MIXE. L) Mt. [)IA COOL HUNTING: THE ORIGIN OF IDEAS Talbot Rice Gallery, Edinburgh, until Sat 9 Jul 0..
It's a tough task that the curators and artists involved III this latest group st iiw at the laltiot iiith have set tt l(?lll.}()iv(,‘LS. Given that ‘eool hur iiii ig' is a bun Word given to tl i0 :sourcii ig of new tiei ids in fashion and lifester :,i ioi 1 ‘ll ig, ti ie work on di:;ptay here hat; to occupy the space in between art and LUIlillltflt e wr iile iii i ii g the pier. {MINUS tialai l(,(,‘ neither way. Mr. ‘l(3()\.(}r, it has to ueate hour the inipennanent ‘- let 5 tie hr *llflwt about this pressure loisti; upon us.
Does it work? Well, kit id of . . .. lake Ar igu; l lood :; Work, for main; ii), an ui iiitled series of pretiily st iaped [fill its and coloured boards. the cor Litiitfldlltlll (.t wi ll(,il i)ltl g ; home just wl iii,h of our aestl ietie buttons aie ui iki ipwii .gly in ,i ii «i ever y day. \et ilk) 'Ui iiiiled iW, yegiia)‘ st rows up this very tiiii ikirig - a SHIV; ot tiiown paper bags. aiiai iged in tlowii :9 series on the tloor ai id t.LL.i( rllli wt v. their own coloured pitterii ;. yet fill“ toolii ug Very lllll' ii like a t iii Ii ii til i .ii ~‘l i‘iitjti.
iilliS teetrr ig is eel ioed tiy Keiiy l laikei s Iigi it handed aigiylie views of last iioi iatile liguies in (lose up or III iiiidsl iot. the hi ie i‘tletf‘t‘ll m ieti tt’l ti l‘ y '<?l)'(“%t*iit an auihei iiii; period [HULU or a retro iiioi,l\iip blunii iii in ti ie niii id. fit; With Lyi .rliggiy Mar “.3; ‘11 r or it l(?d( tI()ii tor the big} allmetiuu . . :.iiiii|ai|y tiiiieli)<,ked images. the or fly trouble is. it s quite hard to tell it ti wise artists aie celetiiaiii ig or inoclii ig the cool hunter. the oveiiidii 2g feeling aiier seeing the show is that the hunt toi ( pol only tind ; itlilelt‘I {wt pl (‘lli‘ our 3 iii-w (It the", ear ii tinie. (Hindi pilot l)
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Visual Art
MIXt D SHOW DEGREE SHOWS 2005 Glasgow School of Art & Edinburgh College of Art, now closed
The degree shows are bewildering affairs, with an impossible amount of work to take in. In this context, two types of artist have an advantage: the noisy ones, who draw attention, and the quiet ones, who give much-needed moments of calm.
At Glasgow School of Art, the noisy gang were out in force. Heather Spackman‘s installation gave visitors a numbered ticket corresponding to a vast array of false beards and paper glasses. Donning these disguises, participants then pinned Polaroids of themselves to the wall. Darren Cullen encouraged participation too, with a cubicle plastered with images and text, all to be viewed through 3D specs. At the quiet end, Gites Gilbert’s studies of crashing waves were, for all their violence, oddly calm, freezing the boiling sea. Laura Edbrook’s work was also wonderfully still - she layers dismal old cushions until they completely fill a space, a simple sculptural gesture that is unexpectedly powerful.
None of the above is a painter, and that department was the only one that fell flat at Glasgow, in marked contrast to recent years. The reverse is true of the Edinburgh College of Art, where the painters almost stole the show. Helen Catherine Longstaff‘s work (pictured) stops you in your tracks, not by showboating, but by confidently demanding attention, with finnicky grids bumping up against floral motifs. Paul Chiappe is, by way of contrast, one of the quiet artists. His pencil drawings are breath-taking, both in terms of the subject matter - Victorian children stare glumly out of the frame — and in terms of his consumate grasp of technique. Of the painters who don‘t make paintings, Duncan MacGregor-Young is among the best. He has combed the beaches of the Isle of Skye for washed-up bits and bobs, wondering at their provenance, attempting to reconstruct smashed plastic oddments, or enjoying their juxtaposition. (Jack Mottram)
t Alllllllb‘ IN BETWEEN triterinedia, Glasgow, until itiu 7 Jul .00
At war ii, e ai id piei‘i ILU team tiai e; on the large ai id :siiiatl canvases; in Ii iteiinedia. Jai kie I‘Vltitfltwfll and Ir iliy N1(3t§i§(3l iger exi iihit the flip side ol the same ii >i..ti=n.olr «ii; at t,( illl - living and iiotliiiigiiesf; suspended in the anitier of ran it. Ar l(i(3l:i()tl15 pi iiiiaii;,i t i i i ii in: i i:i:.2;ii lg tnrougn her (41”deth (MUM be from ai v, Wt mm. the am iei y to nor l' to zeiipt ai id the llgtllOS. iii ubiquitous urtiaii g.iit):;, help to tileaih out l‘i)l.3()ll{iilty. ‘St Lnoeh Siiuaie' stands out how its height l()lll.} -- a iigiiie is. d: iul ile exposed. tuiiiir ig mm id to look at itself. :;plit,ii ig lii lt‘itI tinie wiin (it‘t.()l i..iiui.tive :iiinuitaneity. t iguieis become tilie:;, opening and (,it) ii iii in the {sill iligi it. Alltit )tl Watts crisp tolds becoriie tinted game that barer terms; to Lieile the WWW iti<,:; of a late or its tlattened out. iniiiorii ig the white waltz; ilt‘lllliti the lguier; and t ()ll(?‘,liiilidlllg With the Hat suppoit.
li‘ii ,h ( olizur and tnitk paint gii JD“ on Messieiigei 1; paintings and Loristiut tioiis. l er 4 :le are “it .;.ii :g but the pn'tty patieii If; and sculptures, the roads and tiuiidii IU‘S they have tell. i( iol; tietter loi it. ‘Veige' If; a iiiildly depressing (,t)l|llt()“.ill()ll_ but Mr :ke:; unnioiiir ig memories of duvet days. Glasgow rain and tiiiliard Uiehenkoni. Soiiie ot tne pastel. r,l i;iii,oal ar id spaise per ItLli drawings (‘lioad' and ‘Up from t o op i,ar park) Vibrate With eniptiness and longing, yet summer iitlll till; ti ie i l.t(_}i‘.; til p. «l iik in his sketi i ii» iota. (Alexandei Ker ii ieily)
/’ /_l Jul 2(le) THE LIST 91