VisualArt HITLIST THE BEST EXHIBITIONS
Jeremy Millar: Resemblances, Sympathies and Other Acts Millar draws on his various cultural/historical reference points in the creation of his new exhibition, which also features a life-sized cast of the artist. See feature, page 120. CCA, Glasgow, Sat 26 Mar–Sat 7 May.
John Cage: Every Day is a Good Day Prints, watercolours and drawings from the man better known as a celebrated avant garde composer. See review, page 121. Hunterian Gallery, Glasgow, until Sat 2 Apr.
Rearrange Your Face Group show in which artists Michael Bauer, Charlie Hammond and Gabriel Hartley explore using figuration as a starting point to abstraction. Sorcha Dallas, Glasgow, Fri 4 Mar–Fri 8 Apr. Keith Farquhar: More Nudes in Colour Farquhar’s exhibition uses flat- pack cardboard cut-out statues to explore the cultural commodification of the body in the 21st century. Tramway, Glasgow, until Sun 27 Mar.
Ingr3dients A new and unique Alasdair Gray mural is unveiled in West End restaurant the Ubiquitous Chip as part of the world’s first 3D interactive sensory dining experience. See preview in Eat, page 24. Ubiquitous Chip, Glasgow, Mon 7–Thu 31 Mar. Being Human Artists Audrey Grant and Martyn McKenzie create contrasting dramatic visions of what it means to be human in the 21st century. See picture caption in listings, page 123. Union Gallery, Glasgow, until Mon 14 Mar.
Jean-Marc Bustamante: Dead Calm The fêted French artist explores incongruity in technique, perspective and context in his first solo show in Scotland. See review, page 121. Fruitmarket Gallery, Edinburgh, until Sun 3 Apr.
Claude Cahun and Sue Tompkins Glasgow based artist and musician Tompkins presents work alongside the first solo UK exhibition by photographer Claude Cahun, See Q & A, right. Inverleith House, Edinburgh, until Sun 17 Apr.
Smith/Stewart Stephanie Smith and Edward Stewart explore the boundaries of collaboration, power, intimacy, acting and reality in a show developed with a range of other artists. The Changing Room, Stirling, Sat 5 Mar–Sat 30 Apr.
Shelley Nadashi The first solo show by this up-and- coming GSA-trained artist features a striking mix of live performance, video, sound works, puppetry, text and sculpture. Transmission Gallery, Glasgow, Tue 15 Mar–Sat 9 Apr.
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ARTBeat SUE TOMPKINS
You’re both a musician and visual artist. How do the two interests inform and complement each other? I’ve never really separated the two. I used to worry more, asking myself where do I belong or fit in work- wise, but then over a long time of just trying to continue making work, I worried less about it! What are the pleasures of putting together a solo show as opposed to working collaboratively? I love the freedom of a solo show, but when you’re working with other people it’s such an exciting feeling that you are part of something. When I worked with Life Without Buildings it felt great to be swept up in something that you could feel yourself in and express yourself and feel energised and surprised too all the time, by everybody, and what you can make together. What do you think of Inverleith House as a space? I’ve always loved how their programme mixes up older and younger artists with such care. The light is amazing within the gallery and just the beauty and sense of the botanical gardens being just there, outside the window. I’ve never been to Orkney but I wonder if the Piers Arts Centre has a similar thing going on . . . just art facing nature and vice versa, so great! Susan Philipsz won the Turner Prize last year for a sound installation. Do you think this will increase interest in sound-based art, including your own work? I think the Turner Prize is such a world unto itself, I’m not sure it actually increases an awareness of/love of/interest in any genre. It heightens the public’s awareness of a particular artist at an exciting part of their career but that’s it. It would be great for a performance artist to be on the list at some point. ■ Sue Tompkins, Inverleith House, Royal Botanic Gardens, Edinburgh, until Sun 17 Apr. 3–31 March 2011 THE LIST 119