12 KATIE PATERSON TREES LAUNCH T
10 GOLDEN TEACHER CLASS ACT
This year Paterson planted a forest in Norway. In 100 years it will provide the paper for an anthology of books, Future Library, comprising stories from 100 authors, L the i rst of which will be Margaret Atwood. She t also had a major solo show at the Ingleby a Gallery during the Edinburgh Art Festival. (RC) G
11 ALI SMITH DOUBLE VISION
It may not be a consolation for the Cambridge- based Invernesian to know that she came a close second in the race for this year’s Booker c Prize, but her excellent How to be Both did win ultimate favour from judges on the Saltire and Goldsmiths prize panels. (BD) G 1 1
Trance-inducing, intoxicating stuff, fronted by Sam Bellacosa and banana-legginged Cassie Ojay. Utterly hype-deserving, this hi-energy sixsome’s frenzied disco / world / techno beats, paired with ludicrously good, improvised stage workouts coni rm them hands-down as Glasgow, nope, Scotland’s best live band of 2014. (CS)
9 KING CREOSOTE & VIRGINIA HEATH BELLA CALEDONIA
The moving and glorious From Scotland with Love not only proved to be a highlight of Fife music guru Kenny Anderson’s
already stellar career, but the accompanying documentary i lm (directed by Heath) was also a hit on both the small screen and as part of the Commonwealth Games cultural programme. (BD)
8 BILLY CONNOLLY SADDLED UP
The year after he received some horrible health news, the Big Yin bounced back with a sell-out tour as he hopped across Scotland on his High Horse, as well as appearing alongside David Tennant in the warmly received What We Did on Our Holiday. (BD)
7 RACHEL MACLEAN GLORY BE
Educated at Edinburgh College of Art and based in Glasgow, Maclean’s self-performed i lms are mini-epics that conl ate internet memes, political themes and striking set and costume design. Happy & Glorious (her GENERATION contribution about national identity) and new i lm The Weepers helped her burgeoning reputation. (DP)
6 DUNCAN CAMPBELL MR TURNER
For his contribution to the Scottish Pavilion at the Venice Biennale in 2014, Duncan Campbell posed difi cult questions about the meaning and morality of artefacts displaced from their original context. Presenting these questions through an artist i lm, Campbell deliberately exposes his practice to the same challenging critique he inspires. With a Turner Prize now to his name you could say he’s fared well. (RC)
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IN ASSOCIATION WITH 36 THE LIST 11 Dec 2014–5 Feb 2015