Wsual Art
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The Exhibition: The forest You live In Need Not Become a Jung/e. a collaboration between anonymous graffiti artists ijlph and Dist, in Edinburgh bookshop Analogues gallery. It's a wonderful. hallucinatory tableau, which incorporates some marvellous (it) trickery. relief paintings and a detailed. intricate background filled With hidden texts and odd Anrme» influenced characters. It's a work of uniquely contemporary vibrancy and Visron that deserves vrewrng before it's painted over. Elph explains more.
Beginnings: ‘There's a wall up the road from where I live in Drylaw that we still paint on. It's like going to the football, a hobby for we older men! And it's much qurcker outside. you can finish something in two or three hours.‘
Inspiration: “I remember lots of famous 80s graffiti artists from New York and Paris came to paint a five-a—side pitch in Livmgston when I was young. They were real, not like rock stars. and you could talk to them.‘
Self-image: ‘I see myself as a painter, a low-brow artist in the same line as peeple who used to customise hot rod cars on the American west coast. or cartoonists like Robert Crumb when they started to exhibit in galleries. '
Impermanence: ‘This show started with a graffiti piece which has already been covered up. It's lust like spraying on walls Outside. the way paintings are covered by new paintings. although I did record the process and I‘d like to make an animation of it.‘
Anonymity: 'l'm not an outlaw like Banksy. It’s just a persona — although I remember painting a wall a few years ago and meeting these kids who thought “Elph” was a gang. They didn't believe it was me!‘ (David Pollock)
IAna/ogue, Edinburgh. until Sat 11 Feb.
94 THE LIST c‘ w i-et‘ soot;
Elizabeth Ogilvie
I ROYAL SCOTTISH ACADEMY 'l‘hc .\lountl. 335 (ibi’lt .\lon Sat
lilillll 5pm; Sun noon 5pm.
In Residence: The RSA at Hospitalfield l'iilil Sun I: l'ch. \Voi'k If} Killt‘ ( )\\cii\. \liii‘tinc \l}i'iip. .\nn;i (irii) :intl Stixiiiingih Slcwnx plti\ iicu pi'oicctx ll‘illll ill‘ll\l\ ;i\\;ii‘ilct| llospitiilticlil l't‘\ltlL‘llL’lL‘\ h} tlic RSN lASl (ill/\Nfil if) St E.
Visual Arts Scotland Open Exhibition 2006 l'ntil Hill 33 Mb
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I SCOTTISH POETRY LIBRARY
5 (‘i'ichton's ('loxc. (Xinongalc. 55" 337i» .\lon l'i'i llitlll (rpm; Sat noon 4pm. Through the Letterbox l'ntil Sdl l l‘ch. l'i'c‘c'. :\n c\hihiiion illuminating lhc making of ;i hook containing llillhlh \xi'illcn h} lgilc Scottish Rt'llill\\itll(k‘ pocl. (icoi'gc lli‘ucc. illlkl illuxti‘ulctl h} lili/al‘clh Blackdiltlcit lASl f NANCE if? 8i i
I WESTON LINK
llil\\llltll'lltlt'll lcctui'c 'l‘hculic. \illlftllill (i;il|c‘i'}. thc .\lotiiitl.(i2-1o5(ill
The History of the Venice Biennale 1895-2005 'l'uc " l'ch.
o 8pm, l‘i'cc hut tickctctl. In thc first of tuo \pcciul lcctui'cx. |Ulll'll;tll\l l'.n/o |)i \lifl‘llllil loolo ttl lllL‘ lll\li\l'_\ Ul lllL‘ i‘cnou nctl :ii't lt‘\ll\ill.
Poets, Portraits and Landscapes of Modern Scotland: Part One Thu 0 l-‘ch. o 7pm. l‘icc. 'l‘hc first ill if \L‘I'IL‘\ of [him lllll\ll';llL‘tl t;ilk~ h} x\lk‘\illl\lL‘l' .\lot't';it and Man RlilL‘ll look\ .it inotlcrn St‘ttllhll poctx ~uch ax llugh .\l;ic|)i;it‘mitl_
Looking Back: Contemporary British Portraiture in Historical Context Hi It) l‘ch. l2.45 tillpm l‘i‘cc. Talk on poi‘ti'uittii'c h) l)r lzmilic (iortlcnkcr focusing on thc intlucncc of the Dutch ()ltl Nltixlcrx.
The Scottish artist has dramatically transformed Galleries 1 and 2 at Dundee Contemporary Art, bringing water into the space and flooding it with the many ambivalent connotations it evokes.
I [)(j/l, [)[l/il film .‘i/Ifii‘ \(L‘M‘ 7 f w.‘
Selective Memory and Illusion lut- l-l l'ch. III-l5 l.‘~flpin l'icc. l)l l’clci Innionl (ll\\'ll\\t'\ lllll\litll .intl \ l\ll.ll li'ickci‘} in l'L'lilllilll to llic curicnt c\hihilion.
Private Galleries .
I AMBER ROOME
75/") (‘uinhci'liiiitl Sli'ccl. 55H “53 \Vctl Sal llillll (ipiil
Jo Milne Hill 3 I'ch 'l llll 3 Mai \\'oik c\ploi'ing thc \xor'kingx ot lccllllolog} iinil coilctl coininuniciilirin through l‘tlllll Ni Si if
I ANALOGUE
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The Forest you Live in Need Not Become a Jungle l‘iiirl Silt l l l'clt. .\'c\\ \xor'kx h) lzlph ;intl l)l\l Scc ltr'olilc. lc-ti. l/«s‘l "xii/1‘.“ E " i 41,? E
I CORN EXCHANGE GALLERY ('oirxiriuiron Sim-i. Sol ‘ \iiii, \M-rl xii
I |.im 4.30pm. l'i'cc
Florencia Durante Thu 2 Mb 'I hit lo \l;ii'. 'l'hc inaugural c\hihition loi‘ llll\ nc\\ giillci'} kicks ott \\llll photographic \kill‘h\ h) llih .-\i‘gcnlinc;in horn. l ontlon l‘ihL‘tl ill'll\lt “it 51' i’/.'.
I THE HALLION
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Rebus at the Hallion l‘riiil Sun I: l’ch. I)I\Pl;l_\ ol imugcx from lllc hook Rt'l’lfl '\ Sr Ill/(UNI. l’uhlic \icuing h} prior .ippoinlincnt on|_\ f “59.5; it SE E
I INGLEBY GALLERY
o (Lii‘lton lci‘i'.icc. 55o -1»1Jl 'luc Sal lfl.im 5pm.
Jon Schueler: Five Decades l'ntrl Silt ll \lui‘. li\hihition incorporating lixc
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I INSTITUT FRANCAIS D’ECOSSE
lz Randolph (’icxccnt. :35 51tm
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L'Art Elementerre Nordique l'iiiil \ii ll lcl‘ l'icc l’hologmphic c\hil\ition h} l‘icnch pliologi.iplici \icol.i\ Honnc.iu. c\ploiing tlic lllllillL'H iii-,3 c llllltllLW ol \oithcin
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Northern Light \\c-tl l5 l ch \.ii 3" \pi licc ('oniplcnicnling lhc \ iiiicnt lurr [til i \ porti.iiluic \‘\llll‘llli‘ll .it tlic (‘it_\ \ll\ ('cnlic. llll\ \lll‘\\ inc lll\l\'\ .i \clcciion of “ink lioin conlcmpomu \colli\li photogmphcix \II\ h ‘i\ (alum ('oli Ill. lmcph \lcl\'cn/ic. ()\\cii l og.in .intl lx’ulh \lllllllf.‘ ‘5 ~'i '
I ITALIAN CULTURAL INSTITUTE
.\_‘ \I\i\l\illl Sliccl. fifth .T.‘ ‘3 Mon lii lllJlll lpin.\ 3 5pm
The Stairs of Venice \\c.l l5
l't'l‘ “ml l5 \l.” I'ICL' I’lli‘liitfldl‘lllt c\liil\ilion l\_\ Kiko lii\c||.ito. portraying \l.lll\.l\t'\ lioin .lcltl\\ thc ll.i|i.in cit} holh .lll\ icnl .llltl inotlcin \‘f .~" ‘.'. I LEITH GALLERY
(‘5 lllt‘ Sllillt'. l.t‘llll. ‘5‘ T355
\lon I'll ll.im 5pm. Sat ll.un lpni For a‘ that [hill Sun I‘) I‘ch \ii \‘\llll‘lllHll ||l\|‘llk‘tl h} tlic \Hllh of Rohcit litiinx
Watercolours for Winter l nirl \.ii l.\' l‘clt |’.iinling\ h} \loi.ig l lo_\tl\. lh'l‘l‘lc l ll.lllt'. l’t'lcl (illlltllk'llll\\ .illtl l)oiig|.i\ Philip
I OCEAN TERMINAL
I crlh. “I 35 ii
Transit Station Mi l & Sun 5 id». noon mirlniglit £5 Wit" Uri (‘oll.ihoi.ili\c ll\ c .ii‘l pci'loi'in.incc \cl \Klllllll .i 3 ill \\I in \tllllllt'tl li.iuic .intl imolxing .llll\l\ liorii .l\ l.ii .ilicltl .f\ .l.ip.in. |£oli\ i.i .intl Sum lo clt'illt‘ .in mm changmg i.ihlc.iu Ni ‘ii W l‘.‘.’
I TRAVERSE THEATRE ('.iin|\iitlgc Sti‘ccl. 333 Ivlfll \lon Sat “Mill initlniglit; Sun (rpm iinrlnighl Love Don’t Live Here Anymore l'iilil Slit IN l-ch, Work oltl unil ncu ll'tllll pioxoc.iti\c pop .tl‘ll\l Bruin (lukc 15")” ll/xllfLF l( i Fail
Artist Spaces
I THE EMBASSY
“(i I'..I\l ('i‘oxscntiwun). (m7 2303
Hill Sun noon (rpm,
>l< Great Artspectations .000 [mil Sun 5 l'ch, \c-u Work h} i'cccnl Scottish .‘\ll School gigirltiiilcx Killlt‘ ()i‘lon. Rind} Smith .inil Roxic \lc(iui'n \cc i‘c\ icu. p.igc ‘)| Mid llllllNl. l/iSl
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I PATRIOTHALL GALLERY \\'.I\SI’S l’atr'rolhull Slutliox. olt ~13 ll.iniillon l’|.icc. 335 IZX‘) Mattress Elegies l'riiil Sun R l-t-h Solo c\hihilion h} l)l)l‘|\ Vocltci' cxploi‘ing lhc lhcnic ot lllL'lllUl'lL'\. tli‘c.iin\ .intl (IL'5ll'L'\. l/‘A'wl Ci iNlCE SF l
Tim Taylor in If) Wed 22 Mix Installation uork "\lf 8‘ if»?
Outside the Cities
I DUNDEE CONTEMPORARY ARTS
l5: \clhcrgiilc. fl] is: iiiiiiiiiiii. 'l'uc. \k’ctl. in (K. Sat lft.‘~fl;iin 5.30pm; ‘l‘hu
lflilldin hfl‘sllpm. Sun noon 5.30pm. Elizabeth Ogilvie 00.00 l'niil Sun ll l’ch. Minor ncv. lll\litllilllf)ll h} thc SL‘tillhll tlflhl cxploring the changing flitlllrL‘ ol \HtlL‘I’. LAST CHANCE TO SEE,
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