Glasgow International Festival of Visual Art opens this April

I am a huge fan of the City of Glasgow. It's so vibrant. It has feeling of innovation running thought it, something that I can connect with. I've been a few times for the Glasgow Art Fair, and every time, I've just embraced the city more and more.With its history and culture, there's so much to see and do - from GOMA to the CCA. So I was delighted to find out that the Glasgow International Festival of Visual Art opens in just over a week. Glasgow's vibrant art scene takes over the city as its museums, galleries, and many other spaces showcase the work of both Glasgow-based and international artists in a vast array of exhibitions and events, celebrating the very best in contemporary visual art.

Over 50 artists are presenting sculpture, drawings, installations, films, videos, sound works, performances and music in venues ranging from the city's renowned Kelvingrove Art Gallery and Museum - taking part in this growing event for the first time - through the Hunterian Art Gallery and Tramway to diverse artist-run collectives, small galleries and temporary sites. Under the direction of Katrina Brown and with many projects revolving around the theme of 'past, present, future', Glasgow International Festival of Visual Art opens on 16 April 2010 for two weeks.



Using ceramics, bronze and a little taxidermy, Glasgow-based David Shrigley creates a collection of intriguing sculptures and objects for museum cases at Kelvingrove Art Gallery and Museum; Glasgow-born Susan Philipsz' specially-commissioned and highly evocative sound work Lowlands resonates from bridges that span the River Clyde. One of the most acclaimed artists to have emerged from the city, Douglas Gordon opens the Festival with a new video installation in Tramway's celebrated theatre space citing his own landmark work 24 Hour Psycho.

Renowned environmental arts organisation NVA (featured long-ago in issue 16 of Aesthetica) re-enact the infamous White Bike Plan, a Dutch anarchist eco-action of the 1960s, by releasing fifty white bikes on to the city's streets for free use between Festival venues, whilst Kate Davis and Faith Wilding collaborate on an exhibition exploring feminist legacies in contemporary art at the Centre for Contemporary Arts(CCA).



A number of international artists are also at the heart of the programme: a significant selection of important works on paper by the enduringly influential Joseph Beuys along with a group of 'vitrine'sculptures, including the legendary 'Fat Chair' and the iconic portrait of Beuys by Andy Warhol on display at the Hunterian Art Gallery as part of ARTIST ROOMS on Tour; renowned Swiss artist Christoph Büchel, known for his massive-scale, hyper-real experiential works takes on the imposing space at Tramway with the creation of an extra-ordinary, provocative and complex installation. Tramway's other spaces present a striking programme of experimental film, video installation and live performance by Leslie Thornton, Graham Eatough and Keren Cytter.



David Maljkovic (Croatia) - one of the most exciting artists to emerge from Europe in recent years - has his first solo show in the UK in a striking space in the Merchant City, made available for the Festival. Maljkovic's work reflects on the Festival's themes with a gathering of recent works in film and collage that explore the legacy of Modernist monuments and abstraction; while in an adjacent space Gerard Byrne, who represented Ireland to great acclaim at the Venice Biennale 2007,presents a major new video installation commissioned by the Festival that re-visits the history of Minimal Art and its reception. Internationally-acclaimed artist Fiona Tan shows her mesmerising video installation Tomorrow at the Gallery of Modern Art.



The redoubtable punk artist-designer Linder exhibits her montage images at Sorcha Dallas Gallery and presents a unique thirteen-hour performance in collaboration with celebrated fashion designer Richard Nicoll and musician Stuart McCallum; and Alice Channer, who is attracting increasing attention for her fabric-based works, takes on the architecture of the Mackintosh Gallery in her first work in Scotland at The Glasgow School of Art. Washington Garcia presents the work of Australian artist David Noonan at the Mitchell Library, while the legendary Jimmie Durham shows Universal Miniature Golf(The Promised Land) - the outcome of a Production Residency at Glasgow Sculpture Studios. Claire Barclay shows a range of new works using diverse techniques at Glasgow Print Studio; and The Modern Institute opens its new premises on Osbourne Street with a show by Glasgow's own Jim Lambie.

Open Glasgow is a new initiative, supported by the Scottish Arts Council, revealing imaginative new projects conceived by artists specifically for the city during the Festival, including Le Drapeau Noir, a nightly performance in a pop-up café-bar; a one-night cabaret - Urlibido- in the magnificent Sloans Grand Ballroom, and a day long event sim-po-zium event at the Mitchell Library.

Other galleries, venues and artists' collectives involved in the Festival include Transmission Gallery, Lowsalt, market Gallery, Mary Mary, FINN collective, and SWG3 and many more groups and individual artists.

To download a programme and for further information visit www.glasgowinternational.org. The festival opens on 16 April and continues until 3 May.

Images:

1. (c) David Shrigley Jugs and Cups (2008)
2. (c) Kate Davis and Faith Wilding What have we got to do with
3. (c) David Maljkovic, Out of Projection (2009)2 channel HD video installation.Duration: 18'41'' min. Courtesy Annet Gelink Gallery Amsterdam
4. (c) Linder Elsium ii (2006)

Aesthetica's April/May Issue Out Today

Exploring the creative zeitgeist, Aesthetica editorial is engaging and offers new perspectives on contemporary arts, looking at the arts in relation to the social, political and economic.

Issue 34 celebrates experimentation and the impact of the creative process. Through an exchange of ideas new definitions can be created, and an exploration of new possibilities takes place. Presenting a survey of these ideas, this issue engages with the wider social context.

In art, we look at non-conformist Soviet art from the 1980s with Glasnost, opening later this month at Haunch of Venison, London. The venerable performance artist, Marina Abramović discusses her new show, The Artist Is Present, which recently opened at MoMa in New York City. Stuart Semple looks at popular culture and the aesthetic discourse in his new show, The Happy House. While, over in Toronto, CONTACT, the world’s largest festival of photography taking places at 200 venues city-wide puts Marshall McLuhan’s theories to the test.

In film, Yorgos Lathimos speaks candidly about his provocative new work, Dogtooth and the Artists Cinema Project (a collaboration between the Independent Cinema Office and LUX) playfully subverts mainstream cinema. In music, the film soundtrack can take a band to the top, but what’s the overall impact? In keeping with the theme of cinema, The Postmarks chat about experimentation through the ultimate musical narrative.

The short story has become the underbelly to the novel, but writer, Andrew Porter tells us why the short story is not dead with an author Q&A, while Justine Kilkerr looks at fact and fantasy in her debut, Advice for Strays. And finally, Rufus Wainwright speaks about the decisive crossover from Pop to opera, with his opera, Prima Donna opening later this month.

With all the best exhibitions, productions, music and new releases of the coming months, this issue provides enough creativity flowing from these pages to inspire you for months. Enjoy.

Pick up a copy today from our website or visit WH Smith or your local newsagents.

Cherie Drives the Cube

Being the Editor of Aesthetica Magazine, does, at times, have its advantages. Last week, I was given the opportunity to preview the new Nissan Cube. Over the years, I’ve had many things come my way – mostly books (I love the art ones), CDs, tickets and a flight or two, so I was delighted to take this opportunity on board. It was an unusual experience for a number a reasons: 1.) I’m not really that in to cars, so as far as I’m concerned if it’s nice and it goes then I’m in. 2.) Well, really that’s the same as number one.


On the outside, the Cube is really intense. It has a beautiful shape and voluptuous contours. Paradoxically, although a bit boxy it’s round too. Everything was a bit oversized, at first appearing a bit wonky, take the wing mirrors for example, they’re massive, almost what you’d expect in a van, but actually I found that pretty convenient. The exterior colour of the one I drove was white, which in some respects gave it the appearance of a polar bear.

Anyway, when the Cube arrived, I took it for a little test drive around the office car park. One of the first things that you notice is how comfortable it is, and easy to drive (although most new cars are). Because of its unique design, there’s a lot of light in the car. I really like this aspect, especially the massive skylight, although, I was a little disappointed that it didn’t open! In hindsight, I can understand that it would be pretty distracting to drive with that much wind. And, what a great sound system, I did crank it all the way up, and somehow jazz, reggae and even pop sounded good streaming out.

There were several gadgets, like a camera to help with reversing, USB ports, Bluetooth, SatNav, auto lights and windscreen wipers, and even a key fob so that you almost magically open the door, oh and there was a button to start the car to boot. So, at first, I was thinking that perhaps this car was more geared towards men, but after a few days, I started to think that the car isn’t geared towards any gender, and it’s more about personalities.



Probably one of the best experiences I had was taking the Cube to the Yorkshire Sculpture Park. I must admit, when I pulled into the car park, there were a few double takes, and we certainly attracted some attention, but I suppose in YSP, that’s the type of audience that will have an appreciation for aesthetics, and who will be looking at how design can enhance our built spaces. Needless to say, it was a good experience.

Not to mention, I love YSP, I think it’s just a great place to go to look at some world class sculpture, trek across a field, and end up at the Longside Gallery with their new show The Gathering (4 March –18 April), which is an Arts Council collection, curated by Robert Dingle, a recent graduate of Goldsmiths. The show features 31 works by 21 artists and with historical text and interviews; it traces seminal moments in the Collection’s history and captures the voices of the artists and selectors involved in the acquisition process. Artists represented include David Batchelor, Victor Burgin, Adam Chodzko, Keith Coventry, Tony Cragg, Martin Creed, Peter Doig, Gilbert & George, Richard Long, Mark Wallinger, Rebecca Warren, Catherine Yass and Bettina von Zwehl.

The Cube is a city car, with all the light you’re meant to take life slow and soak it up. All in all the Cube is a vibrant addition to the road, their marketing says something like, it’s for individuals and people who want to drive slow. I can’t argue with that.



After taking four of my team members for a drive – I asked for 50 words, and here’s what they said (we did leave the car park):

Sophie Gordon – Media Relations

Quirky details for modern city living including fantastic views from the glass roof panel, holders for takeaway bags, and a fantastic sound system make the Cube more practical and comfortable than you expect at first glance. Initially seeming like the car has unnecessary bulk from the outside, these are the eccentric curves you grow to love. The Cube has a fun mix of random aesthetics and innovative practicality that you don’t want to do without the more and more you experience the car. Comfortable and spacious inside, with a look entirely of its own on the outside – at least you’ll never lose it in the car park.

Bryony Byrne – Marketing

The new Nissan Cube is an odd little car. I’m not even sure that ‘little’ is the right word to describe it; it’s definitely a city car but it’s strangely bulky in the bodywork and is really quite tall. At first I thought it was small inside, given the large exterior, but it is actually incredibly spacious and this is more than just an illusion from the over sized skylight and windscreen. The doors, however, are narrow and the windows are shorter top to bottom than you’d expect. But I suspect that this may be the beauty of the Cube; nothing is as expected. I, for one, had expected to hate it but I may be falling for it instead.

Lucy Allen – Marketing

Though the exterior of Nissan’s Cube may seem at first a little strange, the panoramic views and spacious interior certainly make up for its curious shape. With plenty of light and height, the car is very comfortable and family friendly. Neatly disguised storage facilities, cup-holders and good boot-space contribute to the car’s practicalities and its large-frame and stable build offers security to the passengers. Remarkably, with the airy height and broad width of the car, there seems a puzzling lack of legroom so that a person 6ft 5in may in one sense feel very pleased with the head-room at the same time risking cramping in the legs! Overall, the car leaves a positive impact and includes an impressive, sensory unlocking system along with a revolutionary digital reversing system.

Dale Donley - Production & Design
He wanted to write something, but didn't submit in time, oh well, maybe next time Dale.


www.cubelist.co.uk

Sculpture first image: Nigel Hall Crossing (Vertical)
Sculpture second image - Sophie Ryder