VISUAL ART list.co.uk/visualart
HITLIST THE BEST EXHIBITIONS
✽ Bronwen Sleigh: Construct Prints and 3D constructions drawing on industrial
architecture form the basis of this solo exhibition, which showcases prints, drawings and objects. Edinburgh Printmakers, until Sat 20 Jul.
✽ Ian Hamilton Finlay: Poet, Artist, Revolutionary Modestly-sized exhibition of prints, concrete texts and installations that takes a winningly fresh and intriguing approach to the work of this much celebrated artist. See review, page 106. Gallery of Modern Art, Glasgow, until Sat 1 Mar 2014.
✽ Martin Boyce: All Over / Again /
And Again This linked companion show to the Turner Prize-winner’s New York exhibition It’s over /
and over, explores abandoned spaces and ideas about inertia. See preview, left. The Modern Institute, Glasgow, until Sat 31 Aug.
✽ Carla Scott Fullerton: Occupying Forms A combination of old and new
materials, including concrete, steel and glass, forms the basis of this exhibition of sculpture and abstract prints by the Glasgow-based artist. See preview, page 106. Glasgow Print Studio, until Sun 18 Aug.
✽ A Conspiracy of Detail The Mackintosh Museum is a fitting setting for this
group show exploring adornment, detail and embellishment in contemporary art, including work by Turner Prize-nominee Jim Lambie, Eva Rothschild and Pio Abad. See preview, page 107. Mackintosh Museum, Glasgow School of Art, until Sun 29 Sep.
✽ Hugh Buchanan: The Esterhazy Archive Watercolours Intriguing
show of 16 works by Scotland’s best-know watercolourist, taking the dusty documents of the Esterhazy archive as his subject matter. See review, page 106. Summerhall, Edinburgh, until Sun 28 Jul.
11 Jul–22 Aug 2013 THE LIST 105
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ALL OVER / AGAIN / AND AGAIN New Martin Boyce show continues to showcase his Turner-winning style
P ay attention to that title and the way it’s been formatted, says Glaswegian Turner Prize-winner Martin Boyce, because it tells an important story. A linked companion to his recent New York show It’s over / and over, the words are meant to be separated on different lines, as if they’re a poem. ‘The first line suggests something ending,’ he says, ‘and each line after creates a loop, again and again and again, the sense of something continuously ending.’
This relates directly to the work, which continues the sense of urban inertia that pervaded ‘Do words have voices’, which won Boyce the Turner Prize in 2011. ‘All the pieces have a sense of something that’s been abandoned,’ Boyce says, ‘for example windows that have been boarded up or a set of chairs stacked on a table, which indicates
you’re in a place which is no longer in use. It creates a pause where things are waiting in time, and the idea of that moment interests me.’ The most prominent works, he says, are hanging mobiles made from steel bars and chain which are intentionally designed to recreate the shape of a weeping willow. ‘But of course they’re not weeping willows at all,’ he says, ‘they just have that sense, it’s not a literal interpretation. It’s like music though, why does one chord followed by another take you somewhere emotionally? Why do these forms have the same impact? Why do we look at a willow and think it’s weeping?’ (David Pollock)
The Modern Institute, Glasgow, until Sat 31 Aug.