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i AN HALPERIN Doggerfisher, Edinburgh, Sat 27 Oct-Sat 8 Dec 2007
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their thirrl decade. butit ties in with both 'er riorirailir, ti;rrir,»erarrier‘t and her taueiriatioii with the Hfléill’fl‘lfl‘ip between geological ptte'ir/tr‘ierta and rial, lite. rtll interest Much has taken her to tire tar illllK} (others (it the world
llalperiii takes a number ot iriter related starting points such as this .oleano .iisit. and .‘.iea.es a narrative out ol them. In this case. field .‘rork in a iiiairiiiiotli (gave, a i:oii./ersation With a geologist in Glasgow about a crystal shard and an interview With an arctic explorer in laplarid all arose from this birthday ‘.lf3ll and were united in the proyer:t 'Noriiadir; Laridriiass'. As the artist points out, each story uses geology as a language to understand our relationship to a constantly evolvnig woi‘ld',
Halpei'in works With a range of iriaterials to playfully engage the Viewer, trom drawnig and photography
to installation, watercolour. etching, like it has been planted right inside your brain and \/I(:(,’;) tillltl}l:3)(ll. ln llllSHUl)(txillllltlrg PHOKBHAPHY' SOL“ plum :eetms to s'pinhand fl'olat nexatlonfilelge Mruck;s ‘Etvery d ex ii )I ion - a periri WI ex ii )I re . ic ure , w ic spar es WI i e squares o sa ura e protect "Towards lleilprin Land', CROSSINGS colour. bringing together documentation of Mackintosh Gallery, G|asgow school of Art, until Sat 3 Mruck’s juddering digital flick book, which many iiiter'conriected encounters Nov 000 accompanies her print, is one of the most unexpectedly including conversations wrth successful works on display. Unexpected because the Voleariologists and a Journey aboard a The fourth annual exhibition of staff talent at GSA format - a screen quickly jumping between thousands ship to north east Greenland. Halperiii presents an extremely patchy round-up of of sometimes silly images (15 images a second) — engages us not only by riiakiiig photographs, prints, and electronic media by a usually repels. The work comments on the viewer’s tragically beautiful iriiagery but by collection of some of the school’s technicians. The attention span, which rises and falls between a myriad setting us a challenge. (RoSie LessOl show includes work by eight artists: Stephen Jackson, of micro emotions, the banal and sublime moments of Ian MacFadyen, Aoife McGarrigle, Helge Mruck, Sandy the artist‘s life reduced to a few brilliant milliseconds. Smith, Harald Turek, Hugh Watt and Kevin Pollock, with The rest of the work on show is technically proficient, most of the work dealing with the theme of home, as well finished and concerned with making simple indicated in the show’s sprawling title. statements. It is difficult to indulge or develop an There is a strong yet subtle curatorial backbone that aesthetic program in a group show, so the work is holds the show together, and manages to create fairly reduced to propositions and conclusions. Only a few interesting, if slight, formal relationships between the artists manage to get beyond this hurdle and objects. That said, it was a very bad idea to hang the significantly sustain the viewer's attention. Aoife work of Stephen Jackson in the same place as Shauna McGarrigle’s inky landscapes demonstrate a talent for McMullan‘s who dealt with almost exactly the same recording and manipulating Chiaroscuro, for example, issues in her formally similar photographs last year. and there are moments of sheer visual pleasure in Sandy Smith’s surreal tree in full blossom, constructed Hugh Watt's films, but technical brilliance is not always out of different coloured pieces of flimsy paper, feels enough. (Alexander Kennedy)
INSlALiAlION. SCULPTURE AND FILM ROMAN SINGER: WORKS Fruitmarket Gallery, Edinburgh, Fri 2 Nov-Sun 27 Jan
Roman Sigiier's sculptural happenings. deind as they are of nostalgia. reference or history are usually r'eceiyed wrth a man/eIIOus grin. Conventional riar'ratix.ie is displaced by simple Signer happenings such as a floating plastic bag. a rolling barrel. \.’\’ll0ll approaching his work, we are prompted not to question what is happening. but whether it is happening at all. What are presented Wllll is not encompassed in the trinity of past. present. and future. rather it is a one-off event.
This at first appears a simple notion. But Signer's dynamic and often explosive every day obiects. while absolute. remain battling. We are unable to apply our habitual ways of wetting and reading the yy orld in representation due to the sensational nature ot his work.
This Site—specific exhibition presents both recent and past works: a mix of objects. installation and film. Signer's maror lley‘. installation deals in the currenCy 0t the old by re-contextualising ten of his experiment” films. Playing inithoot rules. the artist's filmic dlSlLlliCIlOfl creates a pernt oi creatiye rupture. '.‘.‘lllC."i ~.-.'orks to illurriinate the conceits which haye previously shaped his art.
This exhibition mll charmingly told in on itself to both shadow and S.‘.’allO\“. the artist's greatest Curiosny to date — sculpture. This fascination dominates Signer's practice. driying him to test the mediums limits in a bid to determine the yer, rules by which it is goyerned (Rosalie Doubal).
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