"Retard this...Miss" is an exhibition of work from Kelly Connor, Jamie Donald, Nicol Dourala, Mark Duguid, Donna Ferenth, Ting Fang Hsueh (Meigo) and Martin Nelson.
"Retard this...Miss" will be situated at CORSE, please see below for directions.
Preview on Saturday 12 April 2008 @ 1pm including installation by Merlyn Riggs.
Exhibition will be open from Sunday 13 to Tuesday 15 April, 1pm-5pm
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2 comments:
-r-aHI guys,
I'm looking forward to seeing what you are all doing this year, I hope you are enjoying the course as much as we did last year!
I've uploaded your show onto creative cultures scotland events listing, and (I hope Fergus doesn't mind KElly), that I put "corse art" in our database as a venue.
http://www.creativeculturescotland.co.uk/Eventsdetails.htm.EventID-4644.sourceID-1
look forward to seeing you all at the show.
Phil Thompson Coordinator for Creative Cultures Scotland
An excellent show in an excellent new venue.
The Corse Art space provided an ideal venue for just this kind of small, focussed exhibition of work, each piece interesting and absorbing in its own right and yet not swamped by competing voices as can happen so often in larger exhibitions.
Though obviously not all of the work appealed equally to my taste, each work was skilfully executed and meticulously presented.
From my perspective, the work of Kelly Connor and Mark Duguid stood out and, given their multi-media presence in an intimate space, tended to dominate the exhibition – especially given the decibel level of Duguid’s clumping satyrical boot/heel combination on the opening day. On my second visit – and the show did reward a second visit – always a sign that something worthwhile is on offer – I noted that the volume had been turned down a tad (presumably to preserve the sanity of the curators)…it needs the dB guys! My one quibble with the piece – being a writer rather than a visual artist – was the’/’ in the title – boot camp (sans slash) would have done just fine.
Kelly Connor’s work is absorbing, unsettling and in some instances visually delicious. As an ensemble of video pieces the work challenges country dwellers like myself to ask what we really see in the world around us – what is figure and what is ground in the context of our daily lives. The fact that ploughing operations IS landscape painting en large impressed itself through the focussed transformation of the video canvas from ochre to umber in long harrowing strokes, diagonally left to right to left in one facet of Kelly’s work. But the most compelling images were of the interplay of plough, seagulls and snow – the quotidian activity of late winter ploughing, observed, flat and patient, challenged conceptions of landscape art – the bleak fields of Millet for example – and of narrative – how does this moving picture start and end – what is the labour being represented – of ploughman or gull – or of clod and snowflake – of plough and harrow? Saving her blushes but I haven’t seen anything this interesting since encountering Richard Serra’s work at the Guggenheim last summer (but maybe that’s just me).
On a final note – Merlyn Ree’s Peripatetic Roundtable Tearoom installation at the opening was both delicious and thought-provoking. In the thoughtful, conscious context of a gallery space the act of being nurtured and being social – talking to strangers, being fed by strangers – provoked serious questions about the loss of intimacy in the public sphere and the increasing polarisaton of lived-in space between commoditised public spaces (the Tesco cafeteria, Starbucks’) aimed at optimising through-put not relationship (contrast the emergence of the public discourse in the salons and coffee houses of the 18th c.) and the private home (enclosed, intimate, hermetically sealed).
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