Euro-Ride Glasgow: Transmission Gallery um”

The fires of retribution are advancing. You are one of the last Survivors, a limping mutant desperately trying to escape. The fire rolls on, one by one your compatriots are torched, their hungry flesh charred and tWisted. Help arrives: a lone helicopter sWings into view The heat is intense, the wall of fire swarms Closer, your tired limbs stutter and falter, but fate is on your side. You are one of the lucky ones.

If this sounds like an advertisement for the latest Video game, it's because the work which prompted this apocalyptic ranting is Magnus Wallin's computer generated Video piece in Euro-Ride ~ The Pineapple Goes To Transmission, the first part of an exchange With Pineapple, a lvlalmo- based, artist-led mobile space.

Wallin’s three-minute video protection uses computer generated models of scampering mutants in a realistic rendering of a barren 3D space. The Video is edited and directed With style and humour and is slick slice of Cinematic spectacle

Wallin is not the only artist to utilise the language and technical opportunities of commerCial entertainment Elisabet Apelmo has produced a condensed Video version of The Exorcist. In a speeded-up narrative, a young girl is quickly possessed by the devil: her teeth rot, she masturbates and her head rotates David Krantz shows another computer generated Video, albeit less overtly dramatic and

A vision of a time to come?

fantastic. In small slices of domestic life, his protaganist cooks, smokes, indulges in sexual fantasy and is pestered by a dirty phone caller.

The rest of the show is less techno- orientated. ToerOrn Lime. displays a large photographic print of a city filled With corpses. It's deliberately reminiscent of all too familiar contemporary European scenes of carnage.

As a snapshot of contemporary Swedish art practice, the show works well carefully curated With an interesting range of work by seven artists. You can't ask for more than that. (John Beagles)

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Elizabeth Worndl

Glasgow: Street Level until Sat l May

There is a fantastic signpost in Glasgow's Chariiig Cross As well as letting you knots; '.'/here the MB is, it offers directiciis to a marriage suite, a youth hostel and the univerSity It seems as if the City is mapping out possible life choices

That sign crops up Elizabeth Worndl‘s Body Spaces, a photographic exploration of the way we think and talk about the city Worndl, an Austrian artist .’.’l‘.(‘i studied in Glasgow in 1990, has made an explicit link between the human body and the built enVironiiieiit Images of a gaping

Body Spaces by Elizabeth Worndl

mouth contain glimpses of the underground system. The idea that traffic routes or rivers are arteries is made literal and digital maps of the artist's body are transposed on Junctions, bridges and dockland areas The result is Curious. There is a sense of dissonance. The human body floats like Pink Floyd's inflatable iiig above London

Worndl's images seem to reach the conclusion that the city/body metaphor may be inadequate but on the way they ask fasCinating questions about how we replicate, model and describe. employing the techniques of the scientist, the geographer and the artist. (Mona Jeffrey)

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Edward Weston

Glasgow: Fringe Gallery until Sat 24 Amflewew

We've become so used to photography that it can be hard to picture a time when photographers were slugging it out to have their work recognised as an art form. Edward Weston belongs to that heroic period in America when photographers were like pioneers: they crossed the desert, travelled to lvleXico and hung out with revolutionaries.

Weston's particular struggle was the perfection of what became known as the ’straight' photograph no blurring, no fancy dark room meddling. His achievement perfect printing, obscusiw ”-3~i’llt.){?Slt:i’lll, startling Clarity and fOCUS is an archetype with which plum-atria. iiy has been equally Cursed and blessed. In the 'flesh', however, \‘r’i'ystocz‘s snort. is. more intimate and satisfying than glos3y reproductions of lead you to expect.

This touring exhibition from London's Hayv-raro' (Baliery l‘ i re well—documented sample of 24 silver bromide [JTII‘LZS it in; lit-wrist Tina fv‘iOdOtti, a portrait of Diego Rivera's first a‘aft- Lu' and tl‘eatri "~."al;i::; landscapes. It would have been good to have seen voiiie of \.\.'-I"st{>":'fs industrial landscapes and his extraordinary 1925 work Exciisacfli, a p: toilet Dona/l Nevertheless, the show reminds us how the battle i‘ liliotioi'atzl‘i‘.’ ConVinCingly won by Weston and his peers. ll-..'io;ia Eeifre‘w

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Pi lqueria, Mexico, 1926 by Edward Weston


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Clare Stephenson & Kevin Hutchesoh Stirling: The Changing Room until Sat IS l‘vlay ; -.

'lvlannie was very much into knives. They were lib:- A'rii‘i .x‘ii‘; Exit-less :a'tis 'i him, he never left home withOut one . . ' So runs I<-:~."ii :izit: hrs ,ri’s text 5' (t: The First Page And The Last Page which samples the start Ii." ion-ii :if ixmks ithe crime fiction genre. These eight texts of undei‘x-z-oiiri‘ ‘-.'i\‘.i«7‘.-:f «i; r'. ' as l is

With gaps tO fill. They manage to be both zu-1’.t‘e:z‘.-f?ij. Kinny ir-(l wit/3:11; l!‘ atmosphere, but the take is more LA. Confidential '.5‘..3li Th: 5" "’ Clare Stephenson employs a ZD design graphs .: Japanese and American motor sport tracks SI":- nits-wt Darlington and Indianapolis With the Spaghetti itllXIIG’i-lllxl carats of f,-

Nishi Sendai.

What gathers Hutcheson's and Stephenson’s '.‘.<>'i. ii";-’-'.7"i'-l‘ he: 7“: imp/a: 9:: of cultural titbits which they then examine an a inc-tap}: ' ' Hutcheson's photographs of temporary text pzet .iaizr:-.-.i:. from the scripts of films by Jean-Luc Godard boizitge off 3tc;,-l‘ic-::i,<iii's t‘ir'. :iits ari'i monochrome spray paintings of the ACrOpOli‘. aixi ’91:" ' gets you looking at the next work in a diffe'eiit 2er {Tutti max: engages in a different perspective. (Will Silkl

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Edinburgh: Royal lvluseum until Wed 30 Jun '-

A large beach ball sits in a glass " _-~ » : cabinet unsurprising, save for being ' immobilised and exiled from its usual \ sandy haunts. Yet read the label and the work escalates in power. It is filled With 500th of water taken from inSide the two kilometre coastal exclusion zone that surrounds Dounreay Nuclear . Reprocessing Plant This is no b0uncing beach ball.

The piece by Dalziel and Scullion forms part of a small survey of Scottish sculpture from the last fifteen years. Originally shown in Japan's lwate Art Festival, it comes to the Royal Museum as part of their Japanese Spring season. Deteint'i‘a-(il‘; ." ‘t 3 '.3‘»."~’.lf.’!". 'ifh’ take of the sCulpture scene or indeed a partii Ulle :tr 3:i2 :.~: -; ail ;"'Ti'"i":‘.:"f‘-lri."~., show is engaging because of its diversity A small Mitt-a . ~iisziuc'»-;i mm the

London plane leaves by Andy Goldsworthy

leaves of a London plane tree by Andy GOltlS‘I-JOIIlT‘y’, the I i iste:»-i;sc=" I 'itituze': produce, sits alongside a piece of paper 'larids: aij-c- l' a E~ i : tea-i: :Icis Gordon

Elsewhere Christine Borland delivers menace in tin-A .'."i'..!‘.-Tl. ".1" Oiu- :~ iéi span of lace-up shoes is pcnctured With a 357 Sli'f‘ Ivrf-gi 7l‘:' .Yl'.l l' 1 ii: et hole while Doug Cocker‘s wood constructs dml ii: fi-xi'ftli" l:~.'l‘. . i:‘\'li :5; i CD-ROtvl by Jim Buckley, which plays out a ti‘iptj.'th-iif~:e «l i tut: ii cloth being mechanically folded, indicates that w.iil;.:’.i.i:i. -:‘;‘--c 1 opt-rate Ill

splendid isolation from new technologies (Susanna lax-.islln 57'.

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