Festival Visual Art

GLEDINBOW Glasgow and Edinburgh reconciled through art? 000

‘(jl erliiiBo'.'./' is pitched as a". exliiiilioii that has oairetl artists from l'tlriiliarggii 224th partners from Ulztsgoz'.‘ as a \.'.ray to exolore sibling rivalry aiio attempt to cross perce-n.«~::-(l artistic l)()lill(I£ll'!(}S I)(}I“.‘/(}()ll the two cities. In practise there is littfe (liscei‘i‘zaliie €;‘.’l(l€).'l(;t:~ ol sticl‘ liiiks. What remains is Ef;f;(3lll'£tl|\.’ a sclirl group show i), eiiiei'griig artists.

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OM} oi several sciitl lilrii works. Shelly Narlaslii's strangely llllflglii'ltl “filer; (Sixes Birtii’?’ features a iiiaskeri young; ‘.‘/()lll£tll iperhaps the artist7i l'll()lli"() an almost rioiiseiise series of phrases !.'l a ‘.‘./(}!l‘(l sing-song voice. Acknowledging; the

>iiil<iiiigs origi'iai use. loiiya McMulleii's Video iiistallatioii iii the <)f'.'i ;e kitchens shows a x‘xoi‘tari spinning around on an ollice chair WIII‘. an absolutely sii'aiol‘t lace. Hut II is Beall's 'teri'a iiicogiiita lUllkllt)‘.'.’ll 1 (null that stands out. Set .i‘. a .ai'oe office space. a projected image of a snowy. liarer iiihaliiterl :aiitlscape rotates aroiirio the room. As the image iiioyes. it illuminates aspects of the space: (iaiigglirio .iol‘t corrls. olrl radiators and veiietiaii l)liii(ls. llleEllXXSllltl this £1l)(ill(l()l‘-(i(l space with ;: iiiyslerious land of show. ill/ Shaiiiioiii

IArt's Comp/ex. St. fl/lar'ga/et's /‘/()l/f§(), 0/8/19 ()fb-ifc'i/f until 2)] Aug. 72);)17? ops}. free


A secret persecution preserved in wax 0000

Scottish based painter, theatre designer and now multimedia artist Jane Frere revisits the Nakbah, the catastrophe that befell the Palestinian people in 1948 when the newly UN- sanctioned nation of Israel expropriated ‘lebensraum‘ (living room) through violent ethnic cleansing.

Four years in the making, this exhibition has come about through a combination of workshop programmes in Ramallah and Jerusalem refugee camps, testimonials from those who survived the 1948 massacres and some hard-learned polemic (this project began in a Polish concentration camp). This is a work rooted in the refugee experience and as such it is both moving and tragic.

In the first room, a large industrial white painted space, small wax figures hang from the ceiling on nylon. All facing the same way, they seem to be on some kind of pilgrimage and their passage appears to be an undulating one. Recreated from the figures originally workshopped in the camps, this remarkable installation (that brings to mind the naive drawings in The Good News Bib/e pressings of the 19605 and 703) transcends both the political and the humanitarian to something more elemental and paradoxical (where is the wax from? Can reconstituted candles still be considered iconographic?).

The other small room contains two projections, one of abstract-style photographs of the wax figures and the other of the men and women who gave testimonials of their tragic experiences, the audio recordings of which whisper around the room. Though seemingly slight, this admirable exhibition sheds light on a little known terrorisation programme that must not be repeated. (Paul Dale)

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