In their first half hour film frieze asks a host of artists and curators – including Laura Aldridge, Duncan Campbell, Alasdair Gray and David Harding – to reflect upon the past, present and future of Glasgow’s art scene. The film was premiered at the Glasgow Film Theatre as part of the BBC Art Screen Festival 2014 and screened again at the ICA, London.
Without a healthy cultural life there is no self-determination, nobody to imagine nationhood, to generate an image of who we might have been, of who we are, and of what we might like to become, writes Neil Mulholland
The recent future of Scottish Art
Robin Baillie and Neil Mulholland
An energetic discussion recorded over two sessions, Baillie/ Mulholland get to the crux of the issues raised by Craig Richardson’s recently published book ‘Scottish Art since 1960: Historical Reflections and Contemporary Overviews’, which describes its intention as: “Providing an analysis and including discussion (interviewing artists, curators and critics and accessing non-catalogued personal archives) towards a new chronology, Richardson here examines and proposes a sequence of precisely denoted ‘exemplary’ works which outlines a self-conscious definition of the interrogative term ‘Scottish art’.”
A symposium exploring the strategies for communicating contemporary art in the public realm
To celebrate and complicate world-renowned Swiss artist Roman Signer’s premiere of his new work, Transmissions from the River (Übertragungen aus dem Fluss), along the River Bogie in Huntly, Scotland, Deveron Arts is pleased to present Who Are We Writing For?, an intensive peer-led symposium addressing the state of critical art discourse and its role in the public realm. Sparked by Signer’s seemingly simple, yet highly theorized oeuvre that defies any specific genre and discourse, Deveron Arts is inviting a select number of participants from across the UK, Europe, and abroad to join in asking ourselves: Can we be both critical AND publicly accessible when it comes to discussing contemporary art?
From acute curatorial statements, strategic public outreach programmes, to mass marketing materials, how are we interpreting, translating, advertising, and elucidating contemporary art today? And who are we really writing for?
Countersituation is the title of an ongoing series of weekly published pages, initiated by An Endless Supply with Adam Smythe. Each issue is a double-sided sheet of new writing, simultaneously printed and distributed in short-runs and available online as a PDF.
Countersituation will appear weekly online at cs.anendlesssupply.co.uk and, from 23 July to 27 August 2011, in printed form at Galerie8, 195-205 Richmond Road, London E8 3NJ.
A difficult artist to grasp, it’s not my intention to elucidate the full range of Robertson’s misdemeanours and accomplishments. Others have done that both with dull employment and mischievous intensity; send them out as ambassadors! No. Where it seems appropriate, reach out to the creators, their appetites precede them. The search for a new kind of painting begins on a beach in the south of France, imagining seared peinture-mots produced by an artisan skilled in indulging barrenness.
Dabbed and squirted, a small proxy, about twice as good as it needs to be. Only a smaller piece of extra texture is displayed, and it doesn’t matter. No jaded and anonymous shills and pilferers for that mass of matter. One image on stretched canvas. The bonds rupture and the particles move on the surface of the image of an otherwise clothed body, the murmurings of the facture more delicate, magnificent, and tender than any minor historical masterstroke from the 1950s. Drawing strewn here and there. A pellucid bottle green echoes my erstwhile experience as a professional eater, one of pleasure, luxury, and abundance. A puce sluice drips and blobs sans cérémonie, producing a thrill-packed finish as it slowly congeals.
Larger pieces are fully on vapours. A thrilling picture! A dazzling series in abandoned jade and tachisme purée. A luminous emerald slathered before an indifferent public. Dilute browns (known as ‘cinnamons’ in England at the time this goes to press) are a magnificent metaphor for the poète maudit. The striations of the black surfaces, portals into an imaginary 19th-century city, recall the beautiful megalomania of one who frequently wrote to newspapers in support of her besieged friend. Technique mixte. A pillow in relief, painted in the Aquitaine region. All the curves of the model’s body whipped smooth until they turn to garlands.
Merely for diversion, Robertson goes about in odd shapes; in which she acts her part so naturally, that even those who are in on the secret can perceive nothing by which she might be discovered. For that, I’m grateful.
Dr. Mulholland reviewed for Puce Timesfor three years from 1996, during which period he exclusively covered painting in the Zlín Region of Moravia. Although his website www.neilmulholland.co.uk still includes his biography, which can be found through a search engine, it no longer prominently features him.
"Sometimes your past comes back to haunt you and drags you back in to help track yourself down."