with the specific purpose of serving Healy’s projection, and the fake wall segment installed by Healy, adorned by his Studio Plant Study II, which sits uniquely as an object of sheer decoration.

      Closer consideration and inspection of the designed elements themselves, provides further disquieting distancing from the familiar. Etched into the mirrors is a malevolent arrangement of sawtoothed forms, the three pouffes- stripped of their cordial covers sit together like naked chopped sections of a superfluous ornamental pillar, the curtains hover at a disconcerting height above the floor like mischievous apparitions, purposefully concealing segments of the space. This conflicting disposition in the objects occurs similarly in the artists’ use of colour. The clash of coral against grey strains and upsets the eye- yet the vibrant glow of the lunar pendant, first encountered as a haze through a curtain or a tantalizing reflected blaze in a mirror, prompts a desire to bask in its glow. Its night-light blush, rhythmically seeping from fuchsia into aquamarine and turquoise, intimating warmth and comfort against the cold stone background.

      As time passes, a considered grouping of objects becomes apparent. Each of the three curtains is paired with its ‘own’ selected elements that it shields and protects. Despite these individual arrangements, there is a distinct sense of lopsidedness to the composition overall. Given that Gombrich remarks that ‘symmetry implies cohesion’, it would seem that the artists have consciously shunned a more predictable order in favour of something more dynamic and less visually comfortable. Gombrich also discusses the importance of the ‘centre’- how the kaleidoscope draws the eye into the middle and how we unconsciously esteem centrality more generally (in religious iconography, ceremonial events etc). Shapes and Things has no centre. The middle of the gallery is empty of objects- barring a curtains edge hanging vaguely nearby- from this central viewpoint the balance of the objects presented is out of line.

      Healy’s projected video seems to act as something of a synopsis of the exhibition content. It presents a perpetual conveyor of analogous elements: fractal geometric shapes, minimalist creations and monochromatic segments of pattern. The effect is immersive and hypnotic, and once you lose yourself in the visuals they work to echo, not only the close vicinity, but provide a kaleidoscopic vision of works in festival exhibitions elsewhere: the fragmented architecture of Coleman & Hogarth’s Staged, Iran do Espirito Santo’s gradated monochrome wall, the hunks of marble set to create Martin Creed’s new Scotsman Steps glide systematically across the screen.

      Overtime the disjointed temporary contents of Shapes and Things begin to converse with their surroundings- revealing and highlighting the peculiar idiosyncrasies of the gallery space itself. Healy’s pulsating orb acts as an inadvertent parody of the bright redundant buoys hanging outside the window, whilst there is a previously overlooked awareness of how three white pillars abruptly defy the comfortable symmetry of the other six.  Other patterns, shapes and shades from the work play-off the heavy permanent wooden fixtures, coatings of dark mustard paint and the frosted floral glass panels.

      When discussing the general response to the effect of the kaleidoscope, Gombrich notes that people ‘usually respond with delight, but after a few exclamations of ‘ah’ and ‘oh’ they put it aside and talk of other things.’ Healy and Holt’s Shapes and Things provokes a similar initial reaction, however, there is enough intriguing conflict and intelligent construct here to hold the viewers interest long after this original impression has passed.

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      Image credits:

      Shapes and Things, Richard Healy and Gemma Holt, 2010

      Installation view, Sierra Metro, Edinburgh

      Images courtesy the artists and Sierra Metro

      Photography: Chris Park 

       

       

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    • 4 days ago
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  • expanded architecture 03: skew expanded architecture 03: skewed screen01

    • From: sarahbreenlovett
    • Description:


      A scrolling wilderness of light and shadow transports the viewer from horizontal to vertical coign of vantage.
      Elements not visible during the day come into view as night falls. A questioning of the rectangular cinematic image,
      a visceral relationship between day and night, architecture and viewer.

      Curated by Archetype Gallery Chauvel Cinema : Paddington, Sydney.

    • 4 days ago
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  • EXPANDED ARCHITECTURE 02: LOOS EXPANDED ARCHITECTURE 02: LOOS PLEASURE

    • From: sarahbreenlovett
    • Description:

      Response to Adolf Loos Ornament and Crime paper and his design for Josephine Baker House in 1928. Toilet is transformed from amenity to entertainment in an architectural peep show of the unbuilt designs. Vanishing Point Gallery Newtown Sydney 2010

    • 5 days ago
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  • EXPANDED ARCHITECTURE EXPANDED ARCHITECTURE

    • From: sarahbreenlovett
    • Description:

      Call for Submissions of short films 5min or under41600_129019340469156_8872_n.jpg that are related to the theme of EXPANDED ARCHITECTURE.

      EXPANDED ARCHITECTURE - the intersection of avant-garde film, expanded cinema and architecture.

      Next exhibition at the EXPANDED ARCHITECTURE International Architectural Film Night Carriage Works Sydney 6th November 2010.

      Deadline for submission for consideration to exhibition 15th September 2010
      upload to expanded architecture on Vimeo.  http://www.vimeo.com/groups/expandedarchitecture

    • Blog post
    • 6 days ago
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  • EXPANDED ARCHITECTURE EXPANDED ARCHITECTURE

    • From: sarahbreenlovett
    • Description:

      Call for Submissions of short films 5min or under41600_129019340469156_8872_n.jpg that are related to the theme of EXPANDED ARCHITECTURE.

      EXPANDED ARCHITECTURE - the intersection of avant-garde film, expanded cinema and architecture.

      Next exhibition at the EXPANDED ARCHITECTURE International Architectural Film Night Carriage Works Sydney 6th November 2010.

      Deadline for submission for consideration to exhibition 15th September 2010
      upload to expanded architecture on Vimeo.  http://www.vimeo.com/groups/expandedarchitecture

    • Blog post
    • 6 days ago
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  • 41600_129019340469156_8872_n.j 41600_129019340469156_8872_n.jpg

  • Q&A: Martin Boyce Q&A: Martin Boyce

    • From: gailtolley
    • Description:

      Social Sculpture

       

       

       

       

       

       

       

       

       

       

      Image: Front cover of Sarah Lowndes' book Social Sculpture: The Rise of the Glasgow Art Scene

      One of the closing events of this year's Edinburgh International Book Festival saw visual artist Martin Boyce, curator Adam Szymczyk and author Sarah Lowndes discussing the factors that have contributed to the rise of the Glasgow arts scene since the 1970s. Lowndes is the author of Social Sculpture: The Rise of the Glasgow Art Scene which provided a basis for the discussion.

      Central Station spoke to Martin Boyce before the event about his experiences of studying and working in the city. He was born in Hamilton and studied at Glasgow School of Art. His work includes sculpture and installation and is often inspired by modernist design and explores its role in a contemporary setting. He represented Scotland at the 53rd Biennale di Venezia in 2009 with his exhibition No Reflections.

      Do you think there’s been a resurgence of interest in Glasgow’s recent cultural history?

      I don’t think there’s a resurgence of interest but I think as the history has continued to accumulate there’s more and more evidence that it wasn’t just a burst of activity; it is an ongoing situation that continues to be incredibly strong and healthy. Now you can definitely say that the situation in Glasgow and the art production, culture and music really has solidified as an important centre and I think it continues to attract people into it rather than it just being something happening within it.

      What do you think it is about Glasgow that has led to it being such a fertile ground for artists in recent years?

      It’s difficult to know because I certainly, as an individual, didn’t feel as though I was at the forefront of saying ‘Come on let’s build a situation here’. There were more vocal people around me that would articulate that and then through being in that situation it allowed you to reflect and think yeah of course, this could be a good situation, a situation that we stay in rather than flee from.

      For me Transmission Gallery was a very central thing because it was basically an HQ for people, even if you weren’t on the committee it was a gathering point. And I think that kind of thing was important, but that can be a bar or a café or somebody’s house, just a place that becomes a natural gathering point.

      And you enjoyed your time at the Art School?

      Yeah, it was all I’d wanted to do even though I probably didn’t even know what happened at Art School. Particularly Glasgow School of Art, I don’t know exactly for what reasons, I guess [because] I was brought up in Hamilton, just outside Glasgow, so it was just this sort of beacon of hope. I really thought it was going to be much wilder. I was a bit nervous, [thinking] ‘what if there’s going to be an orgy on the first day?!’ but of course it’s just a bunch of other people like you.

      Were you inspired by the artists who went before you?

      I don’t know if this happened in every other department but I was in environmental art and the way the studio was laid out... everyone mixed quite a lot. When I was in the first year I was part of the fashion show which used to be a bit less about fashion and [more] a big theatrical thing and I remember Douglas [Gordon] had some sort of performance and Roddy Buchanan and all those sorts of people so I think I met them then. So by the time [Gordon] was in fourth year and then left there was a bunch of people in different years who were all friends.

      You were not influenced by their work necessarily, it was definitely people’s attitude, how they spoke about their plans for the future, what might be possible, what they wanted to do and their ambitions. There definitely were a few people whose level of, not ambition in as much as they wanted to be famous artists, but just that idea that it would naturally continue, it wasn’t that sense of ‘ok what do we do now?’ All of that seeps in and stays with you.

      Is it different for graduates now?

      I do think that with art schools there’s a funny thing where people who are a couple of years before you are really influential to other students, rather than other artists that are out there. I remember feeling that quite a bit and I see it when I’ve done some teaching at the art school, you do get this frustrated feeling that people’s levels of ambition are quite restricted. There are always one or two people who set their sights much further, way beyond what’s happening in the art school. It’s not about slotting into the success of someone 2 or 3 years ahead of you.

      You’ve also spent time in Berlin, what was that experience like?

      It was really fantastic, it just came at the right time I think. I’d always lived here [in Glasgow], I’d done an exchange in LA when I was studying in ’95 but apart from that I’d never really lived anywhere else so this opportunity came up and it seemed like a break. We put everything in storage and basically went to this new studio with virtually nothing.   

      Even at that time [2005] it was very popular with artists but in the last five years it’s transformed as well, so many artists and so many galleries have moved there so it’s kind of overloaded, it’s changed quite a lot. It really felt like it was still on the end of its glory period since the wall came down, a real city of possibility.

      Did it give you a new perspective on Glasgow and working in the city?

      There was definitely a sense of being able to view Glasgow from another viewpoint and looking at what had been built up and think about whether it’s still important to go back and be part of that.

      There were lots of pros and cons, it’s just a very different city. And it’s different when it’s home. Berlin really felt like anything was possible because it’s really new to you. Also living in a city where I didn’t speak any German, you’re living in your own kind of bubble, socialising with other artists, so there was kind of a reality chunk that was missing which was very attractive for a short period of time.  

       

      Social Landscape: The Rise of the Glasgow Art Scene is out now in paperback and published by Luath Press Ltd.

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    • 1 week ago
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  • Candle Clock Documentation Candle Clock Documentation

    • From: himynameiscat
    • Description:

      A short video documenting my Candle Clock installation at Gray's School of Art Degree Show 2010.

    • 2 weeks ago
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  • Ice - installation Ice - installation

  • Hand-Made (2010) Hand-Made (2010)

    • From: FrancescaNobilucci
    • Description:

      Duration: 1 min and 20 sec playing every hour.
      Site specific sound installation in the Cafè area of 77 Hanson Street, Glasgow for the duration of the exhibition False Steps

      The track is the recording of an applause created layering myself clapping repeatedly from different positions of the room

    • 2 weeks ago
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  • 'Red Lion's Etiquette' Glasgow 'Red Lion's Etiquette' Glasgow Fleeto Group Show

    • From: mhairisharp
    • Description:

      'Red Lion's Etiquette' - an installation of my work at Shoreditch Town Hall, London as part of Glasgow Fleeto in August 2010.

    • 2 weeks ago
    • Views: 13
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  • 'Red Lion's Etiquette' Glasgow 'Red Lion's Etiquette' Glasgow Fleeto Group Show

    • From: mhairisharp
    • Description:

      'Red Lion's Etiquette' - an installation of my work at Shoreditch Town Hall, London as part of Glasgow Fleeto in August 2010.

    • 2 weeks ago
    • Views: 8
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  • 'Red Lion's Etiquette' Glasgow 'Red Lion's Etiquette' Glasgow Fleeto Group Show

    • From: mhairisharp
    • Description:

      'Red Lion's Etiquette' - an installation of my work at Shoreditch Town Hall, London as part of Glasgow Fleeto in August 2010.

    • 2 weeks ago
    • Views: 8
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  • 'Red Lion's Etiquette' Glasgow 'Red Lion's Etiquette' Glasgow Fleeto Group Show (Detail)

    • From: mhairisharp
    • Description:

      'Red Lion's Etiquette' - an installation of my work at Shoreditch Town Hall, London as part of Glasgow Fleeto in August 2010.

    • 2 weeks ago
    • Views: 10
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  • 'Red Lion's Etiquette' Glasgow 'Red Lion's Etiquette' Glasgow Fleeto Group Show

    • From: mhairisharp
    • Description:

      'Red Lion's Etiquette' - an installation of my work at Shoreditch Town Hall, London as part of Glasgow Fleeto in August 2010.

    • 2 weeks ago
    • Views: 7
    • Not yet rated
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