ART & EXHIBITIONS
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“mm aim]; sun [Vim “13(1)”- - .H 4 q i i it 1‘11111111'11K1’1111111.11111.1111l\ \1111\\ 11:31.11:15:11.31113131‘.1.21:... wnnouuealnmemm omeqnooksasmpuonimmune . 11111111313:11:13:19mg:11“ 1.1.1.»111.111.1111151,111,11111110111111111” would be unbearable: Jurgen Albrecht, luncllonal, but It Is not: the Impulse 18 :, ,;.,,,;\.,',l,‘,mk.k, C,,f.,‘u\,u,-‘;m 1111-1111111111-11111111111111111111111. 111'1\.111 Sol Lewitt,Tessa Robins, Craig Wood, tOIOOKUHdemeaththeW 5991111131 1.1.1.1...1.11.11.11.11... i1.-,..i1..n.i11.111111 11111111111111111111111‘1111111111111111111111111 Graeme Murray canary. Edinburgh, they're hiding.The answer, otcourse, \HMNMH, 1,,k.,_,,,,1.,,,HM-ly,\‘\,k,,1,,y,\, 1111‘1‘1-s\111111111111111111-~111111'rx111111\1;1\.1l\11 “flaking George Bernard Shaw's is nothingoApiece ofp|y orchipmoard' mm” “mm mum“- :iitt‘rl‘l‘lffjl)“41(:k WWW]l‘1’1lk‘ldk‘1lzfllct statememmar‘wimouian, the andavmd. The crudeness otart !_TRANsMISSION GALLERYJs 1111111511111. I 90s GALLERY 1: (11.111115111-11. “Udeness “1'83"” wpu'q he produces 3" elegam ream“ '" me g} f l ‘lfiy‘gw'wlg‘r‘kb Nan K1‘l\ 1111111111112 331) 31511, M1111 S111 unbearable" and turmng It over' hallway' two long boxes are anacned to Jaysnsctgnxr ml] 3 ,1 191.“ H y
mm mm. Graeme Murray invites usto consider the walls. Jurgen Albrecht has Volanle Compohémg‘w‘m J, M” A” NaturammmhmWMTMW therelation between art and realityin constructed twoillusionistic HBIJII‘WHWR1,, 1H,, hmn‘m“, 1.11111ls1‘11p1‘xr1n1l 111111111111 111 1111111r11111 various ways. This is not an exhibition architectural spaces— it is the internal 1,,,,,,.}. MN 1,, m “,1 HM,“ including NCil11111111111und'l'wm 01 realism,though; itis more lyrical space oithe boxesthatisto be 111111.1111111-11111111111111-1.1111111.11—1111.111 “WWW” , , y w 1 thanthat. Mostobviously, itis 4 considered ratherthanthe etiectotthe 111 1111'\111111111w111l'11<.'\i11 2?,d'9rfilossgflfcé'1: Pf'llt'"95t>1”lfl‘l _ suggested that we think at ‘reatity‘ with - boxes on the space surrounding them. I WASPS 311 K1111! WWI- $315111; j “I, ‘ “’1‘ '_” “5‘ ‘.' 1mm“? ‘1' '1“ 1 irony orhumour; there is irony inthe Two ‘hallways‘ open up insidethe “1‘” "11"” ‘1‘”11-‘1‘11'11’111‘1 il‘m- 1111111.11111\1.1r11\111.1(11.1\1:11\\.1111\1 . . . . Adm},miulwlwnwxm.“Himmlth admier W m. ,mhnm U, (“Hiram work at each 01 these artists as they boxes, one invitational, the other more Wm” “11!”an HMMHWM“ 1” Wm m hmmk draw attentionto the ‘reality’ oithe threatening. 11 is interesting to WN,‘ MM \IM‘C hm” m1 ‘ .opEN CIRCLE GALLERYHHHWN space theirworkisin,the'reality'ot compare this withthe similarconcerns 1,,I'HI‘,,L’,,IH,,mm,hm, ,Hkiflmmhwm 1,111r11r1..14s11111-111111111331123}. illusion orthe ‘reality‘ ottheirwork otJim Buckley‘s work atthe Collective “mi, M11” l'l‘l"1~“"iim Hi‘lillSi'lW-Willn 111m. itselt. Gallery. \1-111~\l11111111111oee FitezfiecentWork 2 5pm.111111-11W1-1l. Craig Wood does the first 01 these The fourth artist, Sol Lewitt, has 81.11 1\ 1 \111
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.PMSLEYARTCENTRE NW “mt”- one oithe gallery spaces, makesabag art and reality. liyou were to buya ITHEASH GALLERY 1w ..n.11:1:..1.- w. 11,1111)“, Mm (,pnmmrfln out oiitwhichisthentilled with water. Lewitt drawing you would getasheet 01 3111" 11111: 111 1"»:11 1111111 11111111111111111‘1- 1111111111 The resultantiloor-board-sized paper, numbered,dated,withaset oi \W11111‘11'1‘“§_”"lll \l‘jll ‘ A Cry of Innocence 811113131111 11.1111; water-cushion is then placed in its instructions on it. You would then New '“51‘ “931111183 “\1 1'1 ll :11“: ( 111111111111111111111111111.1.1111111111-1-1-11111 appropriate place oithe gallerytloor. produce the drawing yourselt.The art H11 ")“"“‘\1‘,“‘,“‘"j\( If'l‘m‘hhfifq 'i‘l"I:HH\ 1‘11? 11‘1111‘111‘1‘1111111‘ S1mm]111111111111” The resultis both to drawattentionto I market, otcourse,cannotcope with I:,:,‘I',:1,I,‘|‘,l,lf;, H,“ V [1, 1,, .,,” ‘l ‘1 “\Uii. ~- 1 “‘ “ “ “ ‘ IROYAL SCOTTISH ACADEMYOFMUSIC the space oithe gallery,and also to suchtragility—artworksthatdont ‘ .BARNE3&F,TZGERALD 1, M E AND DRAMA WRCHHN Slrmtjfimsc negate itby disallowingits use—the really ex151,and whenthey do,are not \11.1>1,_7111 1 2111 \11111 an Mun MW,” Smtmnmm 5pm tloorcannotbe walked on.ltisa|so 1 ‘really‘bythe artist.T_heIdraw1ng at _ 111 111.1111 \ 111,111 1 .11.:111111111 1.11.11 cunuraiposyersand Graphicsi-nm.-r,31, enchantinegpleasurableto seezsmall Graeme Murray‘SIS, incidentally. qu11e 1rt1ll1'r1 . x1111. 110111-1111111111111111111111-11111111111111 bubblestorm inside each beautitul. In recentyears, Lewitt has 1 ““‘~‘-’lli“'l1l{\ 111111191 111115111 I water-cushion. giving a silvery opacity moved awaytrom the line drawings Eaffelraollelfillollll 11111 \1‘1 11111111111111- mthem' . (sum asme onethgiaterwroqucgs Paintings onthe Theme otSpringl 1111111 Tessa Robbins showswall-based ; every nowand again)to workwithink M” l,.xllmw,‘\ I‘NIMM obiects, Simple structures madetrom washes. Painting by numbers torthe ICANONGATETOLBOOTH }\1,.\‘,|\]l],\.__‘_j\ cheap materialwhichisthenlaminated gallery circuitzbutitworks attheir 31:1 \111. \11111m; 1W, beautil IV! 11 f. X 1188. R in The P80 le'sSto l111'11111\1'1111111'|.111'\1111‘ u 00d ve ee Eacn 8 pa ( W on so") \111:\11111311'111‘11131'111l 1111111111111111111111 1111'11 11\\111.111111\.1111111111111::111111111111'i.11111\ t 1111;1111—\\1111111111(111mm“ 1111111111111:.l;11111's ;1\\\1'11;1\1111'111111-1111111111\11111111'111‘111-111111 lll‘lkllk' dullel«11‘lk'1lll\ .\’l;111111\l1‘(111111'. \1'1111111'11'111-\1-1‘111'11-.111'11l1\[111-1111.1x111 ICENTRAL LiBRARY‘ “"‘15'1' H “W11”- ISCOTLAND STREET SCHOOLMUSEUM 1111'Sp;1111;111l\;11111 “1111\1'11111111111111v 33‘ “‘1 \ll‘lf lll‘WlIll ‘l‘lll.\-ll 22581'11111111118111‘111.42‘) 13112..\t1111 $111 numth 1111111111111111111‘. "43“ ll‘lli 11111111 511111511112 511111. .SPRINGBURNMUSEUMAH gull-1'55" 20111 Century Scottish Dramatistst 11111.: ‘ 2 MOICh ' l)1'\111111-11 11_\ ('11111'11'x 111-111111 \1111'111'111111s11 141153111” [1111171111111 Spin; 8,11 .\111 (Closed 29 March _ '1 Apr”) 11111111111111111111111;”.1-11111.,mmigilnn 111nm 4,311pm;31m: 5pm. David Doull: Portraits oiEdinburghCitizens 1'11111‘1111111111181‘1111111111111111115"_1111\\;1111\. “1111111111 1111- WM) .-\\1;111l1111511111,”,11111 "119111 CBUtUl'Yl lllll _" \1‘1 Mon_Fri: R1~1‘I1111\11111‘11'111'l;1\\11111111\111\1- 1111;1\11111' Induxtrjgilllixttin ,11111 111-111111511411111- EdinburghMilitary Tattoo I 111111 1131\1.” “HICIUHAHI.1‘11\Mll11l:lll.M‘Wlltl “111111 111st11';1l1'11111111111111\11111x1-1111111111111.1111 “117111”? 1‘1‘11111'1111‘1111111' 141W“ 111711 scmrdoyio'3O-l'm “1111111111‘11111\\1‘111111111111x SpringburnThenand N0w\'111\\\11111111 l 111111111:'1.1i11111 111111111'11111111,111'l1ll.1\1\1'.11 The Wind Acrossthe Andest'r1111".-\pi :\11 Springburn1111;1'1111'1 \1111111111111'111 ICOLLECTlVE GALLERY 11111111;:11\111'1‘1, 1'\11111iti11111111'1'1.1111i1‘\, t1~\1111‘\. [311011111111letaken 1mm [111-1.11m- .‘.‘ll I.‘11ll 1111- \1111111111 1111111 111111111111.1i111\.\11111‘\;1111111-111111-1} 1111111 111-1111111111. Jim Buckley: Illuminationst 111115.11 ‘11 S‘ms’d'w‘fhv ""PSCOII'SRAIISCOW‘CH .-\11111‘;1n 1‘11111111'xflli11x11 1111111111-1 Unveiling offiestored CeramchjlgPane| \l.1: \1111111111~\\11111111.1111-.1\tl11'11 11'111‘1‘s1'1111‘111111‘111111'1111‘1111'.1\,11111\11/1‘.1\ ’1'111-111xtt11111' 111-11111‘11t1x11 11,1111-1111-11111-11 1 \1.111111~.'11111111\1111'1‘111\\ \1‘1111111111.111\111
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