www.|ist.co.uk/visualart
INTERVIEW
Alexander Kennedy talks to Matthew Buckingham about his new film installations at DCA AK Tell us about the work you are Showmg at DCA
MB The three larger protects on View at the DCA are each organized around some of the questions that arise when we look at the past through the shape of a person‘s life. I wanted to begin Willi each figures relation to themselves and try to reconnect them to their own time. to the quotidian. and most Importantly. to our own time.
AK How would yOu describe your relationship With the Idea of History?
MB Whether or not we like it. or are even aware of It. we are constantly Interpreting our past in order to naVIgate the present. I‘m Interested in what happens when we see this In connection With more self- coriSCIous categories of history.
AK Would you say that Art is the truth to History's lie?
MB By approaching something historically we are looking at It dynamically. over time. That usually means looking at a span of time outside of our experience which. In turn, means we must Interpret. In that way we begin to make an argument of some kind. Bringing non-fiction narratives Into the art context highlights this contract we've made With narrative and. I believe. puts the art viewer In a more critical position. where the responsibilities of Interpretation are more obvious. I almost never employ fiction In my work. but the fact that It‘s seen In the gallery raises that spectre and ushers In a degree of caution.
AK You have previously said that the cinema Is a “placeless place'. Can this also be said of the gallery? MB Yes. there Is a much-remarked corollary of ‘Iteutrality’ between the so-called ‘white cube' and 'black box' (which in art-terms is a sort of surrogate-Cinema). There are differences. however. that I find important-differences of space. time and mobility. As art viewers we retain a dIfferent control over how we engage With the work. We decide how we move through the space and how much time we Will devote to the work. We are more aware of our ‘editing‘ process and hopefully see this In connection with the physical place (gallery. city. region) that we are in.
I DCA, Dundee, until Sun 20 Jan.
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 Innes.
Glasgow
I CCA
“it Saiithiehall Stieet. “I Willi
lite I‘ll llatii opiii. Sat lilatti opiti Creative Lab: Raw Exploration .\loii Z-S .lati Sat 9 I eh I tee ('ollahotatioti ptoieet hetueeii ( ilaxeow haseti \ lSll.tl .Ii’tixt/Ilatieet ehoieoetaphet Sati I.lL‘\itllL'll. \itleottiliiiiiiakei \laii Paterson. and .\tiixtei'ttaiti~haxetl tlaiieet/aetoi' Heiitiie Hartelx. e\ploiiiie \xap to bring: togethet iiiiiltiple \itleo [ll'ttlL't‘lltlIIS and |i\e [k'l'ltlt'llhtlltt' I‘,‘ “
MFA Screening 'liie 3‘) Jan. "pm I tee hiit tieketetl. I'lIIIIS tt‘oiii \IlltIL‘lll\ on the piestigioiix .\l;I\tei ot line -\It piograitiiiie at (ilaxgou Sehool ot \It
NI .. \)
I COLLINS GALLERY
l'tii\eI\it§ ot Stiathelyle. 33 lx’IehIiioiitl Street. 54S ISSS. .\loii I'll lilaiii ipiti. Sat noon 4pm. l'i‘ee.
Breaking The Mould l IIIII Sat In l-eh. Shimmy tor the Ill'Sl time It] (ilasgim. l.i\l’.\l.-\ presents a t‘IldIlL'lllelth e\hthitioii ot II) and it) eotiteitipotat} art\\ork h} met til lettillllfi. International papertiiakerx. (Litalogiie. eotitereiiee .Iiitl \Hil‘kshtq“ tllt‘lllth‘tl.
I GALLERY OF MODERN ART Rina! l-.\eh;itig_'e Square. 33‘) I‘No
.\toii \Ved Ik Sat Illaiii 5pm. lhii
lilatii Spin; I'l'l tk SiIii llatii 5pm; Illaiii lpiii. I't'ee.
20th Century Collection l'IIiIl Sun 3 .\lat'. .\ \L'IL‘L'llttll ot \\iil‘|\\ tt‘otii (ilaxgou .\liiseiiiti'x iiiotlei'ti art eolleetioii. Iiieliitliiig ()p .-\I‘t PittllllllfJS h} Bridget Rite) atitl \ietor \axarel}. pots h) ltirtiei l’t'i/e-ixiiiiiet' (ira_\ \till Pen} and photographs it) Settaxttao Salgado. GoMA Artists Talks Thu 24 Jan. (ifitlpiii. l-ree. .-\Iithoii_\ Sehrag. the (tit\I:\.\ l‘L‘t‘L‘tll ttl‘ll\l tlt t'L‘xtth'ttt'L‘. lallu about IllS \\ork. l't‘SltIL'llt'} aiitl eiiri'etit e\hihitioit.
I HUNTERIAN ART GALLERY l'imerxit} ot (ilasgim. .\‘2 HillheaIl Street. .‘xiti 543]. Mott Sat ‘litlaiii 5pm. A Victorian Master in 25 Jan Hm t" Apr. ti\hihition ot Ilia“ itigx h} paititei and \eiilptoi' l'retlerie. Lord Leighton.
Ni V. 8‘ h l“...
Whistler and Drawing I'l'l 25 Jan 'l'liii l7 Apr. ‘l. illaiti 5pm. l‘ree. I)l';l\\lll;1\ aiitl pastels “Hill the Hittiteriait'x “IllSlh‘l' ('olleetioti. Ni SHQPI.
I KELVINGROVE ART GALLERY 8: MUSEUM
.\rg} le Street. To 05‘“). Mon '1 liii 6; Sat Illatii 5pm; in it Sun I latti 5pm;
Illatti Ipiii. l'i‘ee.
Gadburn School t‘IItil IIlll 3“ .\‘m. I'ICC. .-\ tI|\PI.l_\ t‘I L'ltt} pt‘nlcel \Mil'h ei‘eated h} [\UPIIS at (liltII‘lll'll Sehool. as part ot the Seine ()\ er Seetariaiimti \eheitie.
I THE LIGHTHOUSE
ll .\Ittehell latte. 33] (iitil. .\Ioti t\ \\'ed Sat lilfitlaiii 5pm; the 11am 5pm; Stin Iiooii 5pm. £3 It'l HEW. Gillespie, Kidd 8. Coia: Architecture 1956-87 0.00 t'IiiIl Sun I” l-‘eh. The work ot the Seottixh arehiteetut‘al tiriti hext ktioxxii tor their applieation ot late llltkIL‘l‘lllSl and International st} le ideas to ehiirehex lS e\hihtted tor the lll'Sl time it] Seotlatitl iii lIllS eoniprehenxix e e\hihitioit at the lighthouse. ‘l‘he \xork lllL‘IUtICS anttiiattotis. I‘IUCPI'IHIS and models that eaptiire the \llllPIlCll} aiitl brilliatiee ot their realisationx.
Visual Art
This exhibition brings together cross-
generational artists who use performance as an integral part of their practice. The work on show examines the act of making and recording live actions. as well as presenting the two and three-dimensional objects that appear as apparent leftovers from a
performative event. .«()"’V:."):i'.I/ii I." ~1'.’
Stuart Haygarth l iitil StIti I" let». (me ot the e\tt'.IoItlIii.It} \lt'allttllS ttoiii Stiiart Hingatth. \xho llldht‘S \Pk'kltltlll.” ehaiiilelieix out ot plastie \\ itie elasxex. part} [ltlllltk‘l\. Iilil I.ttttp\h.ttle\. Iil uhatewr else he eati IllltI
I LILLIE ART GALLERY
Station Road. .\liltiginie. 5‘3 SS-l“ 'lite Sat lilatii lpiii t\ 2 5pm. About Time l’IiIIl Sai 3t» .IaII liee. .\ eolleetioti ot [MlllllllgS .llltI [lllllh eotiitiiixxioiietl celebrate the 5th aiiiiixerxat} ot the l.illie .\rt (ialh'l). lotiitded Iii NS”. ;,»'«:3' E '
Si t
East Dunbartonshire in Paint and Print II l'itttl \Vetl I3 .\lar. Hixtotie paintings. [it'lllIS and eeratiiiex troiII the perttiaiietit eolleetioti.
SHIFTS: Projections into the Future of the Central Belt t'IiIIl Sun 3* Mar. taking as llS \tattiii; point I’atriek .-\hereriiiiihie'x iiiitealixetl I‘Hn (lute Valle} Regeneration plaii. SI/l/ /.\ otters proposals h} leading: Seottixh and International architects to tiiltlt'e\\ the challenges laeiiig the region totla}
I ST MUNGO MUSEUM OF RELIGIOUS LIFE AND ART
2 ('axtle Street. 553 255". .\lon ’I hit & Sat lilaiti 5pm; I‘ll tk Siiii Ilatii 5pm. lilatii lpiii. I'ree.
Voices from Africa Part 2 l iitil Sun 34 l'eh. I‘i‘ee. l’roteet that works \\llIl lllL'lllI‘t‘l'S ot the (i|;i\3_'o\\ \ .\trieaii .llltI \trteaii ('arihheaii t'itlllllllllllllL'S iii the reinterpretatitin ol lllttll} ot the ohieets heltl iii storage Iii the St .\liiiigo .\IllSt'tllll. ‘l'he iiiiixeiitii has also eotiitiiixxiotied a tit“ itll\\titI\ h_\ (Ilaxgou. based itl'IISI Beth I‘Iittle
Private Galleries
I COMPASS GALLERY
1-H \VL‘SI Regent .Sll'L't‘l. :2] (Wqu .\loii Sat lllatn Silliitti
Christmas Exhibition t not 'llIII it .lati. .\ti\etl e\hihitioti ot International and local .tl’lhlx
I MARY MARY
Stittel l. n l)i\oii Street. 330 :35".
[hit Sat noon 5pm.
Anthea Hamilton 000 l'IitIl Sat In Jaii. .-\tt e\hihitioii h} the l.otitiotr haxetl .It‘ti~.t. lll eollahoratioti u ith 'l'hotiias Kratx. taking as IIS \Iitl'llll}! point a collection ot Polaroid photographs ot I’UIISIT prostitutes taken h) Italian LIL‘SIgIlL‘r (.ttrh) .\IUHltlU lit the IUNIS.
Ktat/ paintings .I\I .t\ hat htIIl‘I‘S to Haiiiiltoti'x \eIilptiitex. .Iiiil tlieie\ .I \tlllL'JI element to Iiiiith ot the \xoik that. although IllllllitlitIIS. .lt'I\ .I\ .I eiitititie ot I).ltI.ll\I llllSUfJMl} ‘ '
I THE MODERN INSTITUTE
“‘ RHI‘L‘HSHH Slteet. Siiite (i. I'liioi I. I-lS i"ll .\loti Ill lilaiii Spin. Sat iiooii Stiiii
Spencer Sweeney t IIIII Sat 3* leli \eu [l.tlllllllj_'\ h_\ the \e\\ \oik I‘.l\t'tI .llllSl See pie\ ie\\. page S.‘.
I ROGER BILLCLIFFE GALLERY lt-I I;I}III\\\H(NI \ltt‘t'l. Kt: Ill)“
.\loti I‘ll t). itlaiii 5 itlpiti. Sat
lilaiii lpiii. I'tee
Norman Edgar RGI I out I it I let» .\ eolleetioii ol latiilxeapes .tlltI \IIII lite paintings
I SORCHA DALLAS
5 St .\laifh'atet‘s |’|;iee. <§i Stilt: liie Sat I ‘piii
Re-Make/Re-Model 000 l IIIII Sat In .laii \eu \Illl\\ hiiiieitie togethei .ttll\l\ lttillt .ILIII\\ fJL'llt‘tatlItttS .’t IIIIIIt'tI Ilatiee \kttlh h} \ettiiiial I‘Nitls eiiieiitatiietaphei Hahette \I.tllj_'i|Ilt'. eollaee \‘Mtth lll.ttIL' tioiii \iiitaue \HPIK'\ ot \i‘L‘llt' h} piiiik eta It'llllllhl .tlllSl I.llltIL'l. lotititl \eiilptiiie ti} )oiitiu \Ie\Ie.Iti attixt \lattiii Soto ( 'Iiiiieitl. Sophie .\laei’hetxoii'x L'Illl} \tlllllllllt'S .llltI tIl.t\\lllj._' and .Iii lllSldHallHll h} Biiixxels haxetl peitoiiiiatit e itlll\l .litiitii}
Riittell ,' 3‘5 i 1
Artist Spaces
I INTERMEDIA GALLERY ('(7\. i5” Saiiehtehall Stteet. “3 5-10 l)ail_\ noon -(iptii. The Great Release Sat 1‘) Jan Sat 3 I‘L'h (ILISIJIM I‘;l\t'tI .It'tl\l\ KL‘lltIgtH Koppe and Douglas .\lotlantl Shit“ a hint} oi new \iotk painting. photogtaph}. \tllIPIlll'C .tlltI \ereen [illlllx lllSPIl'L'tI h} [3\}t'Il(tilll.tI}llcitI thought and the Iiiaeahre itietlieal L'\[)L'l'llllt'lll\ of the latihghteiiiiietit.
I RECOATQ“ \Iittlt \\UH(I\I(IC Road. it‘lflm 35345-1.'ltie Siiti Iiooit Spin. Of Beasts and Machines l‘IItIl .\tIIII ll hit. New exhibition ot Ilarkl} eotiiie. pop culture-spiked lHUSIldllHllS h} .\titlrev. Rae. the LotttlotI-haxetl lIItlSIl'itlHl‘ and atiitiiator hext knoiwn tor Illx \ktlrh (In the “BL: \L‘t‘lCS III/I111". /)l(\[.
’ 1‘: THE LIST 83