Monthly Archives: February 2013

‘We Are The Imagination of Ourselves’ – Bill Hicks

According to Netflix, I have a predilection for ‘mind-bending’ films and considering my love of all things David Lynch, I would say they are probably right. Which is possibly why I greeted Melanie Gilligan’s video series Popular Unrest, installed at Stills as part of two-centred exhibition ‘Economy’, with a warm sense of recognition.

‘Economy’ at Stills, Edinburgh

The characters in Gilligan’s series are brought together by the realisation of the binary relationship that isolated individuals have with each other in contemporary society. In an increasingly digital world everything from our economic transactions to our social ones are done electronically. The nature of mankind, life, and the soul boils down to numbers, like a code. Hence the real or imagined but theoretically possible threat of technology developing consciousness. In this way the quintessential question of the nature of reality can be seen in terms of digital economy.

The Role of the Image

If this sounds heavy or particularly abstract, it should serve to illustrate the concerns of the curators of ‘Economy’.This is not just an art exhibition, but has political and philosophical overarching themes which not only analyse, visually, the more obscure definitions of the concept of ‘economy’ but also, using the opposing functions of pathos versus tragedy, examine how a visual image operates within this concept.

Survey Says…?

Unfortunately, an iPhone camera does not do justice to AV work such as Gilligan’s. The show includes photography in addition to video pieces, including Andreas Gursky’s memorable image of the Chicago Stock exchange (see below). While this particular example may be an obvious link to the world of commerce, works such as Chinafrica by Paolo Woods subvert our traditionally eurocentric interpretation of colonialism. The content of ‘Economy’ is too broad for a singular blog post: this is a fabulous exhibition, I cannot praise it enough. It is an intelligent, deep, and wide ranging exploration of a loaded concept, not easily digested in one sitting. For me, a return visit is a necessity after an amount of time to ‘debrief’ and have a good think! I think it is one of those occasions where an exhibition possibly raises more questions than it attempts to offer explanation for, which is testament to the thorough and inspired research behind a complex and impassioned subject matter.

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The Critic Sees

I had an enjoyable lunch hour this week trekking round Kendall Koppe and Transmission galleries in Glasgow. The show at Transmission includes performances, which I missed, so I will write about that once I have caught the performances.

At Kendall’s, meanwhile, there is a two-man show of works by Craig Mullholland and Zachary Drucker. Drucker’s contribution is a film and accompanying light box image of drag artiste Flawless Sabrina, while Mullholland is showing three linen prints on the walls, as well as simulacral box of cigarettes and a ghostly jacket. I say ghostly because it’s puffed out as if being worn by an invisible man.

I’ve no idea if the jacket was ‘readymade’ or not, but it brings me nicely to the Jasper Johns reference in my title. ‘The Critic Sees’ centres on a pair of eyes looking through spectacles, simultaneously mocking the critic by subverting his role from that of onlooker to that of object on display. Crucially, however, it also reminds the viewer of their own relationship to the object: they are external and bring their own ideas and preconceptions to the table.

Mullholland’s Dadaist jacket stands in
for us as we look around the gallery, and temporarily forces us to step outside our physical selves and draw attention to our actions as a viewer. Similarly, his linen prints, with slogans like ‘refresh me’, play on our preconceptions to the nature and traditional method involved in their production. As to the intent behind all this, it’s maybe too simplistic but it could easily refer to the subject matter of Drucker’s film which is after all an exploration of identity and representation in microcosm.

As for the gallery, their accompanying text mentions ‘normative efficient embodiment’. I can’t say if that particular nugget corresponds to my interpretation or not, but maybe it will work for you!

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Susanne Junker

Susanne Junker

Guest blog I did for TYCI on artist Suzanne Junker in January

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So, the New Years Resolution then…

On my days, I have just checked my little archive and seen exactly how long it is since I last posted on here. I know I’ve been busy with Postgrad applications, but still! I could do a quick whizz round the latter part of 2012 and try to cover the various exhibitions and arty goings-on, but really I think time would be better served just keeping on top of the present! So the next few weeks are going to include Nick Evans at Tramway, Easy Does It at David Dale, and a little jaunt to Edinburgh, to name but a few. To round off on a good vibe, here’s a snap from the Niki de Saint Phalle opening at GoMA in November. The theme was headgear, which coming straight from work meant a fedora for me, not madly exciting! Image

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