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TESSA LYNCH: PAINTER’S TABLE JOSÉE AUBIN OUELLETTE: BODY BLOCKS
Lynch has been exploring the concept of the female l aneur (or ‘l aneuse’) in her work for the last few years, presenting a solo show at Glasgow Sculpture Studios in 2014 on the subject. She describes her new show at GoMA as an ‘architectural drama’, with works that loosely mimic objects encountered on the artist’s commute through the city. Far from the romanticised i gure written about by Baudelaire who saunters around town observing society, Lynch considers the realities of navigating the city for a female artist today and the obstacles that often make the very existence of a l aneuse impossible. Gallery of Modern Art, Fri 8 Apr–Mon 13 Jun. Inspired by the ergonomic design of medical support cushions, Body Blocks is set to be a playful installation of soft sculptures by Glasgow School of Art graduate Ouellette. Situated within Govanhill Baths – a space that similarly blurs the line between art and wellbeing – Ouellette will encourage her audience to directly engage with the work, treating pieces as props for exercise practice and relaxation. The artist has also produced an accompanying performance and sound work made in response to the pervasive contemporary trend for self-help through mindfulness apps. Govanhill Baths, Fri 8–Tue 26 Apr.
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ALISA BAREMBOYM AND LIZ MAGOR CLAIRE BARCLAY: BRIGHT BODIES
Baremboym and Magor share a similar set of concerns in their work. Both are fascinated by the human body’s inextricable connection to the man-made, and the impact of new industries and technologies on it. The boundary between the organic and inorganic blurs in their work: organic materials appear mechanical while synthetics are often presented like bodily substances. Despite the similarities of their practice, Magor and Baremboym have not exhibited alongside one another before, so there’s much to be gained from viewing their work together. Glasgow Sculpture Studios, Fri 8 Apr–Sat 4 Jun.
Barclay’s new commission in Kelvin Hall is inspired by the history of the building, particularly the 1951 Exhibition of Industrial Power that was hosted at the site as part of the Festival of Britain. Barclay is interested in the tension between the glorii cation of industry at these kinds of events and the brutal reality of the production that was celebrated. Given her long-standing fascination with how meaning is achieved and the interplay of distinct, often unlikely pairings of material and form that dei ne her sculptural practice, this promises to be an impressive and memorable new commission. Kelvin Hall, Fri 8–Mon 25 Apr.
→ 7 Apr–2 Jun 2016 THE LIST 33