PETER KENNARDi- DECORATION AND AWARD Street Level Gallery. Glasgow, until Sat 27 Nov
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twrrrr r u-riisror‘ ot the ‘ili'tftlili',l Haj Livia, the
trorrer. tn n the {Haw-eh: and
will 'eprr rdurtrrrn at full hosr --tal. lhe result rs an/ l’l‘,lli‘ all of seruatwn and no protest.
Kennar: i“. ti()ll£tl)()l£lll()ll ".‘Jll'l (lat l)lzf’.< )ll l’hrllipr ‘A'xxard'. covers the same dround, utter; rlrdrtaf rhetornorrtade to (Lornhrne rnore tlad‘; and unpalatahle rnragjery Atléllll, ster .‘xrnt. out AM sulmtanee. wrth each print lrttered wrth the :lrriital detr'tu‘. spread over images hy adxertmnd r;reatr‘.’es keen tr; positron therr produ<3t as edgy and suh‘x.'ersr\.'e.
(liven the sr‘arr;rt\,' ot anov-xedly polrtreal art. it's a sharne that this show tarls so (:ornpletel‘, to raise the haekles. to rnsprre dissent. to <:hanue anythrnd Instead. Kennard and Melon Phillrpps do little more than prettrly repeat a trursrn that war rs had, allowrnr; the sheen of their methods to overtake therr rn :ssaue. renderrnu rt toothless. [Jaek Mottrarni
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SOMEWHERE EVERYWHERE NOWHERE DCA, Dundee, until Sat 4 Dec and the Fruitmarket Gallery, Edinburgh, until Sun 28 Nov 0...
Defining the art of our time is a grand objective by anyone’s )gxlifiEs AND THE RH|NO PROJECT
standards but France's FRACs (Regional .Contemporary flirt Edinburgh Conege of Art until Wed 10 NOV ..
Foundations) set out to collect, commussnon and present just
that from their inception in 1983. Their status as nomadic, /\ prot :ssor Ill the sculpture departrrrent at Arr/ona State llrrr‘xer‘.rt,. lvlar‘, Hates Neul rauer here regionally based national institutions created an international seems to he presenting) a (;ol|e(;lron of Works whreh sprrnr; lronr deerrledl‘,’ non seulpll iral remit with a local flavour. This show is but a taster of the realms. Around the top floor of the seulpture eourt rn l'drnhurdh College of Art, a seler tron rt 15,000 works in the collections with a loose but apt theme of amorphous, nrultreoloured shapes appear mounted on hoard. Among; the ‘;‘.‘.’Ir|‘, and (3,! Ir Illl', ‘place and space'. patterns and rnushroornrnr; halls rs a sort of transient prettrness, despite their apparent
London-born New Yorker Sarah Morris kicks off the srrnrlarrtres to one of those dodgy, digitally ereated <:hrl|out vrde' if, that (ll’rlll‘:l£ll‘:r’l a derarle Fruitmarket show with a glimpse onto the familiar streets of ago, But what (:an ll all rnean?
New York‘s Manhattan. ‘Midtown’ is a large projection of fast- l ortunately, a reading of the rnaterral whreh a(;(;ornpanres the e/hrlrrlron drye'. rneanrruj to moving shots of crowds, traffic and neon signs set to what might otherwrse rernarn an aesthetreally rnedroere seleetr'rn. l\lftlll)£tllitl. .‘xe are tolr l, dramatic film-score music - a Pop Art ‘Man With a Movie rnodels these Ill). (ll(_)ll£tll‘,’ produeed rrnagjes on flow. of rnlorrnatron m )llllllll tror'r naturaf Camera’ for the corporate age. phenomena, Sueh tar:tors as tr‘attrr; rate. population flux. unrater levels, elrrnate, WNW}.
Jurgen Nefzger‘s photographs of ‘new towns' portray more expendrture and solar aetrvrty are converted Vléi rnathernatreal alehern, into these rjraphr’, sedate representations of the urban landscape in rural reriresentalrons ol the statistics at hand. It's not entirer elear .'/ll|(,ll of the initial uouraeu tl*e'.e France, spanning both venues. Detached houses with tacky, rrnatjes (:orne trorn. althoth the trtle suggests they're sun relate/l. lt'1.alf,o terr.ptrnr; to .‘mrrt t ) sweetshop colours and clipped gardens: the French Barratt trnd out more about the pror;ess, hut one suspeets it's heyond the ten wt rrrere rnortal', homes perhaps? What we are left wrth. then, rs a (,‘unous and well intentioned idea to filter nature throudh
At DCA, Dominique Gonzalez-Foerster’s film ‘Plage’ teehnolody and display the results. Beyond that. however and (ll/‘rll that eael rrnarje r'. features a slow pan from a high vantage point over the huge attrrhuted a most hasro say whatyou see deserrptor llkf: 'Hed l)rape' or Halli/rt l ye' rt" crowds at a festivity on Copacabana beach. The voiceovers hard to accept these sornetrrnes (jarrsh. sornetrrnes hland pie/,e‘. as anythtnd lie/end a paint a sentimental, frightening and enchanting portrait of the (:oneept fulfilled. (Davrd Polloekl city; ‘the biggest drawing in the world - the landscaped
gardens of Copacabana’. In the main gallery, sculptures by Detail of Scotland’s Martin Boyce offer a contrasting otherworldliness Brushstrokes with his striplight tree and dislocated park fence suspended like a sharp, twisted dream.
A predominance of photography and film pervaids the exhibition, perhaps because of its ability to capture and document the world (truthfully or untruthfully), but both real places and constructed spaces are explored through sculptures, painting and even a computer game. If you can bear the city-to-city trek, the show undoubtedly makes more sense as a whole.
It is awesome to think that all the work is just a snapshot of a collection, and is an example of what public collections can be - begging the question as to whether a similar scheme should be adopted in Scotland. (Ruth Beale)
108 THE LIST -2 '8 No.