Visual Art
I NATIONAL GALLERY OF MODERN ART
N; Ht'ilillii i<ii.iii.(i:»1’\:‘ill i).ili} ill.iiii <i‘iil
Collage City: Urban Space in Contemporary Art l iilii Sun 31 hit i iv;- \\nii.\ Hll [Mlpt'i ii} tliii\i\ \ULII .l\ Iniij. i’.ilci mil. l ililL'i.lillI\ .liiti iicil .liiti (.iiui i<iimim linikiii: .il IIiL' \\.1}
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I NATIONAL PORTRAIT GALLERY
i (‘Ilik't'ii \lli'i‘i. (iii “2”” \iilli \VCKI (K iii \iiii “Mill ipin. i'iin iiiiliii "pin Thomas Telford: Father of Modern Engineering l'niil Sun 2‘ \m U
it 4i \ii mininlinii HI pi.iii\ .iini [iiiillilL'ldl‘ih in iiiui‘k lilL' 350th .liiiil\t‘i\.ll} nl lilt' inilii ml the pinlil'it‘ “lllhil L'iljJiilt't'l
Dieter Appelt, Forth Bridge: Cinema. Metric Space l‘iiiil Sun (l .l.iii I'iL't' i‘\illi‘liliili ul it'L't’iii \uii'k ii} (ici‘iii.iii (Hilit‘iiilillldl) gii‘lixl “It'lt'l' .\ppt'|l_ t‘\piilllllj: IIIL' lt'iiillllihillp iwluccii piinlnpmpii}. engineering: illlti t'iiiit’cpliml .iil .\ iilljJL‘ \L'ilit‘ iniiiiliigc (ii liic inilii i<.iii “litigt’ t'ninpi'ixiiig ‘le pliningmpint’ [illlii\ “I” he the t‘ciili't- [new nl liic iiixplgi}.
I SCOTTISH STORYTELLING CENTRE
ii 4* High Slit-cl. 55h “570. Mun Sul Ill.iin -l. ilipin‘
The Legacy of Tim Stead l‘iiiil Sui 5 Jun. Illuiii lipiii. i‘icc. .'\ll minimum ul lut‘liic \t'iilpliiic. Plit'li'} iiiiii illi'lllllll'L‘ durum ii) liic .ii‘lixl. «it-\igiici' :iiid purl Iiin Sluui.
I STILLS
SH'wkhiii'ii Slit-cl. (i3: (illlll ilgiiii (ipin. Ori Gersht Siil 3 \m Sun Ill .Iillii in iiit' iiilll l/li' /uI'«'\I .lllii photographic \L'l'lt‘\ I/ll' (Ya/ling. in‘uclihurii (ici‘xiil \il);lj._‘\'\ though In\ l;iinii_\ ill\l0l‘_\ mplurnig liit' pit-iiixlni'it' ilii't‘\i nl liic (liipgilliiaii \iuiiiiliiiiix \\Iit‘i'L‘ \illllL‘ HI im lL'l.lil\L'\ illlillii ilill'\Ii iniwn li'nin Nu/i pt'ixt't‘iiliuii. “ii iSl ii )\'.’
Among the Moderns Sun l l
\m .\iuii 28 Jun. In culluimi'uliiiii \xilii llic ('iiiciimliicqnc \IL' lIiilifJL'l' in Morocco. Siillx (ruin-x ll \ ItIL‘U lilii‘ui‘} niicui'llniig liic til\t‘l\t' t‘liillllili. pulilicul :iini \uciiii spurt“ ul liic l\l.lI\ \Hii'iti. 'i‘iic L‘\illhlllull c\p|ui'c\ illit‘l'liiliHL' inxliil'icx lhc iiilt'ixcciinii iiclnccii \iUL'lllliL‘liiill'} and \lliilt't‘ih Ii}. and shilling; llUilUll\ ul 'iniixiciinl}' \Ji ‘.‘. Si i( W!
I TALBOT RICE GALLERY l'inwi'xil} ul iziiiiiiiiii'gii. South iii‘itigc. (fill 33H). inc Sill iiiillll Spin. Monika Sosnowska: Display l'iiiil Sui .\' iict‘. i'iL‘\Ii il'illli i'cpi‘cwiiliiig i’nluiiii .il lilL‘ \t‘lllt‘t‘ iiiciinuic and il'Ulll \UIU \Ii(l\\\ ill NC“ YUI'Ix.\ .\i().\i.-\ and the Serpentine (Built-i} in I.Ulitiliii. Smnmx \ku iii'iiigx ;iii minimum nl' twisting; and llL‘\\i} (Uiiliiii\\i\ilit‘ti \wriw In ’lkiliml Rim" ‘l‘iic iniiiii initl} nl' [it‘ll/m (Uli\l\i\ ill 23 \t‘gilc lllUtiCi\ linil iiiigiil he read .|\ ;i lliiiluxlicgil .ii't‘liilct'lni'ui pi‘npiixiliiiii; liic gii‘lixl \\ ill .ii\U t‘i'culc .i silvxpccilic iiixluliuliun l'ui' [Iit' giliit‘l').
Private Galleries
I ANALOGUE
Ill: \le Him. Ill) lililll. \iiiii Sill llhiin 5.30pm.
David Galletly: Tenterhooks l'niil Sui Ill .\'m. i{\iniiilion ul~ liL‘\\ \il';l\\illg\ ii} the Slii‘iiiig-mxcti lillhll’ulul‘. uhu his aim pi'miiiccd llic lulcxl ul' .'\n;iinguc\ Running slmuk .ii‘lixl /lllL‘\. L»\ST CHANCE: TO Si 'L
I DOGGERFISHER
i l (i;i_\l'iclti Squui‘c. 558 7i ill. 'l‘uc i‘ri l idlli (ipin; Siil noun Spin .
Towards Heilprin Land l'niil Sat 22 Dec. .\'c\\ \\Ul'i\ i'i‘nin Hana iiiilpcrin. iii hcr iil‘\i wlu t'\IilI‘lIlUlii Scc pi‘micu. pugc .W.
92 THE LIST ‘— .I‘C“
I DUNDAS STREET GALLERY m I)Uilki.i\ Sli‘ccl. ‘55 WM: ilidiii hpiii Jamie Primrose: Memories Ill
3 8.” ill \m i'rcc \ii L'\illi‘lilnli i-l nun \Mll'iw iii “ii and iinimii lllin. tit-pitting: .iiinmpiiciit' til} unto «ll Iliillli‘lllgil. i llllkillli. I).lri\ .liiti \Ciilkk'. iiitintliii; lilL‘ \iIiL'\- .iiginlt't‘lnic .iini \iniiiiiit'iin; \i.ilt'i'\\.i§~ -- '
I HEART GALLERY
:lii i'iinil. (\ \\JIL'IIHH i’iiit L'. 55“ 2:3"
2 (ipiii.
Laurie McCrone: MDMA l'nnl in In NM. iiHHll hpm i'lL‘L' .'\li cxiiiinliuii ml \wikx inixcii dilillllti iiic \llm‘ic\\lilli nl iiicnlil). t'lL'dilllf.‘ .ii'I Hlli nl liL'\\\p.l[‘t'i .irlit‘lcx illiti Hi‘lill.iilt‘\. h} IIik' (iimgmx imxcii gi.uiii.ilc nl (iiuxgim St’iiimi ml :\l'i. .'\|l wirkx Alit' .l\;lli.lI‘it‘ iUl piiit'hmu
I INGLEBY GALLERY
(i (‘iiiiluii 'lt'ii';icc. 55!» 4-14 i. ill.iin Spin Thomas Joshua Cooper 8. David Bellingham 8.11 % Sui in \m. i:\ininlinii nl t‘lllliL'ilipUi'dl} .ii'l. \E
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I INSTITUT FRANCAIS D’ECOSSE
ii Randolph ('i'cxcciil. 325 530i»,
Mun \Vcd & i’i'i 9.30mi] 5.3lipiii; Iilll llUUll 5.30pm; Sgil ‘).,“(lillll Zpiii. EcoUrbanisme l'niil Sui ill Nina I'lCL‘, The WHO” HI lhi'cc piiiilngi‘uplicn li‘lL‘llL‘ii. Scullixii and i’Hil\ill on [he liliillL‘ilL‘L‘ nl nature «in the (it). i/«Si
(Ii iANCi i0 E‘ii
Dave Michael Clarke and Michelle Naismith 'i‘nc i3 Nm Iiili ill Jun. i‘iu'. .\ \lll‘pl'l\C L'\Iililiilllll ii) [mi
William Blake ‘
\u‘iihil .iitixh \kili‘ hm»: max-xi iii i'i.:iitc '
I LEITH GALLERY
"5 IIit'\Iil‘iC.Ik'iiIi.<§1«:45 \Ii'll I l? ii.iiii 5pm. \il ll.iiii Jinn
Peter Goodfellow l iiili \.li 1 \.»\
i it: \win c\ini\iliuii ilillil i’clci (illi‘\iit'ii|‘\\ ' "'.“' v " ' Jane Cruickshank i ll H \.il .‘1 \m liu' \cu \xuik i‘} ,|.iiit‘(’iiiithii.:iik
I SCOTLANDART.COM
I \l \Iui‘iicn i’lmc. 3.“ “3“ Huh iii Ill zll.iiii * Winn. \il lll.iiii 5 Winn, \iiii iiuuii *pin I'it'k'
A Mixed Collection of Scottish Landscapes 1 iilil I‘il I \m (iiniiii t'\Iili‘lilHiiiL'.lillilii;.1iil\i\ \iiwii \itiil‘. Jnii.ilii.iii \iimit'i. i’.il I\i.llii\‘i\. \i.iii \\.ilwii .lilki \IMIJ liiiiiii}t’k}i ' '
I TRAVERSE THEATRE (\iiiiiiiitigcSliccl.315 l~lll.l \iuii \il ill.iin iiiitiiiigiil. \iiii hinn iiiitinigiil Corinthians 13:11 I liiii \ii I Ih-t Sulllixii \t'niplni Sliiuil \it'('.illci iiimcx iiilu l\\il~iillilt‘ll\lilli.li lll\i.lii.lilHll. mplui'iii; (‘inixlmn in»iiu;:i.ipii)
Artist Spaces
I TOTAL KUNST @ FOREST
i iil'hlil Hart. :2” ~15.“
ill.iiii inidinglil
Mike Bowdidge: Lost and Found i'iilil Sill] H .\'m I‘it't‘ .\li C\illi\llli\ll HI \xuikx ll\lllf_‘ iillillii whit-(Ix limit-41c xiiipiixiiig: .ii’lixlit~ tit-[iiii'liiit'x .iini .llll\.li\
‘38
Lucy Macdonald and Gregory Barrow \ii‘f‘. .: \ili‘. 3‘ \m i icy .li‘ilii (\iili‘li‘n‘I‘. n: \\\\li\\ in (ii.,\_;-u\\ i‘mc‘l liii\i\‘i;‘i.i\iii.iit'\ li\lilj.‘ \.:ll\‘\i i‘l.illuiiii\ in Apiuiy ici.iliniixiii;‘\
ix‘mccii l'li.:;'\'\ mil imim
Outside the cities
I DUNDEE CONTEMPORARY ARTS
i‘.‘ \cliici‘.‘.ilp lhiilxit‘t’ “i W. iiic.\\ni. il1\\ \i: 1" ilkiiii ‘ lHi‘iii. iiiii Ill “Mill \ Winn. \iiii
iimvii ‘ illpiii
Johanna Billing .000 l Hill \im ; \m \ulu \inm ul \iui.iii\ \‘lli'dt‘ilit' \iiit‘u \xnik in liic \\\\‘iil\ii .liil\i. l'l
xx int ii \iic \im iiiiiciih \ il.liij.‘\‘\ m lllllli‘.‘ iii lilx‘ tuiilciiiiuwuix \uiiiii .iini illx‘xiii.li\‘\ i'll limx liim .illnl |ii\ii\l\iii.li\
Journey l llili Im- .‘ ‘ \m.
ill “Min ‘ Winn iiu' \ wimp \‘\iili‘lililll ul plininympiiii ‘.\i\li\\ _‘_‘\'il\'i.li\'\i l\_\ iin'iiiik‘ix ml liiv ill \ l‘llill \ilhilil \‘\iliilllilj.‘ liic iilx‘lllx‘ ul 3:
iniiiiicv
Fresh Moves: New Moving images from the UK Hill 1 \n‘. \iiii _‘ lin
ill “Min * ‘llpin ill \ .iiiil Link l\ picxt'iil .i \l'II\'\ill'ii ml .71 ililll .lihi \i\I\'l' l‘ik'\L'\ i‘} .‘-i \iiIik'ik'ilII i\ ilummi lilll\i\. \Ullililik'xi ii} II.lll\I likii ( )i‘ll\l_ \ili\'\ iUl ul liic \k‘iilk‘iiiiilk‘ ( i.l|ik'i_\. .iini \limil (Minn. \lli.lll'i «ii liiiii .lllii \iiimi .li lin- I.lik' \imiviii H '
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An exhibition commemorating the 250th anniversary of the Romantic artist’s birth. The paintings and prints on show evoke a private world of religious, mythic and philosophical
themes of searing originality, with exhibited works including ‘God Writing upon the Tables of the Covenant’ and
the prints he made for Blair‘s ‘The Grave' and ‘The Boo
\ ‘0 ,‘A GA (SA 0,, T" x 1‘ I ‘, t t. .i'htft‘O‘iLI Cilier\ \rk)\idi'7c. {P'Jifi'yC/‘ur, \l‘. E\I!i/ttr,_4” J, . 3.1, "
k of Job'. LAST CHANCE TO SEE.