In a place like that
Reid Gallery 16-21 September 2014 (Open Doors Open Weekend 20& 21 Sept 10-5pm)
During
Freshers Week, the Reid Gallery becomes a space to focus on themes around
landscape and a number of projects that have been undertaken by the GSA
community and invited practitioners. The gallery will be a studio, for the collaborative
staff research project In a place like
that: Between Orkney and Odda.
A
complementary series of public lunchtime talks present different ways that a
further four invited speakers have spent their time in the landscape. Bring
your sandwiches.
Studio:
In a place like that: Between Orkney and Odda
Susan Brind, Duncan
Higgins, Shauna McMullan
How do we
understand the concept of ‘place’? In summer 2014, three researchers from GSA
and Bergen made a journey between Odda in Norway and Orkney in Scotland. By
travelling between centres and margins, the group saw the journey as a form of
artist residency, and as a method of researching the role of art in relation to
landscape and place. The overall objective of the research is to open a space
for dialogue between historical fact, rational thought, embodied knowledge, and
the poetic space of language and imagining. This studio time sees the researchers
re-meeting, to reflect on this journey and develop their ideas and discussions
into next steps.This is a collaborative research initiative between Glasgow School of Art (GSA), The Bergen National Academy of Art (KhIB). Phase 1 supported by Creative Scotland.
Biographical Information
Susan Brind is a
Reader in Contemporary Art:
Practice & Events based in the Department of Sculpture &
Environmental Art. Her work, which
takes the form of sculptural, textual and time-based installations, plays on
the tensions between rational forms of knowledge and the body as a site of
understanding. She has exhibited in Europe and the UK, including a permanent
commission for the London School of Hygiene & Tropical Medicine. Her praxis
has incorporated collaborative curatorial projects such The Reading Room (with Jane Rolo of Book Works, London, 1994), The State of the Real: Aesthetics in the Digital Age
(co-edited with Damian Sutton and Ray McKenzie, 2007) and Curious Arts – No. 6 (in collaboration with Jim Harold, 2013).
Duncan Higgins
Duncan Higgins is a visual artist
based in Sheffield, UK. He is Professor in Fine Art at Bergen Academy of Art
and Design, Norway and Professor in Visual Art at Nottingham Trent University,
UK. His research is focused on exploring how the ‘image’ and the act of
‘making images’ combined with ‘where the image performs’ can offer ways to
question and communicate moments of erasure or remembering in direct reference
to particular narratives of violence, faith and place. This is explored through
a research process involving the production of: paintings, photographs, moving
image, texts, critical reflection and fieldwork. Most recently he has had solo
exhibitions at Lithuanian National Museum of Art Kaunas, South Bank Centre and
Royal Festival Hall, London; Czech Cultural Centre and Russian Centre for Art
and Science, Prague; Solovki State Museum Reserve Russia, Academy of Arts in
Warsaw, Poland.
Shauna McMullan
Shauna studied Fine Art (Sculpture) in Cheltenham, England followed by a Masters Degree at Glasgow School of Art and The School of the Art Institute of Chicago. She has received a number of awards including a Scottish Arts Council Scholarship at the British School at Rome and residencies at the NIFCA (Nordic Institute for Contemporary Art) in the Faroe Islands and Triangle Artist Workshop in Karachi, Pakistan. Her work has been shown nationally and internationally at major museums as well as through permanent public commissions. Recent projects have focused on the practical realisation of large scale permanent Public Art Works that embrace a commitment to innovative means of engagement and collective involvement. Travelling the Distance commissioned for the Scottish Parliament, Blue Spine Collection for Glasgow Women’s Library, Via shown in the Toyota Museum of Modern art, Japan and The Albert Drive Colour Chart commissioned by the Tramway, Glasgow are four such examples. Her main areas of interest are with landscape and place, in particular how these are mapped, defined and mediated and although the work isn’t specifically about mapping the physical earth it is instead concerned with charting mutual topographies and our relatedness and connectivity to each other.
Shauna is a lecturer in the Department of Sculpture and Environmental Art at Glasgow School of Art.
Shauna studied Fine Art (Sculpture) in Cheltenham, England followed by a Masters Degree at Glasgow School of Art and The School of the Art Institute of Chicago. She has received a number of awards including a Scottish Arts Council Scholarship at the British School at Rome and residencies at the NIFCA (Nordic Institute for Contemporary Art) in the Faroe Islands and Triangle Artist Workshop in Karachi, Pakistan. Her work has been shown nationally and internationally at major museums as well as through permanent public commissions. Recent projects have focused on the practical realisation of large scale permanent Public Art Works that embrace a commitment to innovative means of engagement and collective involvement. Travelling the Distance commissioned for the Scottish Parliament, Blue Spine Collection for Glasgow Women’s Library, Via shown in the Toyota Museum of Modern art, Japan and The Albert Drive Colour Chart commissioned by the Tramway, Glasgow are four such examples. Her main areas of interest are with landscape and place, in particular how these are mapped, defined and mediated and although the work isn’t specifically about mapping the physical earth it is instead concerned with charting mutual topographies and our relatedness and connectivity to each other.
Shauna is a lecturer in the Department of Sculpture and Environmental Art at Glasgow School of Art.
Lunchtime Talks
Tue 16 September
Reid gallery, 1pm
Lesley Punton –
stilled life with moving trees
Lesley Punton is a visual artist
whose work explores the physical and sensorial experiences of being in specific
landscapes, often working in remote, wild places, and the translation of such
experiences in human terms through drawing, text, painting, and photography.
She is the Acting Head of the Fine Art Photography department at the Glasgow
School of Art. For this lunchtime talk she will speak about her recent one week
residency at Inshriach Bothy, in Cairngorms National Park.
Wednesday 17 September
Reid Gallery, 2pm
Theresa Moerman Ib - Port
Cendres
After the fire at The Glasgow School of Art on 23rd May 2014, I heard that Charles Rennie Mackintosh's last wish was to have his ashes scattered at Port Vendres in France. It was here Mackintosh and his wife Margaret Macdonald spent what is thought to have been their happiest years together. Some claim Mackintosh's last wish was never fulfilled, while other accounts suggest that Margaret did bring his remains back to Port Vendres after his death in 1928. In August 2014, my fascination with this story spurred me to go to Port Vendres myself to scatter ashes from the Mackintosh Building in the sea. This is a talk about my journey and what came of it.
After the fire at The Glasgow School of Art on 23rd May 2014, I heard that Charles Rennie Mackintosh's last wish was to have his ashes scattered at Port Vendres in France. It was here Mackintosh and his wife Margaret Macdonald spent what is thought to have been their happiest years together. Some claim Mackintosh's last wish was never fulfilled, while other accounts suggest that Margaret did bring his remains back to Port Vendres after his death in 1928. In August 2014, my fascination with this story spurred me to go to Port Vendres myself to scatter ashes from the Mackintosh Building in the sea. This is a talk about my journey and what came of it.
Theresa Moerman Ib was born in the Netherlands in 1977 and graduated from The Glasgow School of Art with a First Class BA (Hons) in Fine Art Photography in 2012. Before pursuing a career in fine art, she worked as a Web Content Editor and freelance photographer. Her current art practice is multidisciplinary and strongly inspired by storytelling and memory. Alongside her practice, Theresa works part-time as a Library Assistant at GSA.
Thursday 18 September
Reid gallery, 1pm
Alan Grieve: Scottish Bothies -
Unlikely Stories Mostly
Fife-based artist Alan Grieve takes you on a journey from Ben Alder
bothy, deep in the
Grampian mountains, to
Inshriach Bothy at the foot of the Cairngorms and explains how
remote Highland shelters
have helped shape his art practice. This trip, spanning 20 years
of Alan’s life, will be
neatly condensed into a half-hour talk and is likely to feature Pictish
cave drawings, a woman who
can knit the future, Sorley Maclean and a golf ball that once
belonged to Oscar Pistorius.
‘Beyond the slender margin
of the incontestable (there is no doubt that Napoleon lost the
battle of Waterloo), stretches an infinite realm: the realm of the
approximate, the invented,
the deformed, the simplistic, the exaggerated, the misinformed, an
infinite realm of nontruths
that copulate, multiply like rats, and become immortal.‘
Milan Kundera.
Alan Grieve works in
existing and purpose-built social spaces, creating events that sit
somewhere between
performance and dialogical artforms. Here, he begins a process
based on social
interaction and trust - the cornerstones of oral culture - collecting stories
and objects that he uses
to help create darkly funny, frequently scatalogical and often
moving new narratives. He
re-tells and remixes everyday tales, deliberately subverting the
cosy conviviality of his
own practice.
Web:
Friday 19 September
Reid Gallery, 1pm
Michael Barr -Who was the man dressed as a bird
of prey walking back from the Sgurr on Tuesday?
Michael Barr was selected for the GSA Residency
Opportunity at Sweeney’s Bothy on the Isle of Eigg earlier this year. This
residency was funded by GSA Sustainability in Action Group and GSA Exhibitions.
In March, he spent a research-based week in Sweeney’s Bothy/Bothan Shuibhne
– an innovative, zero-carbon space designed to host creative residencies
as part of the Bothy Project. During the summer, he returned to the island to
realise an artwork in the form of a week-long durational performance. Here he
will discuss his work on Eigg, in relation to public art practices.
Michael was born in England in 1983. He is entering the
final year of a degree in Sculpture and Environmental Art at GSA, after
gaining his first degree in Human Geography.
Web
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