www.|ist.oo.uk/visualart
Exhibitions are listed by city, then alphabetically by venue. Submit listings at least ten days before publication to art@list.co.uk. Listings compiled by Kirstin lnnes.
Glasgow
I THE ARCHES
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Illurn IIIliIIleJII'. l( "hm-d IIIC 2‘ .\ IlIt’ I l I 100 PUNKS I “III \M'iI ‘l Lin
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I CCA
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Moves I “III 8.1! If Ian. I I.un (\PIII \t-u nmunn txipluu' lll\I.lII.lIlHll. I’ulnl \ Ii. h} ()Pt'IIL'IIlIt'tI (imup.
I COLLINS GALLERY
l'nlwml} ul Sllnlht‘hdt'. 33 Richmond Slit-cl. 313 5‘3 \Iun I‘ll Ill.un 5pm. Sal lllmll -lpnl I'l't't'
Traces and Trails: Allan Lawson and Stuart MacDonald l'nul In .‘I Hui I'Ik't‘. St‘nlllxll .u’llxlx .-\II;llI Iman .qu Slu.ul MacDonald Illt'lh on It'u'ullnj: I|\PL'L'I\ ul t‘nu'x (Including: .‘\I‘t'llIt't‘II. (iluxglm .qu UlIlL‘l'\ ilt‘l'll\\ Izurnpt'i Ill .1 t'ullct‘uun ul \ lhrunl. ullt'n .lI‘\Il.l\'I panning» I/«E3I lil WM LI i’ ‘» til I
I GALLERY OF MODERN ART Rinall |'.\t‘h;ln;:c Squaw. 33‘) WW».
Mun \Vul .k Sal Illgun 5pm; Ihu
Ilkun Spin; I‘l'l & Sun I I;un 5pm (Mon 3| Illuni Ipnil l('ImuI Inc 35. \\t'tI 3m. I'Ilt‘c.
20th Century Collection l'nul Sun 2 Mar. .-\ \t‘lct'uun nl \mrk\ lrmn (iluxggmx Muxcuni'x nimIcrn .u'l mllt‘t‘uun. including: ()p :\rl puinllngx h} IirnIgcl RIIC} and Victor \';i\.u'cl_\. polx h} 'I‘urnt'r I’rl/c mnnt'r (Em) wn I’crr} and phnlugruphx h} Sclmxuim Sulggmlu.
I GLASGOW SCHOOL OF ART .-\lrunn (inllcr). I’nullx Building. In? chlrc“ Slrct‘l. 35 i 473]. .\Iun I‘n
Illgun 5pm; Sal Ill;un Ipul (Him-d I‘l'l 3| Ik‘t‘ Thu 3 Jam. I’rcc.
Sophie Morrish: ‘Transparent Eye’ l‘nul Sul 15 Du“. llkun lpnl. I’rct'.
MOVES
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The Weirding and the Uncann CO. I IlIlI I II I 1 I).'. \t'.‘ zen--
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I KELVINGROVE ART GALLERY 8: MUSEUM
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Quentin Blake: 50 Years of illustration 0... l nu! Inc 1 Lu:
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I THE LIGHTHOUSE
I I \Int‘Iu-II I my. 331 (HUI \Iun .\ “ml 3.11 Ill ilkuu *plu. Ilu' II.uu *pm. Sun llnnll ‘pnl L 4 lLI Ll *llu Gillespie, Kidd 8. Coia: Architecture 1956-87 0000 l nul \llll III I CI‘ IIIL‘ \\Ulk HI IIIK' \ulIIhIl .in‘hnt't‘luml lnnl lit-\l knlmn IHI lhcu .lppIn'.llInll HI I.llc \IUlIt'IIIl\I .qu IllIL'llMIIHlMI \l_\ It" ulmx In tIun. Iu'x l\ qulult-tl lnl lIu' luxl lunc lll \(llIItlIItI lll llux t'uinprcIu'nxlw mluhnuin .ll lIu- I.I;_'hlhnu\t'. IIIt' \wlk int'Iutch .lllllll.lIlHll\. tht‘lenh .qu IllmIt'I\ lIl.ll mpunc lIu' \nnpln'll} .qu lulllmnu- ul IIIL'II It'.lII\.lIIllII\
Stuart Haygarth l nul Sun I“ It‘h ()nt' ul lhc t‘\li.innIln.n_\ t'lt‘.’lIlUll\ IlUllI \lllnll II.l}f,‘.llIIl. \xhn nmkcx \pt't'lnt'ulnl t‘I1.iIuIcIIcl\ uul ul [‘I.I\Il\' \\IlIt' plumb. p.u’l_\ [NIPI‘CI\. UItI I.lIII[‘\II.ItIk'\. l‘l \\II.IIC\L‘I L'I\t' IIL‘ tun find
I ST MUNGO MUSEUM OF RELIGIOUS LIFE AND ART 3(lixllt' Sut'cl. 55‘ 3‘5". \Ilin IIlll .\ 8.1! II);llll 5pm; I‘l’l .\ Sun II.un 5pm (Mull iI Ilkun lpnli it'lmul Inc 35. \\L'tI Ill. Illt‘ I t\ \VL'tI :l, I‘l't‘t'
Voices from Africa Part 2 l mu] Sun 3-1 I'CI‘. I'l'ct'. I’I‘Hlt‘t‘l lIlnl \\UlI'\\ \xllIl lllt‘nlIk'l'x ul lIlt' (ilnygm .\ .-\ll'u‘;nl .qu ,-\lrlt‘.ln (lulhhcnn t'ulununullcx lll lhc rcinlcrprclulmn nl nun} ul lhc nhlct‘h IIL‘ItI Ill \lulugt' Ill IIIC SI \Iungu .\Iu\culu I'Ilc lllll\L‘lll|l has .ilm t'Ulllllll\\lUllL‘tI .1 no“ .u’lmirk h} (iI.I\un\\ Imth .ll'Il\I lit-III I'UI-kIC.
This exhibition by the New York-based Openended Group, whose members are Marc Downie, Shelley Eshkar and Paul Kaiser, explores the moving image. It includes three major works: 'Pedestrian', a five screen premiere of ‘Forest' and new commission from Capture Dance on Screen, ‘Point A-B', here receiving one leg of its dual opening at the CCA, Glasgow and Jerwood Space, London.
I CCA. Glasgow .1an Sn! 73 Jan.
I STREET LEVEL PHOTO
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Private Galleries
I COMPASS GALLERY I'\ \\.-\1 I\’\".'\'III \llt‘cl. hi "I
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I MANSFIELD PARK GALLERY
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I THE MODERN INSTITUTE
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Thomas Houseago 000
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I SORCHA DALLAS
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Artist Spaces
I +44 141 AT SWG3
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I RECOAT 1:1\l‘I’III\\HU\I\I\IL‘RILMIJIWVI“3%: lil Iuc Sun nunu \plu
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Edinburgh
I CITY ART CENTRE
: \Idl'kt'l SIICCI. S2” I‘M; \Illll \.:I Ill.uu 5pm
Scissors Paper Stone: Contemporary Edinburgh Crafts
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Ten Decades COO l'nul 5.2! In J.m I‘I'cc. I:\Iuluuun colt-hinting lhc tcnlcndr} nl Iathnhurgh (‘nIIt‘gc ul .-\rl lt'nlullng
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Visual Art
I n
I In a year that's brought the best work by Picasso and Warhol to our doors, this has otherwise been a relatively quiet one for Scottish visual art. Everybody got on with what they did best. In the capital the first Edinburgh Art Festival took place under the auspices of director Joanne Brown, with artists from all over the world being brought under one big press release-shaped umbrella. William Eggleston's photographs at Inverlieth House were a Technicolored highlight, the exhibition quickly followed by Smith/Stuart's simple but weighty installation.
Generally speaking, Glasgow's galleries have plodded through 2007 with much of their attention turned to international art fairs. The idea of the gallery as showcase for the best work has been replaced with the art- as-Tupperware model, gallerists cast as jet setting sales assistants touting their wares round the globe. Mary Mary fell silent, although Nick Evans' sculptures were an enormous success. But a few new ventures did take off - Southside Studio’s tiny Fridge gallery showing the excellent installed paintings by Neil Clements, for example.
Martin Boyce's exhibition at the Modern Institute was one of this year’s highlights, with an airy yet melancholic Modernist atmosphere permeating the work. A long overdue retrospective exhibition by Scottish late-Modernist masters Gillespie, Kidd and Koia also demonstrated that Scotland can ‘do' Modernism, even though we have allowed some of their masterpieces (St Peter’s Seminary at Cardross, for example) to crumble before our eyes. Another master showed his works in the oppressive confines of Café Cossachok. It’s perhaps indicative of how we act too late as a nation, how we can neglect and overlook our recent past, that Alasdair Gray, one of this country’s most accomplished and respected illustrators, had his first retrospective in a cellar rather than in GoMA or SNGMA. (Alexander Kennedy)
" THE LIST 99