VISUAL ART list.co.uk/visualart
HITLIST THE BEST EXHIBITIONS
A L A N D M M C K
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Tramway, Glasgow, until Sun 14 Sep. ✽ Internet Curtains See review, left. ✽ Corin
Sworn
Sworn’s Venice Biennale exhibition returns to Scotland, questioning how memory is recorded and meaning constructed. See review, page 92. The Common Guild, Glasgow, until Sat 13 Sep.
✽ Nick Thomas The artist presents a new film work which captures the 1950s missile testing range on South Uist and its effect upon those who live in its shadow. See preview, page 90. Telfer Gallery, Glasgow, Sat 13–Sun 28 Sep.
✽ Art Rooms Multidisciplinary group show by emerging artists exhibited in magnificent
17th-century house and gardens. See review, page 90. Cockenzie House, Cockenzie, until Sun 28 Sep.
✽ Spirit Levels Through simple line and form, the artists in this group show
(pictured above) provoke questions surrounding race, colonialism and spirituality in a local and global context. See review, page 90. CCA, Glasgow, until Sun 7 Sep.
✽ After the Revolution, Who Will Clean Up the Mess? Four huge
cannons will detonate should Scotland vote ‘Yes’ to Independence, sprinkling confetti across the Talbot Rice Gallery’s Georgian Gallery. The cannons have been installed within the group exhibition Counterpoint since the show opened at the start of August, building anticipation. Referendum Party at the Talbot Rice Gallery, Edinburgh, Thu 18 Sep, ticket applications to ellieharrison.com/ aftertherevolution
21 Aug–18 Sep 2014 THE LIST 89
INTERNET CURTAINS A humorous, enigmatic response to the banality of life ‘post-internet’
latest
contribution
T ramway’s to GENERATION is Internet Curtains, a group show with work by Charlie Hammond, Iain Hetherington and Alex Pollard. The title references the controversial term ‘post- internet’ coined by Maria Olson to describe work made within the stale internet era in which we are fully submerged and ‘net curtains’, a nod to the twitching curtains and nosy neighbours of paranoid suburbia. It lays the table for a satirical take on the complex issues attached to the ‘post-internet’ global art context.
Iain Hetherington presents two reworked paintings from the series’ ‘Fight Clouds’ and ‘Diversified Cultural Workers’. Branding from the Commonwealth Games appears on both works and by being forced into a new context and being rebranded, meaning is distorted in both, detaching the paintings from their original series and disrupting the marketing campaign. Charlie Hammond’s work consists of three
wall pieces that mix aluminium foil, plates and paint to create playful yet ruminative work. The audience is left contemplating the relationship between the domestic materials and the work’s enigmatic title ‘Sideways Washer Upper with Interfering Crockery’.
Alex Pollard dresses the gallery with similarly unconventional work, exhibiting a collection of shoes stacked atop flat-packed boxes. The shoes’ designs present a banal visual currency which becomes material for Pollard’s playful contribution to this show’s discussion surrounding the post-internet era. and recontextualised material appear throughout the exhibition. The show successfully highlights, through mocking or otherwise, the conceptual layers surrounding post-internet art, without diminishing (or clarifying) its ambiguities. (Kirsty Neale) commercial
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Tramway, Glasgow, until Sun 14 Sep ●●●●●