I ONE Princes Square. 226 3032. Mon—Sat 1(lam—7pm: Sun 11.3(lam—5pm.

Boys and Girls Until 3 Jun. New paintings. mainly portraits. by Glasgow artist Charles Stewart Parker.

I PRINCES SQUARE 221 (123-1. Mon—Sat mam—midnight; Sun 1 1am—5pm.

A Festival of Banners Until 6 May. The brightly coloured banners. each representing a different European state. have been constructed by the (.‘yrenians' Workshop in Aberdeen.

. tie-“v .‘ C , , Maylest Dazzle (Mayfest) 4 May—2Jun. The largest ever exhibition of contemporary jewellery in the city from around 50 leading designers.

I PROVAND'S LORDSHIP (‘astle Street. 5540223. Mon—Sat Ilium—5pm; Sun 2-5pnr

Partick Until 31 May. Another month and another area of Glasgow gets the photographic scrutiny at l’royand‘s.

I SCOTTISH MASK AND PUPPET CENTRE 8—10 Balcarres Avenue. Kelvindale. 339 6185.

The Hogarth Collection Until 29 May. A rare personal appearance from Muffin the Mule in this large-scale exhibition of puppets organised by Ann Hogarth, who used to operate him. and her husbandJan Bussel who didn't.

I THE SHELTER GALLERY Renfrew Court. 334 6386. l lam—11pm.

The Horse of the Year Show 11 May-1 Jun. After the Art Gallery inKelvingrove galloped off with the ‘Year of the llorse‘ title. the Shelter simply transposed the phrase for their exhibition ofartwork on an equine theme.

I SPRINGBURH MUSEUM Ayr Street. 557 1405. Mon—Fri l().3()am—5pm. Sat mam—4.30pm. Sun 2—5pm.

Child's Play: Growing up in Springburn 1940—1990 10 May—23 Sep. Researched and to some extent dictated by local 8—12 year olds. the exhibition traces the changes in a child‘s life over the last 50 years in Springburn through painting. photography. poetry. sculpture and drawings.

I STIRLING'S LIBRARY Royal Exchange Square. 331 2668. Mon, Tue lOam—Spm. Thurs 1(1—8pm. Fri & Sat 10am—5pm. Sun 2—5pm.

Glasgow City of Architecture Until 31 Oct. Models. artefacts, trail-maps and videos trace the city‘s architectural riches.

I STREET LEVEL 279—281 High Street, 552 2151. Wed-Sat 1 1am-6pm; Sun 2—4pm. label by Maud Sulter (Mayfest) 5 May—3 Jun. Large-scale portraits by the Glasgow-born artist, that scrutinise issues of race gender and sexuality.

I THEATRE ROYAL Hope Street, 331 1234. Mon—Fri 5—7pm; Sat 11am—5pm. Gwyneth Leech: Paintings and Drawingle May—5 Jun. Scenes from every opera of the 1989/90 season by Scottish Opera‘s artist-in-residence.

I THIRD EYE CENTRE 350 Sauchiehall Street. 332 7521 . Tue—Sat 1()am—5.30pm, Sun 2—5.3()pm.

Tunga 5 May—2 Jun. Installation work by the Brazilian artist.

Fiona Rae: Paintings (Mayfest) 5—26 May. Bizarre paintings done upside down or back to front by London-based artist Fiona Rae.

I TRAMWAY Albert Drive, 423 9527. Mon—Sat 2—6.30pm. The Compass Contribution 10 May-24 Jun. The exhibition has been organised to mark the let anniversary of the Compass Gallery in Glasgow and appropriately, features artists who have shown there before.

I TRANSMISSION GALLERY 28 King Street. 552 4813. Mon—Sat noon—6pm.

Wols— Photographs, Watercolours and Prints (Mayfest) 5—26 May. A fairly wide ranging exhibition of work by an artist strongly influenced by surrealism. It is organised by the Goethe Institute and the Institute for Foreign Cultural Relations, Stuttgart.



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Calum Colvin: Brief Encounter, Fruitmarket Gallery, Edinburgh. Calum Colvin’s work blurs the distinction between photography and sculpture in a compelling manner. This exhibition (which re-opens the Fruitmarket) includes retrospective images as well as his most recent constructions, The Art Of Memory, Rebus and Brief Encounter. These illustrate a development in Colvin’s sophisticated and enigmatic visual language. His experimental approach to the construction of sets fuses the illusory and fantastic properties of light and pictorial space with visual dramas which are complex and multi-Iayered. These images explore the unease inherent in culture (specifically that of Scotland) and become representations


of psychological and social phenomena which influence identity in a culture inleriorised and colonised. Within the photographed set, found objects, literary text, art historical references and sculpted illusions appear as part of a photographic mise-en-scene which seems cluttered, yet possesses an internal structure which questions personal and cultural meanings.

The careful composition of the images is crucial to the unfolding of the ideas which resonate within. In Brief Encounter, the title itself evoking the tragedy of romantic love commercialised, the killed Action Man figure (an impoverished, almost unconscious male symbol who is seer and blind like Oedipus) engages with the trauma of Scotland’s history. In triptych, the sequence of images forms a narrative which meditates upon the meaning of Scottishness, masculinity and the psychological consequences of living within a culture in which discontent is historically real but constantly‘displaced.

The iunctures between myth and reality, illusion and artifice, language and silence are places where Colvin’s work seems to rest. The viewer’s curiosity is immediately awakened by this work but time, commitment and thought are needed to perceive the visual connections and psychological depth. (Lorna J. Waite)


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The List 4 17 May 1990 73