Steigerungsphanomen by Jiirgen Kiauire. “We are, more than ever, tiny arsehoies incapable of enjoying a moment at sell-recognition In the tew seconds leit to us."
Angel by luis Gonzalez Palma. The Guatemalan's first European show is at the Smith Art Gallery. Stirling.
Pierre Radlsic's Waldsaena exhibition can be seen L at Seagate Gallery, Dundee
SEE ME, FEEL ME, TOUGH ME, EAT ME
Beatrice Colin previews ‘Public and Private’ a major exhibition forming part of Fotofeis which explores the boundary between that which we reveal to the world and that which we keep secret.
Pierre et Gilles’ work parodies the kitsch insincerity oi cornmerciai photography
Laslrml by Dani Lerlche
ello, hello?’, 1 shout through the letterbox. Bellevue Church in Edinburgh’s Broughton Street looks
ﬁrmly locked and passers-by give me suspicious, sidelong glances. Yet they will soon find out that the disused church is one of eight exhibition spaces being used for ‘Public and Private’. an expansive and sexy contribution to Fotofeis organised by Stills Gallery and the French institute.
Across the road I find Helen Chadwick sipping tea in a cafe before directing the installation of her piece, Eat Me. She is one of over 35 French, Dutch and British artists whose work has been chosen by French curator Alain Reinaudo for an exhibition which has taken over two years to put together.
His choices explore the dichotomy between the public and private nature of a work of art, voyeurism, exhibitionism and media fictions. ‘l’m not interested in the theme of photography,’ Reinaudo says. ‘l’m interested in images, and this exhibition mixes different uses of the photographic image in the last fifteen years. There is traditional photography. installation, objects, light-boxes. and many other examples of the way artists have employed the photographic image.
‘The idea of the identity and the idea of the revelation of a secret are now crucial things in contemporary society because of the highly- developed nature of the media and the importance of the image in our everyday life.’
Helen Chadwick’s piece is an illuminated group of images which revolves around gender and the body and will hang in front of the altar in the church. It was chosen by Reinaudo for its examination of intimacy. ‘The relationship between the image of three eyes, made of bluebells in oil and milk and the oyster shape above made of buttercups, sets up a
‘The idea oi the Identity and the idea of the revelation of a secret, are now crucial things in contemporary society.’
sexual tension.’ Chadwick remarks. ‘Because there are three eyes, they destabilise your desire to look at this yellow cunt-like form. They are almost like sentinels or guardians to the image above. which exists in a kind of untouchable, sacred place.’ ;
Two pieces have been specially commissioned for the show. In a small space in the church, Jane Mulﬁnger is in the process of pouring tons of gravel onto the floor for her piece which uses projections. At the other end of Princes Street in the French Institute, Louise Scullion and Matthew Dalziel are
The List 4— l 7 June NW 11