I FRUITMARKET GALLERY 45 Market Street. 22‘ 233‘ Mon Sat l lam (iptn; Sun noon 5pm.
Illam 7pm
Roman Signer In 2 No\ Sun 27 Jan, I‘ree See prex iew. page 8‘). NET. ’3 lfjt,"l
I NATIONAL GALLERY OF SCOTLAND
Ihe \Iound. (LY—1 (TZINI Mon “ed & I’l'l Sun Illani Spin. 'I‘hu Illam 7pm. William Blake l’ntil Sun 4 Nov I-ree, Works on paper b} one of the most gilled and influential ol all I'lllllitllIlL' artists. Illl\ exhibition has been planned to eelehrale the 250th annt\etsar} ol the artist's hirth l/‘xSI Cl lANCE V) SIP
SOA A l'ntil I'I'l 4 Ian I‘ree. :\
show ease ol oxer Illll exhibits h} the cream of Scotland's )oung artists. who \le their SQA Art atid Design national eourse exams in lell7 Including paintings. drawings. setilpture. eeranues. lashion and Jeweller}. Joan Eardley 'I‘ue (i Nox Sun I3 Jan. {OIL->1; undei lls free). .loan Iiardle} l\ best known for her photographs ol ehildren playng in run- down (ilasgtm tenements. This is the lirst major retrospeeln e of her work lor almost 20 )ears and will include oils. pastel sketches. works on paper. and photographs ol the ill'll\l herself. Nl‘ W St l()W
Indian Interlude Sat ll) Nov Sun 3 l'eh. lit‘ee. A collection (it I-I Indian miniatures from the lXth and early I‘lth eentury. together with a Mughal \ehool miniature and ten works Ironi John I)rummond Iirskine's day in India. LAST (ll lANCF TO SEE
I NATIONAL MUSEUM OF SCOTLAND
(‘hamhers Street. 2-17 4422.
lllam 5pm. I‘ree.
Jerwood Applied Art Prize 2007: Jewellery Until Sttn 2 Mar.
Illam 5pm. I-'ree. A prestigiotis pri/e in applied arts run by the ('ral'ts (‘ouneil and Jerwood (‘haritahle l-‘oundation with a different medium represented eaeh year. The jewellery makers who made the shortlist this _\ear are Nora l-'ok. Yoko l/awa. (irainne Morton. Mah Rana and. joint winners. Stisan (‘ross and Adam l’axon.
I THE QUEEN’S GALLERY Palace of Ilolyroodhouse. 556 5 lllll. l)ail} 9.30am (3pm; 9.30am ~2pm . £5 (£4.50).
Bruegel to Rubens: Masters of Flemish Painting l’ntil Sun (1 Apr. 'I‘he lirst exhibition ex er mounted ol' l’lemish paintings in the Ro}al (‘olleetion brings together SI works from the l5lh to 17th centuries. ineluding work b) Hans Memling. Pieter Bruegel the Elder and Rubens.
I ROYAL BOTANIC GARDEN (INVERLEITH HOUSE)
lnverleith Row. 553 717]. Smith/Stewart liri 2 No\ -Sun 20 Jan. lllam 3.30pm. Free. New works by (ilasgow-lxised artists Iidward Smith and Stephanie Stewart. whieh employ the sculptural components ot‘ Video. objects. light and darkness to e\plore ideas ol~ disloeation. separation
and disitinettire. NEW SHOW
I ROYAL SCOTTISH ACADEMY The Mound. 335 (367 I. Mon—Sat
ltlam 5pm; Sun noon—5pm.
Victoria Crowe: Plant Memory l'ntil Sun 4 Nov. Free. New prints and drawings e\amining plants and their use in traditional medicine. inspired by the artist's residency at Oxford Unixersity. LAST CHANCE TO SEE SURVEY 07 Sat ll) .\'o\ —Tue IS Dee. Free. I{\hihition celebrating 20 years of the Edinburgh Sculpture Workshop and examining what ‘seulpture' means to us today. NEW SHOW
Alexander Kennedy talks to Andrew Margolies Mezvinsky about his new work at Glasgow’s Fridge Gallery, Southside Studios
Alexander Kennedy Can you tell us about the work you'll be showing at the Fridge Gallery. your themes and subject matter? Andrew Margolies Mozvinsky The show is called Traumatic Ice Cream Dreams and deals with how your mind works when it falls into a dairy-induced slumber. Being mildly lactose intolerant. these dairy catnaps taken in the middle of the day have skewed my perspective of the rest of the working day. So. the figures are grounded in their own specific ecosystem of traumatic dairy-ness brought about by run-ins with death and weather (the local news).
AK You come at the canvas from
two very distinct. almost opposite,
directions. treating it as a place where figurative work creates readable scenarios and as a medium in itself. Can you discuss this tension?
AM" The tension you refer to between the painting as an object and of its illusionary qualities have always fascinated me. The surface of a piece should have just as much interest as the narrative statement the work makes. The scenarios are like quick snapshots. but I don't like to tell the viewer exactly what the work is about. It takes too much away from the viewer.
AK Can you tell us why you decided to use materials other than canvas?
AMI! Painting has always been an inventive artform; techniques should not be limited when you approach a painting. I call my pieces fabrications, to get away from the history of painting. Paintings are ‘untouchables'. Look. don‘t touch. But my work takes more of an active role as an object. People are able to relate to the fabrics I use within a split second. (fashion. quilting - fabric is all over the place). making them want to go up and physically touch the pieces. not just standing back appreciating the illusion of space. but wanting to get into the space itself.
I Fn'dge Gallery, Southside Studios. Glasgow. until Sun 4 Nov.
Wsual Art
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