Shed Summer Residencies

Anna Tüdős

Residency Period July 2018

Anna Tüdős is a freelance curator interested in exploring hidden histories and under-represented issues often through unconventional ways of mediating art. She often works in collaboration, with art forms such as installation, performance, happening or intervention.

Her current research examines playground structures and ‘the child’ and its play in artistic practices. She draws from architecture, urban planning, but also game theory and elements of play: chance, failure and self-organisation. As nowadays the question of free play becomes political, she identifies art as a tool to explore how necessary social change is prevented from taking a violent form through play and experimentation.

Anna will be working in collaboration with Maria & Henri & Sylwia Osiecka on her project Enthusiasm whilst in residence.Enthusiasm is an installation occupying the negative spaces at the Studio Pavilion. An abstract drawing created for the court space will function as an obstacle course where various graphic signs evoke physical movement. Visitors of all ages will be invited to test their 2D playground!

Anna Tüdős (b. 1993) is a freelance curator from Budapest, Hungary, based in Glasgow. She completed the Curatorial Practice (Contemporary Art) MLitt course at Glasgow School of Art in 2017 after her studies at the Hungarian University of Fine Arts. Her recent collaborations include Over Over Over, an art exchange between Detroit and Glasgow, 'MARCH ON' at Kinning Park Complex, and a research project with the Neon Muzeum in Warsaw. She co-hosts the show 'Radio Dacha' on Subcity Radio exploring the notion of the “East” through discussion and music.

 

James Winnett

Residency Period June – September 2018

James Winnett is an artist working primarily in public art, sculpture and film. He has exhibited widely and developed a range of public art projects across the UK. Recent commissions, exhibitions and awards include Lace Un-archived, Nottingham Trent University; The Capelrig Stones, East Renfrewshire Council, 2017; The Cuningar Stones, South Lanarkshire, 2014-17; Green Year Artist in Residence, Glasgow City Council, 2015-16; 100 Flowers Public Art Commission, Queens Elizabeth University Hospital; Year of Natural Scotland Artist in Residence, Cuningar Loop, Rutherglen, 2013-14 and The Rise and Fall of the Grey Mare's Tail, Environmental Art Festival Scotland, 2013.

 

Marija Nemčenko

Residency Period June – July 2018

Marija Nemčenko‘spractice combines her theoretical interests in post-colonial theory (adapted to discuss Eastern Europe and the Baltics) and personal history of migration to explore a variety of visual, social and political phenomena relating to a complex of issues, including the immigrant, xenophobia and power. Exposing and tackling prevailing cultural stereotypes, she often employs satire and popular culture as instruments to deal with the seriousness of these matters. She works within the public realm and outside of art circles to challenge these cultural frictions drawing influences from contemporary myth making, including mass media and advertising that are not only self-referential but aim to subvert mainstream culture that infect our memories and thoughts.

During her time here, Marija will be working on the Ivanka Chai project with Kabinetas, a nomadic project space. The project will culminate in a one day event to be presented at the ‘Turkish Market’ in Maybachufer, Berlin in August where Nemcenko will set up a Lithuanian tea stall and connect the two markets and cultures. Integrating the project within the market the work will become an act and space for social exchange, reflecting on the tea’s historic narrative. The masculine name Ivan Chai is exchanged to Ivanka Chai referring to a collective body of women by whom the tea was cultivated and bought from.

 

Michella Perera & Alys Owen

Residency Period June – August 2018

Alys Owen and Michella Perera will spend the duration of their residency developing their collaborative project Imago Hortorum that builds upon the horticultural setting of the space. Using the residency as an incubation period the artists will cultivate a variety of plants, hand-made vessels, and short films responding to and exploring the role of plants in everyday culture, how we use and modify them, how we represent them, and the role of public gardens.

The project combines the distinct practices of the two artists: namely Owen’s interest in ecology and the natural environment and Perera’s interest in ethnography. Together they will explore the practice of ethnobotany, the practice which serves to locate plants within their cultural context and people within their ecological context.

Michella Perera is a Sri Lankan born, Irish artist, currently based in Glasgow. In 2017, she graduated from Glasgow School of Art with an MFA. Perera holds a BA in Sculpture from Limerick School of Art and Design where she graduated with a graduate award from the National Sculpture Factory. Recent exhibitions include Temple bar, Dublin; Nyoiseau, France and Tactic Studios, Cork. Perera has been commissioned by the City of Limerick for public sculpture work and has participated in residencies both in Scotland and abroad.

Alys Owen (b. 1981 in Pwllheli, Wales) lives and works in Glasgow. Recent exhibitions include: Raoul Reynolds, Scotland Street School Museum, Glasgow International 2016 and Raoul Reynolds, La Belle Friche de Mai, Marseille 2016; The Clinic, The Albus building, Glasgow International (2016); The Clinic Summerhall, Edinburgh (2016); So It is, YAKA Collective, The Lauriston Arches, Glasgow (2014); Forecasting, Tehtaankatu, Gothenburg, Sweden (2014); Le Swimming, The Underground Car park, Glasgow International (2014); Lucy Donna, The Underground Car Park, Glasgow (2014); Che Vuoi, The Whisky Bond, Glasgow (2013); Acts of Longevity, The Briggait, Glasgow (2013); 1913 The Rite of Spring, The Hidden Gardens Tramway, Glasgow (2013).

 

Thom Rees & Ruth Switalski

Rees's practice explores shape and form through process and material appropriated from domestic environments and their associated phenomena. Through ambiguous objects and large scale sculpture, as well as situations Rees invites the audience to experience the work through apperception and affect.

Thom Rees is a Glasgow based artist working in sculpture and printmaking. He graduated from the MLitt Fine Art: Sculpture at GSA in 2016. Exhibitions include BOTL BOTL BOTL, New Glasgow Society, Glasgow (2018); BONKERS CONTEMPORARY, Biscuit Factory, Edinburgh (2017);MK Calling III, MK GALLERY, Milton Keynes (2017); Inventory of Behaviours, Blip Blip Blip, Leeds (2017)

Ruth Switalski is a Glasgow based artist working in sculpture and installation. She graduated from the MLitt Fine Art: Painting at GSA in 2014. Exhibitions include Material Objects, GI2018, Savoy Tower, Glasgow (2018); Between preservation and immanent decay, GI2018, Laurieston Arches, Glasgow (2018); About eggshells and other possible becomings, Snehta, Athens (2017); Suck it andSee in the Bedroom, Annuale Festival, Edinburgh (2015).

Glasgow International 2018

20 April - 07 May 2018

Five projects are presented across the site at House for an Art Lover during Glasgow International 2018 featuring new work by Tine Bek & Paul Deslandes, Scott Caruth, Winnie Herbstein, Rosie O'Grady, Alex Sarkisian and Bahar Yürükoglu.

The Studio Pavilion gallery presents As we fall we walk, a joint research-based project by Tine Bek and Paul Deslandes focusing on the concept of mobility and movement by exploring ideals of perfection and disconnection between body and mind. By combining references to the trivial and the unequivocal, As we fall we walk interrogates perceived prevalent presuppositions on our ability to move in a friction-less structure.

Cazzate su Cazzate (Bullshit on Bullshit) is a solo exhibition and publication by Scott Caruth presented in the Project Space. It takes doodles and defacements made to official documents within the archive of the Italian Communist Party (PCI) in Modena, Northern Italy as it’s central focus. Found across manifestos, phone bills, meeting minutes, and other official party documents, the marks signify the presence of bored and/or preoccupied party members.

In the Workshop space Winnie Herbstein presents Studwork that uses video and installation to traverse the masculine territory of the building site. Situating itself within real-life encounters, agitprop feminist rehashing and online tutorials, these short skits demonstrate moments of exclusion as well as depict a community in Glasgow that has gathered around the learning of a trade, in particular highlighting the women’s welding collective Slaghammers and the Women in Construction course at City of Glasgow College.

Rosie O’Grady’s project May Day is presented both in the House and the Heritage Centre at House for an Art Lover. The project attempts to agitate how artist Margaret Macdonald is represented. In 2016, French educators Marie-Noëlle Lanuit and Jean-Claude Piquard created a giant clitoris-shaped crop circle to protest the marginalisation of female sexual pleasure. As Glasgow marks 150 years since the birth of Macdonald’s collaborator and husband, architect Charles Rennie Mackintosh, this project remodels Macdonald’s gesso panel ‘The May Queen’ as a crop circle. Drawing upon a shift in the social and political history of May Day, it explores how crop circles might depart from associations with the paranormal and hoaxes to become a mode of protest and distress signal.

Alex Sarkisian and Bahar Yürükoglu present a new film work in The Bothy in the walled garden. The film explores the artists’ collaborative relationship that began after they met whilst on residency in Svalbard, in the Arctic Circle, and continued until they met again exactly two years later in the inverse climate of Guna Yala, Panama. Whilst in isolation in these remote sites a platform emerged for the artists to turn the camera on themselves and reveal their concerns around their own self-positioning in these particular environments. Conceived as a film installation for GI, the work builds on narratives of the Anthropocene commenting on globalization, cultural displacement and addressing tourist colonialism. At the same time the artists examine their own personal positions within this intimate collaboration and their own inherited family histories and whilst exploring timely political issues do so with an uncanny humour.

Open daily throughout the festival, 10am - 5pm

 

Supported by Glasgow International. Special thanks to The Lighthouse & Glasgow Sculpture Studios (Tine Bek & Paul Deslandes). Supported by Stills Gallery (Edinburgh), Fondazione Fotografia (Modena), Hope Scott Trust Award, Denise Bonnetti and Roos Dijkhuizen (Scott Caruth). Supported by Glasgow International, Axisweb, City of Glasgow College, Hope Scott Trust, Glasgow Sculpture Studios, Victoria Mitchell and the Slaghammers (Winnie Herbstein). Supported by Glasgow International (Open Glasgow Bursary Award), The James Hutton Institute and The Lighthouse (Rosie O’Grady).