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DIP YOUR TOE

Govanhill Baths Community Trust

99 Calder Street, G42 7RA Glasgow, United Kingdom

Preview: Thursday 16th June 6:00 – 9:00pm
Open: 17th – 25th June (Thurs – Sat each week)
Weekdays: 12:00noon – 6:00pm
Saturday: 10:00 – 1:00pm

This exhibition, which is part of Print Festival Scotland, showcases 5 artists who share a contemporary and diverse approach to printmaking. For this show the artists have taken over the Slipper Baths within The Govanhill Baths, adorning each cubicle with a selection of work that reacts to the space through an array of styles, techniques and materials.

Nicola Massie (b. Aberdeen) currently lives and works in Glasgow specialising in printmaking and sculpture. Since graduating from Painting and Printmaking at The Glasgow School of Art, she has received the Glasgow Print Studio Prize, RGI New Graduate Award and was nominated for the Saatchi New Sensations Prize.

Andreas Behn-Eschenburg (b. Zürich) graduated from Painting and Printmaking at the Glasgow School of Art (2014), and continues to live and work in Glasgow. Andreas investigates the artist’s agency and deconstructs the traditions of painting into elements that are then reassembled in other media as installations within a space.

Fionnuala McGowan (b. Belfast) is another Glasgow based artist, who explores the boundaries of printmaking through creating sculptural prints. She was a recipient of the Glasgow Print Studio prize (2014), was featured in the summer 2015 edition of Printmaking Today and completed a residency in Frans Masereel Centrum, (Belgium, 2014).

Dickie Webb (b. Oxford) migrates between North and Southern Hemispheres, operating from a nomadic studio and artist residencies – SNEHTA, ACSL, Edinburgh Sculpture Workshops and Chisenhale Art Place. Recent exhibitions include Early Warning – & Model, PNEM, Netherlands, Things Are Different Now – Art Athina and Beyond Tinted – MAMY, Armenia.

David Farrar (b. Oxford) is a Glasgow based artist whose work focuses on the relationship between form and function. He has exhibited internationally, most recently in The National Original Print Exhibition (London) and has attended residencies at Frans Masereel Centrum (Belgium), The Artist House in St. Mary’s College (USA) and VCCA (USA).

 

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My work “Concept Of Since – 24 Options”, is currently part of an exhibition curated by Robert Montgomery.  The exhibition is at the Lights of Soho gallery in London.

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London’s home of creative neon and light art formats is opening its doors for its inaugural open submission show entitled “Signs that Say What You Want Them to Say…” Lights of Soho will be accepting submissions from new and established light artists for a show that will be guest curated by artist Robert Montgomery.

Taking inspiration from the Royal Academy Summer Exhibition, Lights of Soho is inviting young artists who use light as a medium in their work to exhibit alongside established names in light art. Lights of Soho curator Hamish Jenkinson states, “Lights of Soho is more than an art gallery – it is a window of opportunity for young artists to get involved in the art scene. With this show, I’m hoping that we can reach artists who are well into their craft or just discovering it. I’d like to show young artists that art is a democratic experience and that they too can be featured in a London gallery.”

Having started his career off by vandalising billboards and bus stops with his poetry, Robert Montgomery directly communicates with his audience through text and light. Inspired by Roland Barthes and Guy Debord, Montgomery has paved the way for young artists to write their own story. Creating large LED light pieces with his poetry, Montgomery has seen his works showcased around the world including the Kochi-Muziris Biennale in India and a current project which hijacks an entire city block in Seattle.

Montgomery says, “When Bruce Nauman made his seminal artwork in neon “The True Artist Helps the World by Revealing Mystic Truths” in 1967 it represented the beginning of a kind of democracy. Artists, for the first time could now hijack a medium previously only the domain of commercial and corporate voices, and begin to say much more interesting things. When I was a teenager I was obsessed with the pure form of commercial signs. I would fill rolls of film on the family holiday camera photographing the neon signs on abandoned petrol stations in France, and endure the blank looks of my father as he returned from Boots later with far fewer smiling family portraits than he expected, “why would you take so many pictures with no one in them son?…. Jeez, what a waste of money.” I knew that as soon as I had any money of my own I would make my own signs saying the most whimsical things possible. Perhaps even something as whimsical and useless as poetry.

In 1992 Gillian Wearing made the important piece, “Signs that Say What You Want Them To Say and Not Signs that Say What Someone Else Wants You To Say”. This was a lovely and delicate artwork about democracy, and the idea of an open exhibition of light art takes its inspiration from Wearing as much as from Nauman. In an ideal world we would give the billboards back to the people and everyone could write their dreams in neon. “

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Sometimes my travels coincide with events and exhibitions that I would love to see.  However this year I will be missing both Carsten Höller: Decision and Gustav Metzger: Towards auto-destructive art 1950-62 at Tate Britain from May 11th.  Luckily this weekend before I head south to New Zealand for the winter I will be able to catch Lee Ufan at the Lisson Gallery so one out of three is not bad.

Both artist for me operate on the fringes whilst also are at the centre of what is current.  They both continue to push boundaries within their practice and inspire thoughts within mine.  Hopefully I will get to see these exhibitions elsewhere in the near future.

One Day One Day

Carsten Höller: Decision is the artist’s largest survey show in the UK to date.

The exhibition, which sprawls across Hayward Gallery and erupts beyond its roof and walls, explores perception and decision making.

Confronting visitors with a series of choices, it features mirrors, disconcerting doubles and mysterious objects which together create an impression of a world where nothing is quite as it seems.

Born in Belgium to German parents, Höller trained as a scientist – gaining an advanced degree in agricultural entomology – before becoming an artist.

Over the past 20 years Höller has created experiential installations, participatory artworks and immersive environments.

These often feature disorientating architecture and perception-altering devices, which Holler refers to as ‘artificial limbs for parts of your body that you don’t even know you’ve lost’.

Believing that ‘people are often more powerful than artworks’, Holler sees his work as ‘incomplete’ without visitor interaction. Under Höller, Hayward Gallery is transformed into a platform – part laboratory, part playground – dedicated solely to human experience.

Carsten Höller lives and works in Stockholm. His 2006 installation Test Site saw the artist install a series of giant slides in the Tate Modern’s Turbine Hall.

His solo shows include Experience at the New Museum, New York (2011), Carrousel at the Kunsthaus Bregenz, Austria (2008) and Half Fiction at the Institute of Contemporary Art, Boston (2003).

Wednesday 10 June – Sunday 6 September

Opening times
Monday 12 noon – 6pm
Tuesday, Wednesday, Saturday and Sunday, 11am – 7pm
Late night Thursday and Friday, 11am – 8pm