Festival VISUAL ART
For more info go to LIST.CO.UK /FESTIVAL
HITLIST THE BEST EXHIBITIONS
✽ Where do I end and you begin See review, left. City Arts Centre, 529 3993,
until 19 Oct, free.
✽ Dalziel + Scullion | Tumadh: Immersion Dundee-based artists
transform gallery into an experimental space that explores man’s complex relationship with the natural world. See review, page 91. Dovecot Studios, 550 3660, until 13 Sep, free.
WHERE DO I END AND YOU BEGIN Major exhibition confronts the diffi cult history of the Commonwealth T his major exhibition developed by the Room’ from a similar period, with its shelves of vinyl, showing the diversity of a family’s music collection at a time when much of everyday life was segregated.
Others disregard the specifics of time and place. The burning truck in the film ‘Burn Out’, by New Zealand artist Steve Carr, is a universal expression of youth disaffection, while Pakistan-born Masooma Syed creates intricate collages of time and place in sculptures which look like miniature stage sets. Meanwhile, ‘Flaghall’, a tent structure by Manchester-based artists Emma Rushton and Derek Tyman, becomes the venue for a video lecture by Scots historian Andy Wightman, reminding us that our land ownership issues in Scotland have much in common with many Commonwealth nations. (Susan Mansfield) City Art Centre, 529 3993, until 19 Oct, free. ●●●●●
Edinburgh Art Festival takes its title from a neon text by Indian artist Shilpa Gupta, which seems highly relevant. In a world where so much is global – not least contemporary art – the lines between ‘I’ and ‘you’, between ‘them’ and ‘us’ are blurred.
But taking on the theme of Commonwealth means engaging with a difficult history. Uriel Orlow explores the 1897 British expedition to Benin, which led to the theft and sale of thousands of artefacts. South African Mary Sibande plays with ideas of class and race in her portrait of the fictional character Sophie, a domestic maid dressed as a lady. Some excavate more personal histories; Bangladeshi artist Naeem Mohaiemen created ‘Rankin Street’ after finding a box of photographs taken by his father in the 1950s, while South African Kay Hassan meticulously recreates ‘My Father’s Music
✽ Genesis & Lady Jaye Breyer P-Orridge: Life as a Cheap
Suitcase (Pandrogeny & A Search for Unified Identity) Sculptural works and photographs that offer an intimate glimpse into the artists’ bid to look identical to each other. See review, page 92. Summerhall, 560 1590, until 26 Sep, free.
✽ Yann Seznec: Currents Seznec has installed 172 computer fans in a police box on Easter Road, wired up to a computer that gets weather updates every ten seconds from around the world which informs the fans’ speeds. See feature, page 90. Easter Road (corner of Albion Road), until 31 Aug, 10am–6pm, free; performance, Trinity Apse, 31 Aug, 6pm, free but ticketed.
✽ The Number Shop Informal exhibitions of work from current studio holders at
the Number Shop on the Pleasance highlight Edinburgh’s grassroots scene. See column, page 91. The Number Shop, until 31 Aug, free.
✽ Villa Design Group: The House of Adelaida Ivanovna Hamburg / London-based Villa Design Group houses its epic reimagining of Gogol’s play, The Gamblers in an out-of-town shopping centre. See review, page 92. Ocean Terminal, exhibition until 31 Aug; performances Thu– Sat, 7pm, free.
14–25 Aug 2014 THE LIST FESTIVAL 89