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The exhibition oipastels, oils and i watercolours by the Glasgow Boys at l the Fine Art Society (Blythswood so coincides with the publication at Roger i Bil Icliiie's authoritative book on the i school oi painters who, like Charles ‘ Rennie Mackintosh, were virtually l ignored by the art establishment at i theirday. j These artists were brought together i in the 18603 by their desire to escape l the stuffy drawing room atmosphere oi the Royal Scottish Academy and a shared enthusiasm ior naturalistic painting ‘en plein air'. The sludgy realism ol E A Hornei’s ‘Pigs in a Wood’ l isreminiscentolCourbet,butsome ! members at the group were intluenced by work irom even lurther alield. George Henry painted an exotic series oi geishas, Crawhill studied in Spain and Arthur Melville was inspired by court tile in the Middle East. One oi the lesser known artists, Joseph Crawhill, displays an engaging I sense oi humour in his watercolour oi a l , podgy looking vampire bat and in his charcoal study — ‘Lydia with a Stilt l I Neck‘. (Lucy Ash) E
eutting .is those oi the eai‘iealurisi. Rev es/s paintings hav e some oi the
j peixeise dieanilike tjtialitx iound in
l mu ksol ( ‘leniente.
j LorantMehes and Janos Vetdt‘nniu
\ov lhese two artists eollaboi‘ate in produeing paintings and seulptures together under the name oi
Veto /.u/u. l or one room at the (ilasgow .'\ll\( entre the} has e ei‘eated a large brightlx eoloured eanvas and an installation oi objets trouv es. lair} lights and bright blue eopper sulphate in the eentre oi the room lrtitlix and garish like a child's birthdax eake. but ringed with barbed w ii'e. l’|a_\ llll .itid light—hearted .istheir work seemsto be at l'ii'st sight. there is more than a hint oi menaee in it ininelield.
o GLASGOW ART GALLERY & MUSEUM. KELVINGROVE 35" 302‘). \lon Sat lilani 5pm. Sun: 5pm. Restaurant [1):
Béla Ulll 1 'ntil ‘) \ov . Hungarian Ceramics Today t'ntiiu Nov. .\l| exhibits are tor sale.
Medals by Andras Kiss Nagy t hill 9
30 18—31 October
Nov. [El Kiss Nagv's varied work as a medallist is a logieal'extension of his aehievement as a sculptor. Glasgow—Budapest, 1902 that t) .\‘m. A small exhibition eentring around the Budapest exhibition oi British .-\rts and ('ralts held in Will w hieh was dominated b_v the work ot' (ilasgow designers.
Scotland‘s Disappearing Wildliie ls‘ ()et-lil .\'ov. A small joint exhibition between the Seottish Museums ('ouneil and the Nature (’onserv anev ('ouneil. The exhibition i‘oeuses on w ildlii‘e losses in Seotland over the last lilililvears. aimingtoereate an awareness ol what remains threatened. 'l’he reindeer. moose.
\\ ild boar. woll and sea eagle are all now extinet in Seotland. as is the otter in Lingland. although the N('(' has re-introdueed it into .\'orl'olk. Surviving now only in the Western lsles. it is amongst the most vulnerable oi the speeies liker to disappear this eent tir_v.
Earth irom Space tiniii 24 Oct.
The Thistle & the Crown l'ntil 31 l ( )et. (‘entenarx ol' the Seottish ()i'l'iee. Voluntai'v guides are available tree oi eharge to eonduet parties or individuals round the main galleries.
, (‘onlaet the enquirv desk.
0 GLASGOW PRINT STUDIO 12S lngram Street. 552 H704. .\lon-~Sat lil;iiii—-5..‘~ilpm.
Ja’nos Szirtes, liona Keserii, Istvan Haraszty L'ntil ‘) .\'ov. This exhibition shows three vvidel} dili’erent aspeets oi‘art in l lungarv toda}. liona Keserii‘s work eomes larger out ol' the eonstruetivist tradition: large abstraet eanvases. sometimes with gentl} swelling reliei's and. more reeentlv. paintings eov ereti b} a series oi abstraet signs and eiphers. Istvan l laras/tv makes kinetie setilpttires that the viewer is asked to set in motion. Like seientil'ie demonstration models. the works are laseinating as much i'or their engineering as tor their \VllllllS}. .lantis S/irtes is the xtitiiigest ol' the three artists and the one most interested in the eurrent eoneern l'or eross-eultural relerenees and the mixing of high and low stvles. His paintings juxtapose ‘bad' popular designs with marks derived i'rom primitive eultures. ()ptimistieall)‘. he believes that we ean rejuvenate our tired old eulture with the primal energies of these past eivilisatioiis.
0 GLASGOW SCHOOL OF ARTRenirew Street. 332 9797. Mon— ’l'hurs 9.3ilam—9pm. l’ri l).3tlam--(ipm. Sat ill—12 noon.
Newbery Gallery: El Kazovszkij, Gytirgy Jovanovics, Maria Lugossy t'niil 9 Nov. Paintings. plaster relieis and seulptures.
Mackintosh Gallery: Miklos Erdely, Istvan Mazzag L'ntil 9 Nov. Paintings. 0 HAGG'S CASTLE lilil St Andrew's Drive. Mon—Sat lilam—Spm. Sun 2—5pm.
Far Round the World t'mil 17 Nov. lixhibition oi costume dolls
O HUNTERIAN ART GALLERY L'niversitv olUIasgow . llillhead Street. 33‘) 8855 ext. 7431 . Mon-Fri 10am—5pm. Sat 9.30— 1 pm. Scatiolding in the Sky t,‘ mil 2o ( )et. [itching and drvpoints bv Muirhead Bone ( 1876—1953)
. Andras Borocz, 30, and Laszlo Hevesz,
iascinate me', says Hevesz, “because
I j MATCHSTICK MEN !
28, are theterribie twins oi the Hungarian Arts Festival. it you go to theirexhibition oi paintings and drawings at the Glasgow Arts Centre, a gramophone record will never look the same again.
in one oi Borocz‘s drawings the record is an ice rink ‘played' by skaters. The record is literally a consumer product in his ‘Captive Amazons‘ where two girls munch the discs like biscuits.
Both artists' treatment at the record and other objects like matchboxes and watermelons, can only be described as obsessional. The objects recur not only in the paintings and drawings which they work on separately, but also in the mixed media events they stage together.
When Jim Dine wrote ‘I love what I‘m doing‘ on his canvas, walked through it and drank a jar oi paint, some bewildered members at the art establishment accused him oi lusting aiterseli-publicity. HoweverBorocz and Revesz insist that their shows, partly inspired by the 19605 Happening. are a necessary extension oi their paintings; ‘We periorrn with costumes, music, dance and iilm because we are not the kind oi artists who can just sit and work in a studio. We sometimes need to coniront our audience directly.‘
During a recent show in Budapest, the audience was subjected to a 40 minute lecture by a bona iide l mathematician who proved i conclusively that the cosmos could be rebuiltwith matchsticks. ‘Matchsticks
oi their hidden power. A match is just a little stick, but it only takes one to burn down a whole house.‘
This show also ieatured a cascading
‘match iountain' because the artists are ‘excited by the tension created by
opposites’. In another periormance, ‘Soit and Hard', Revesz was covered in slate tiles while Borocz sat smothered in cream. They seem to experiment with textures in the same way that poets play with sounds. in tact the show at the Third Eye Centre has been rechristened ‘Nitty Gritty', because they ‘iiked the noise oi words'. Although Borocz and Revesz are
partners on stage, their individual work
is very diiterent. Borocz's sharply executed ink on paper drawings oiten provide an ironic commentary on tile in contemporary Hungary. In ‘Breakdown', two muzzled dogs on their hind legs cavort next to a swivetling policeman while his upright colleagues politely turn their backs. Other works reveal a penchant iorthe
grotesque and a childish delight in the
nonsensical. Revesz mixes pointed and bloated
shapes and his compositions seem
deliberately clumsy. The stoiid iigures in ‘Poltergelst' create a nightmarish sense oi paralysis. His ‘Record Factory Dream' evokes the doubt and contusion spawned by the mass media.
At the time at writing, ‘Nitty Gritty‘ is still in an embryonic state. But what is the main theme? ‘Planets and
chimneys’, the Hungarian duo
enigmatically reply. Don't say you
_. haven’t been warned.