PREVIEW ART
ART
PREVIEW
Daffy Duck. we do not have to look far before animals appear in one guise or another. For McKee.
this fusion in human imagination comes from a deep
recognition of our common ground. aw . ‘Underneath everything. we know we are animals.' ‘ ~ ' ~ - .- ~. s _ believes McKee. ‘We look at animals and they look
back. We see ourselves reflected in them.‘
.‘ y ~ ‘ ' ', ln Animal. there is no dominant perspective on the u \ ~' H . ., ‘ ' me’nage a Irois between human. animal and nature — instead. there's a selection which moves from dark
brooding over our faltering and destructive
They were here before us bUt we Bug power: a caddis ily larva building its cocoon irom fellatgoqship vaith thifimun: florid-'1'“) an Sistimmc , i ' ‘ ' ce e ra ion 0 every ting t a is sit possi e. don t ledyb get leng. The lateSt 90" 'eat and lewels supplied by an.“ "we" Duprat Celebrated New Yorker Alexis Rockman's resin-
theme Show at GlaSgow’s Damien Hirst's cabinet of animal organs The Lovers sealed montages. for instance. present urban and is on show. as are Dou Ias Gordon‘s video of a llv on environmental deca . The sit w ill with scientific takes on the beasts of the field. g . y y c
its back in the final throes of life and Mark illustrator Cornelia Hesse-Honegger's paintings of Paul Welsh talks to the animals. Wallinger‘s video of copulating horses. National mutated insects found around power stations. In Stud. stunning contrast. though. Hubert Duprat is
‘We love them. We feed them and then. sometimes. In Darwinian terms. these are great white sharks of collaborating with the caddis fly larvae from Loch we just eat them. They give us phobias. remind us of an — higth evolved. successful creatures with a Lomond. providing the raw materials for them to our baser instincts. and occasionally they eat us too.’ knack for getting our attention. The Lost Ark's curator weave cocoons of gold leaf and jewels in the gallery. So runs CCA‘s press release sending news to the Francis McKee has made an eclectic selection of And there‘s an intriguing work from the l930s. human kingdom on a show about the animal artists. offering a heap ofthrills for the gallery- Entitled Vampire Bal. the film by surrealist marine kingdom. stalker. Speaking from his den in the urban jungle of biologist Jean Painleve (a contemporary of Dali and
Animal. a new multi-disciplinary season at London. (though he also lectures part-time at Bufiuel) combines early naturalist footage of the Glasgow's CCA. opens a metaphorical can of worms Glasgow School of Art) McKee says that Animal is tussle between a guinea pig and a bloodsucker with a — our obsession and intrigue with our furry and not- further proof ofthe longest-running fixation in art. soundtrack by Duke Ellington. so-furry friends. Or alternatively. our fear: running in ‘From rock art — the earliest form of painting — to ‘Tbere are lots of different viewpoints within the tandem is a film season at Glasgow Film Theatre. sculpture. the history of art is also of the history of exhibition.‘ says McKee. ‘This is not a big animal featuring such hide-behind-the-sofa classics as The the representation of animals.‘ claims McKee. ‘ln liberation statement — or the opposite — there is Fly. The Birds and Amehnophobia. There‘s also a fable and myth. animals and nature have always been nothing sentimental about nature. Nature doesn‘t care series of talks tackling — among other things — the used as metaphors by artists to talk about the human one way or the other. It‘s about the survival of the history oftaxidermy. and a day-trip to Glasgow Zoo. condition.‘ fittest.‘ Woof woof to that. But at the heart of Animal is the exhibition The Lost From beehive and anthill analogies of human Animal is at the C CA. Glasgow. Fri 24 Jan—Sat 8 Ark. society. to cartoon characters like Mickey Mouse and Mar. The Lost Ark runs for the duration of the season.
m Coosey’s installations within Cinema One transionn the pillars into a
nesting ground ior hundreds oi paper I MONSTASCOPE /’~ \ ,/ \
butterflies that seem to ilutter into » I / \
Iiie in the hall light beiore each 54 Is cinema the greatest art ionn oi the screening begins. ‘ If MEN’S ’0 20th century? Whatever your stand ’ According to Canley, this reilects a . j a M MONS TEE); on this issue, a group oi ten artists the exhibition’s intentions oi ‘letting ‘ ' are out to explore it and take a look artists engage with the building and at the meltdown oi boundaries the language oi cinema and making - between art and iilm. people aware oi the iunction oi . _ "astfifle' -
In Running Time, artists don’t just cinema’. The restrictions oi cinema , . ,1.-. _- inset}. “‘39'?7'*-f€~ . coniine themselves to the gallery space have become a creative .; . , "3"; ‘zw' 3"” space - Edinburgh’s Collective. Th'ey strength. The most immediate ‘ . » I a: L OCH NE 83! _ stray into iilm territory, also showing expression oi artistic crossover is in _ I: ' , . j - i "‘ “ii”- ' ; ’r'»';,.-_ as ' 2
work at the city’s Cameo Cinema. All poster design and Billy McCall’s the work relates to iilm culture and wonderiul spool Cat Up Stand Up, iilm going. It’s a case oi the language masquerades in the ioyer as a
oi iilm iniorming art, says Duncan legitimate poster. it also heralds Canley, the Cameo’s visual arts McCall’s own iilm, being screened coordinator. There is certainly atthe Collective. llere, you are A , r: Widen“ 0' "m- mme'ised by "'9 99"“9 "Films 0' Creature ieature: llessle stars in Billy McCall’s Get Up Stand Up " At the Cameo, Ewan Imrle’s Class Loch lless waiting ior McCall’s iilm Struggle shows photographic star to suriace. lassie Come Romeflhen again, Scott cinema have traded places, taking on portraits oi bloodied and mangled llearby, a model oi the Virgin Mary Myles’s CIY pop video twists each other’s identities. Running Time cars, highly appropriate in the light in prayer stands on a pedestal Morrissey’s words with karaoke shows that as iar as the Collective oi the controversy surrounding opposite a TV screen. Is she perhaps vocals. Myles’s photographs, along and Cameo are concerned, this is the Cronenberg’s Crash. Peter a wry comment by Paul Carter on our with So Crierson’s warm interior start oi a beautiiul iriendship. Time is McColdrick’s One Shot has taken the religious devotion to iilm? There is shots oi the Cameo, show how the big iar irom running out. (Paul Smith) Russian roulette sequence irom The even a sculptural arrangement oi screen can be regarded as a work oi Running Time, Collective Callery, Deer Hunter and dramatically videos on top oi the telly - art. Edinburgh until Sat 1 Feb and Cameo, represented it on canvas. Sarita Casablanca, Schindler’s list and , There’s a sense that gallery and Edinburgh until Sun 9 Feb.
The List 24 Jan-6 Feb 1997 61