www.list.co.uk/visualart REVIEW INSTALLATION DIRK BELL The Modern Institute, Glasgow, until Sat 19 Feb ●●●●●
K R A L C H T U R
There is something otherworldly about the energy that Dirk Bell has conjured up in this space: a droning sound reverberates, the inorganic steel structures are sanded down to a holographic shine, and devoid of human presence, technology will sustain this scene as long as it is fed by electricity. Landed in the middle of the space is
‘Merkaba’, two equally sized tetrahedra made of steel bars and illuminated by neon tubes of white light. The mythology around the Merkaba is extensive – the Jewish mystics have appropriated the three- dimensional Star of David, and in Ascension Magick one is required to activate a type of vehicle of light around the human body so that this saucer shaped field of light can carry one’s consciousness directly to higher dimensions. Thick black extension cords feed the heart of the star and the audience appears to have some control over the mechanisms that support its life through a snare drum and computer. The works on show invoke old-fashioned ideas of belief systems, ritual, myth and healing through emotive constructions such as ‘Freelove’ for the New Aeon. It is an exposition of symbolic constructions where meaning can only exist when we see them in the flesh. A similar sense of ritual can be found
in ‘Phedra’ – its burnt door, motionless red pendulum and drawing of Renaissance-style human body alluding to the Vitruvian man as he is presented within the spinning vehicle of Merkabic light. A powerful exhibition that encourages a dusting off of those forgotten magick books. (Talitha Kotzé)
VisualArt
REVIEW TEXTILES THE INVENTORS OF TRADITION 21 Stockwell Street, Glasgow, until Sat 26 Feb ●●●●● That ubiquitous ‘Scotland with Style’ byline invented by city marketing in Glasgow gets renewed historical validation in this exhibition that is many things woven into one. Inventors of Tradition is an archival show of the Scottish textiles industry since the 1930s, observed through a contemporary – somewhat unfashionable – lens, including vintage and new collections of clothing and accessories, displayed within a disused retail unit as a nod to the recent pop-up shop trend.
Clydeback, reveal a pair of 70s woven culottes by EY Johnston, and display record sleeves designed by The Cloth, a collective founded by GSA graduates, which was also responsible for designing the original interior of the Sub Club. Their clothing line was also on sale at visionary trailblazer, The Warehouse. Housed where Peckhams on Glassford Street sits today, this avant garde department store introduced a new retail experience for eager Glaswegian shoppers, bringing designer brands to the city. Upstairs in the café they sold bottled water, luxury hot chocolate and old fashioned Irn Bru in chunky bottles.
Conceived and organised by Catriona Duffy and Lucy A circle of mannequins parade the new collection of
McEachan of Panel, an independent company that promotes design and craft through animating spaces beyond the gallery, and Becca Lipscombe and Lucy McKenzie of Atelier, who in turn, produce beautiful artisan vernacular interiors responsible to the environment and local suppliers; the exhibition tells a story of the social history of Glasgow. It is a fascinating subjective study of the textiles industry with many objects from people’s personal collections.
These paraphernalia are laid out in glass vitrines, pinned up on panels, and coat-hangered on rails. They tell anecdotes of the Singer sewing machine factory in
clothing made in collaboration with well established design companies. Further to the back a gorgeous dressing screen cordons off a section that shows a reel of archival films.
Although traditional garments and their social histories are the focus here, the show also suggests that its organisers are inventing a tradition of the future. How many of the high street labels – Primark, H&M and New Look – will stand the test of time? (Talitha Kotzé) ■ www.wearepanel.co.uk www.ateliereb.com
REVIEW SCULPTURE, PRINTS & TEXT IAN HAMILTON FINLAY City Art Centre, Edinburgh, until Sat 6 Mar ●●●●●
There’s something claustrophobic about seeing Ian Hamilton Finlay’s work indoors. As anyone who’s basked in the glories of the radical polymath’s Little Sparta garden in Dunsyre near Edinburgh will be aware, Hamilton Finlay was so at one with nature that a civic gallery space doesn’t seem right somehow.
This first floor exhibition sets a small selection of works alongside material by fellow travellers Paolozzi, George Wylie, Nathan Coley and Kenny Hunter, with two recently acquired sculptures as its apparent centrepiece. As if confirming a life-long quest for somewhere purer, sailing boats are to the fore among Hamilton Finlay’s classicist allusions. Of the newly acquired works, ‘Two Temples: To Apollo His Music-His Missiles-His Music’ consists of two biscuit-tin sized slate drums. The title piece is carved with the same wording as that of the Garden Temple at Little Sparta, while its companion piece, ‘CN16’, features a fishing boat. Together, the pair could be pillars for the grandest of model villages.
Odd, then, that they’re tucked around the corner from the main exhibition, leaving the actual focal point a bold text-based piece on the far wall. If the words ‘REVOLUTION, VIRTUE, ELOQUENCE, TRANSPARENCY’ sum up a lifetime’s philosophy, it’s left to a small work depicting languid picnickers basking among the greenery to capture the simple joy of it. ‘Oh Nature’, reads its caption, ‘How Sublime and Delightful is Your Power.’ (Neil Cooper)
3–17 Feb 2011 THE LIST 89