lnhouse Summer Exhibition.

Philip Starck is flavour of the month for Product Designers just now and quite rightly so. From ashtrays to waterbottles. from pastas to TV sets. he’s busy producing prototypes for manufacturers all over the world.

His rise to fame seems meteoric but as usual was not. Although now only 39, he has been designing objects since starting work tor Pierre Cardin at the age of 20. Before that he attended college in Paris to study Interior Design; he claims that he neverwent to

3 classes. But even so this shows clearly

where his interests lie and it is his Interior Design work with its total environment approach that is the foundation for his reputation and the

3 resultant exaltation. The furniture he produces uses

simple combinations of materials. without a profusion of clashing

? elements, put together in an almost

inevitable way. The aeroplane-like quality of the metalwork. achieved through both his choice of colour and tinish is not surprising as he admits to sleeping under his father's drawingboard as a youth in the early 60s, his lather being a successful aircraft manufacturer.

He has been compared with two of the early Modern Movement masters— Le Corbusier and Pierre Chareau. and it is interesting that they both are identified with ‘machine aesthetics'. Corbusier

wrote profusely on the subject and even called on designers to study ocean liners to find prototypical answers.

But for all this design world ‘hype‘. forStarck admits to believing thatthe Hollywood Star System inevitably produces the best and has a publicity system to put that belief into practice. his work is very successful both at a popular level of acceptability for its modern looks and as an educational act in kindling interest through its intriguing qualities in the object and its place inthe development of Product Design.

Bill Potter of lnhouse deserves much thanks forbringing togetherthis

exhibition in his Edinburgh showrooms.

(it's abouttime he opened a store in Glasgow). It follows on from his


successful exhibitions of Castiglioni and Sapper at the two last Festivals and hopefully he has started another rich Edinburghtradition.

His problem in displaying such objects is that they belong to a particularenvironmentand when crowded togetherin a foreign milieu their impact is lost both individually and collectively. The perfect setting would be that world alluded to in the film ‘Diva‘: the wide horizontal space of flatted warehouse. sparsely populated by classless individualists who slice through life getting it right.

Starck‘s most accessible total environment to date is the famous Cafe Costes in Paris. lts fame and resulting popularity has long since destroyed that strange. obtuse quality of timelessness which was its most powerful characteristic. It is now full of tourists clutching clicking cameras. The new individualists (they exist all over Europe. not only in Britain) have long since departed. put off bythe popularity they helped create.

Nonetheless. to sample that heady mixture of romance through modernism and elegancethrough functionalism. a trip to lnhouse is de rigeur. If you can't actually afford to purchase a piece of his work. don‘t worry. the therapeutic value of even just seeing modern design being taken a tew steps further down the road again. instead of up some post—modern orneo-classical blind alley is well worth the effort. (Sandy Page)

in Seotlantl.

I MORAY HOUSE Visual Art Buildings. St John's Street. 55(iS455. .\loii Sat

Illain 5pm.

Landscape I ‘iitil 3 Sept. Reeent paintings h} Scottish ttl'llSI Izli/uhetli Reitl.

I OPEN EYE GALLERY 75 ( ‘utnherlzintl l’laiee. 55" Hill). .\Ion I-‘ri Illitltl opin. Sttt Illitlll 4pm.

Marion McIntosh t 'ntil l Sept. A )titlltg (iltisgoxs painter who looks hack to the st} le of .\Iziekintosh itlttl Klimt for inspiration.


Festival Folio 2 t'ntil 1’ Sept. Spectaill} tnutle prints L‘tlltlltlISSlthLl zintl etlitiotietl ill the I’r‘itttiitrikei's Workshop. lnelutles prints h_\ Stephen ( 'oni'o} . Bur hziiu Rue illlLl Bill ( ietir.

Twenty one by Twenty one t ‘ntil l7 Sept.

'I he I’rinttntikei's Workshop \\ .isopenetl


Annual Festival Exhibition SCOTTISH ART 1988 23 Atholl Crescent.


Open daily. not Sundays [03m to 5pm

Sat 6th Aug Sat 3rd Sept

31 )L‘tirs tigo .intl Ii;is .isketl .‘. I pi intiii.ikei s toeelehinte, I he list lIlL IutIes Reiiih.iitl Ilehrens. l’hilip Reex es. I’etei l’ietsell tlIltl ( 'rir inen :\tlll\lti/e\ ieh

I RICHARD OEMARCO GALLERY Illriekti’itii's ( 'hureli. Iilaekti i.tis Street toil llighStieetl.55"“‘ll‘ \Ioii S.it

lllttlll (ipin

Hugh Macoiarmid 1 put liISepi. .r\n L‘L‘leetle.otltlls-tissottetle\hthtlton to eornineinorate the Illth .iiinixei s.ii \ of this Seottish\si'itei'stletitli I ittleietl sculptures and it \\;III of ‘( 'oiitinuuiti' inrikes .'\lttSIL'\ \ tile'seoiitiihtitioii .t highlight

I ROYAL SCOTTISH ACADEMY l he .\lotintI. 235hh"l I'Ul I'.‘iitllet e\liihitioii \loii Sat ltl;iin 5pin.Suii_‘ 5pm Joan Eardley I ‘iitil lIlSept See under l’hotogitiph} for this eonip.inion exhibition to ih.ii .ti the I.tll‘i‘l Rieeist e heloxs l.

I QUEEN'S HALL ( 'Iei k Street. Itosi )llls e (ioS ZIII‘). .\lon S.it Illrirn 5pm. ( kite Gwyneth Leech I 'ntiI Sept lhis \ouitg Amer IL‘.ttl ttl list l‘.t\L‘tl ltl ( ll.t\_‘.!li\\ Il;t\ III teeent )ettrs heen looking .it .IIlt illlt‘t famous I‘llltlpL‘uIl lesti\ itl ol .i \et \ tIilleient t|.i\oui .intl historx Milli-II til IttIinhuigh tlte\'eiiiee('.iiiii\.il Ihis e\hihition of tie“ “(ills h.is t;ikeii Iiei .ilorig .tnother It.ili.iii route. Iiei inspiration heiiig l)ee;iiiieiori’ h\ BUL‘L‘QIL‘CIU.

I ROYAL BOTANIC GARDEN 55.? " l "I (irti'tlens \lon Srit (litlll sunset . Stiri

Ilzitn sunset I’l.'iitt liouses.iiitl e\hihitioris t mounted it] Ill\ et lettli I louse) .\lon Srit lllttltl 5pin;Siin Il.iin 5pm See also Photograph} seetion

Rory McEwen1932—1982 The Botanical Paintings 1 'ntil I ( )et‘ .\n e\hihittoii ol e\quisite heriuts h} .in .ii tist \\ lio. like ('htti'les Rennie .\I.iekintosli. tur itetl inthe lIti\\L‘t throughout his thittt \e.ii [Mtllllllltl

Q'I‘he List 26 Aug— I Sept 1988

e.iieei (’oupletl \\ llIl the g.iitlens

tIit iitseh es. this in;ijoi e\hihition

oi g.tnisetI lll eonjuitt lion \\ III] the St'tpellllllt'. I t‘lItIl‘II. IS .I LICIILIIII tltil IUI‘L‘ ttllssetl

I ST ANNE'S COMMUNITY CENTRE oSouth (ii.i\ ‘s( lose. I Iiin Street .\lon Stit l||.iiii '5 ‘Hpin

Exhibition I ‘ritiI .‘. Sept I’.tiiitiiigs lll .iIl inetlitiins

I THE SCOTTISH GALLERY ‘l-l ( ieoi ge Street._‘.‘55"55 \lon l'ii‘lrtin 5 .illpni. Srit " if hurt I piii See .ilso I lesiin rtiitl I’;ist \l.isterssettioiis

James Morrison 1 'niilpsept l.tsr \L'.’tl. \lttiiistiii;1.i\ e up his te.ieliing post .‘tl Huntlee ( 'oIlege of .'\II to print full time. He h.ts siiiee h.itI .in e\liihitiori in ( untitlti .intI h.ts heeii \sot king on Runnoeh Mom. I liseui ieiit iiii.iges irielutle st;iek ).irtls.iiitl st.iiitliiig stories iii .i Illlltl .iiitl (IISIIIIL'IH e st\lt‘

I STEP GALLERY I lots e Street . 55o Iol i .\Ioti Iii I||.iiii opin. S.it Ill.iin -lpin Images at Italy l pm 3 Sept I’illllllflgSl‘} .-\nne \lentleloxs .iiitl .-\|in.i \\ oltson ttlltl seiilptuie In I \nn \Vollson Ihi'ee person.il \ iexssof It.il) \\llll gentle. unpeopletlstreets ht .r\. \\'ollson;tntl

hi igltt eountnsitle lioin \Ientleloxs.


I no ersit\ of I'tliiihuiglilih WI 1 e\t Hits ,\loii S.it. lll;iiri 5piii.Suri

.‘pm 5pm .'\tlllllS\lIllI L I .5“ for hotli

\ L'IIIIL'\ I See .IIsti Rt“ .lI St'tlIIISIl .-\L'.itlelll_\l

Joan Eardleyt titiI IllSept. I Iieie li.i\ e heeit .i nunihei of sum” e\hihitioiistliis \e.ii .iiouritl Seotluntl toeelehrttte the

“or k til _Io.iii I‘ttltllL'} . \shtitltetl totisoori .‘5 \e.ils .igii I his tit.i|ol telltispeetn e llt\\\ e\ er hgiseolleetetl together theI.iigest seIeetion of her \soik seen lot mun} \eriis I he siii.ill ( tor h.i|s l.iees of eliiltlien \sho \\ ere Iiei lr teiitls and the \\ iltl line of the

(Hillel line L‘t‘tISI tire \ttltjeets UI I'RII'LIIL‘} ‘\ \\ hieh t'L‘lllitlll L‘lL‘ttt' Ill lllL'Illtll} .-\ hook puhltshetl h_\ .\l;iinstie.iin .iritl \\ r'itten ht (‘oi'tleliii ( )li\ei . er the and li'ientl of I'.‘ii‘tIle} . .ieeoinpanies the e\ltihition. priee L905 paper. LIJU5 li.ii'tl IlL‘tilllttllts ltlitll} pliotogiuplisof her work. Itei suhieets ttlltl her'sell itlltl is the lust iii-depth hiogruphietil \\ or k to he uritlei't.ikeii on this irnpoi t.tnt Seottish :ii'tist. Photographs and Sltltlllt‘l \soi'ksrii'e on tlisjil.i) oit the ground floor of the RUSJI Seottish .-\e‘ittlL‘lll}.

Hew Lorimer—Sculpture t ‘iitil IIISL‘pl .-\ I'L‘Speeletl St‘ttlllslt .il llsl . tlte still HI rtreliiteet Roheit I oiiinei llisuotk is inninh tiguintn e \\ llll strong. simple lines ieininiseent ot .iit lttltl\L‘;ttt illttl llIIlL'SPHSI I Ie“ li\ es and “or ks It] ;i pi i\ ate \\ iitgtit Kellie ( ~tistIe \\ here his lainih hm e t.iken litilitl;its;ill his Iile Hill of I;ii'\ it. inthe SillIlL‘ tlistiiet lll lite and not intin} iniles tour} . \\.t\ huiIt ht his father .it the tui not the eentur) .iiitl like Kellie. is tin“ ti\\llL‘tI h_\ the .\'.ition;il l‘i ust and open tothe puhlie

I 369 GALLERY 3i N ( 'tm g.ite. :35 Solis \Ion S.it INS“ 5 .illprtt

Tenth Anniversary Exhibition t mil 3 Sept. In its ten tents of sliou mg the \soi'kol Seottish iii lists. 3h” ll;t\ grotto lltllllit

lti\\ -he;iinetI. SlUltC-“ttIIL'tI. tIiiik) gallery in the Ro_\;il .\liIe to.i |.iige tlll eentre tltl“ ii the iotitl in the ( ~o\\ gtite \\ ith tuo galleries. rit‘tists‘ stutlios. etltienlton lilL'lllllL‘SJlltl ttll .ithoiitiiig the.itie .-\ntlie\\ llroxs ii. the founding thieetoi . is still Ill ehtii‘ge ttlltl the name .‘(i‘lttnkeii from the gallery's liist .ttItliess. .i \eis .\‘e\\ \oi'k thing to LIUI is no“ \telI-estnhlishetl .tStl promoter of totingtip-.iiitl-eoniing

t.ilent 'l his e\hihition shots s the \sot'k ol .iIlol those .iitists \\ lio h.i\ e shots ii \\ ith the grillei_\ in the ten tears siitee its iiieeptioii. .Iune RetItein.l is I I.insen. l)ougI;is I lioinson .iiitl .lotee ( ~tiit'nsrire some of the ii.iines \\IllL'Il st.intI otit lit the IISI

Studio Floor Gallery I liree .ii lists “or king .it .Vt‘lsltii“ ieeent p.iiiitirtgs Rose I‘litlll. Roh .\le( \ii thy .intl Rohert .\l;ieltiui'in, Rudderi l hill 3" Aug ) .intl Screen I 3" .-\rig-.‘~ Sept l “I” he Slltl\\tl iii loIltmiiig \seeks and \s iII he .ieeotnp.iriietl h} litllsStlll the Wed .it 2pm and II I .it I .‘llpin of those

Chris Sell

The Collective Gallery have come up withthe novel idea of giving one artist one dayto showtheir work. Eight artists are involved in these fleeting exhibitions and most ofthem will be available in the galleryfordiscussion and/or working. The ‘Artist tor a Day‘ sessions start on 27 Aug and run to 3 Sept. See Scottish section for furtherdetails.