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).