La vie en Rose by Martine Myrup
l’l l()l()( MAM lY INST/1H Al ION FLORENCIA DURANTE - LIGHT ACTIONS Corn Exchange Gallery. Edinburgh. until Thu 16 Mar 00.
Supported by Nawhlue Desrgn, rt rs ohvrous that the newly opened Corn lixchange Gallery rs suttrcrently funded to pursue rts purposes wrth the utmost conlrdence and elegance, Thrs elegance -— a word whrch the reader may want to read wrth crr<:umspectron -- rs a desrrahle gualrty to present rn the large receptron space hetween a protessronal desrgn company and rts clrents. Thrs desrre sets rt apart, from the smaller. artrst—run spaces rn Edrnhurgh that l'OJOCl thrs veneer.
Lrg/rt Actrons hy Florencra Durante rs a collectron ot photographrc rmages whrch explore the medrum's relatronshrp to lrght, space and the otherste rnvrsrhle traces of an ohrect's movement over trme. In the lower gallery these Images feature a partrtroned corner of Durante's studro rn whrch the 'partrcrpatrng' charrs (sometrrnes suspended as rt rn rnrd motronl are host to dynamrc streams and tlows ol lrght. Upstarrs rhy apporntmentl the trgure ol Durante's uncle rs consumed by thrs lrght rn a photogrz’tphrc rather than sprrrtual way (though such connectrons could he madel.
As Dave Beech argued rn hrs crrtrcal response to Julran Stallahrass' Art /ncorporated. to focus on art "s commodrtrsed propertres alone rs to he srlent to that whrch escapes. 'l‘hrs exhrhrtron does complement thrs space. but lwrth rntellrgent supplementary materrall rt rs executed wrth enough rntegrrty to engage wrth some tarrly rnterestrng rdeas. rJames Cleggr
Solo silla - Silla sola
MARIE-JEANNE HOFFNER, THOMAS STERNBERG MARTINE MYRUP MICHAEL wunsmAue’n - THE MAID OF bomN'rH Market Gallery. Glasgow. until Sat 18 Feb 0000
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the .!e.'.er :n The av.r\‘.'.ttrtt ;t ‘sfmn rt lot mrx‘ :y.'..". ‘n 1'» arms" v of her hrr‘rsea‘. ‘Stg'tacel‘ro,efee' ‘:;‘;r!'1rltttl, planar (‘H‘TlV'YTW‘KIrt' otrtrrne the rear salts .>' the ;a,rer\, A". is sandmast r;r. r‘tt me» ' the hack of «mt hear) ltrwrnas Stnrntteri; ex' rnreu rrr‘ nan r" rtu ‘Spvrt Cnarr' rs {Janet} a.'.a. to "err rw‘t'rrrrrt'test., t .tre. .rt 1e fr support rts own werght ‘lhe “.‘.’ttrsrerer' sees a at Her and t- v t:
rendered useress rn cloth, In a wit-o 'lhe He er‘ar :rrrer‘t tin:- firrf'w'
‘)r‘\/(}lll‘tll“_ STUN‘Il‘t‘fl;Blfcrttgré'kf .'.r2,?\ ,'"lr\"\‘,lv ‘. r “ ’t. ".4 UFJ'JrIKf) k)? «I f‘ >l'tj‘tfl ‘Urlr “H'n'fi; ‘41 )H ' 1' ' t I ll: ' t l‘ H t 'H D' r
as a med tatron on the use r". art ot selt imposed amtramts
Gr".en that her peers 'ewl ‘rt process Martrrre Mart, _rt first ‘n:2.""2, HKe a trsn out of Later. She projects a frlm of a hamster .r‘ rtzr powerrng a musrc hox that wont, sounds 'Non, \Jr- Ne Regrette Hw' It Is. needless ti) say rather Jlt'lrfi‘JIllt) 1;; fend a hamstert )1 tr, morrng as a myth about me, loss and the orrgrns at art rJack Moltrarnr
V',‘ it 46 -r_
PAINTING AND DRAWING JON SCI-IUELER: FIVE DECADES Ingleby Gallery, Edinburgh. until Sat 11 Mar 0..
Intended as an unottrCral accompanrment to the Scottrsn Natenar Garter, at Modem Art's Schueler retrospectrve The Sound of S/eat. trxrs smaller show offers a broad remrt — to rnCOrpOrate samples of the artrst's .vork from each decade rn amen he was z ctrve and recognrsed. from the 1950s up untrl hrs death rr 1392 As sucn, wrth rt herng spread over 21 preces. y0u feel lrke there are some gaps rn the chronology. even thoegh an ovemew .vorthy of rnvestrgatron has new put tog :trxer
The exhrbrtron begrns Wrth Schueler's early career rn 195% Arrrerrca, The ‘95-”. Rhythms MN New York;' serres sees hrm employ an abstract and seerrrrngl, arbrtran. form of ‘actrOn drawrng'. a serres of grapnrte rnarks on paper nnrcn tea/e therr :ntentron to the vrewer's rrrragrnatrOrt. What's rnterestrng to note, none/er. rf, that he reverted the same method agarn rn 1990 wrth' Pendrng Possrorlrtres rv New YOrkr'. a larger work rn coioUred Orl, whrch bears the same formal technrdue
Eisewhere. the Show deals rn WOrKs rntluenced b, Scnueler's trme rn hrs other Sprrrtual home. the vrllage of Mallarg to Scotland. lnsprred by the local scerrer,, h:s more aostract .‘rO'k leads to a serres of studres rn colour nhrch beautrfull/ exoxe the natural world. ,et don't hurry to recreate rt rn detarl. Work such as 1968'; ‘Felt Red rn Seund' and the pertecty understated cloud Study 'W/C 518 rRorrrasargr'. present trne examples of Schueler's abrlrty to let hrs vrewers' rmagrnatron do much 0‘ the work. (Davrd Pollock)
ti, Feb—2 Mar 200‘) 'I'HE LIST 93