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GROUP SHOW New Work Scotland Programme II Edinburgh: Collective Gallery, Sat 9 Sep—Sun 8 Oct
You’ve just graduated, with a plenteous portfolio of work but nowhere to show it. Getting that first all important exhibition is, as every artist knows, not easy. But putting the young artist’s world to rights is the Collective Gallery's New Work Scotland Programme. Emerging artists are given the opportunity not only to show their work but to develop their practice.
Jonathan Owen is one such artist. Winning this year's John Watson Prize, awarded annually to a graduating student from Edinburgh College of Art, Owen transformed his initial wall painting into a moveable painting. [don’t usually do this, which is still on show at the National Gallery of Modern Art, presents the viewer with a series of hands. ’I was thinking about the way that boys communicate,’ explains Owen. 'Whenever I'm with a group of lads and the conversation turns to sex, it becomes physical and mechanical. I took these isolated male hands from pornographic images and turned them into diagrams so as to look like sign language!
INSTALLATION/VIDEO Renaissance: Justin
Carter and Shaz Kerr Glasgow: Tramway, Fri 8 Sep—Sun 8
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Campfire (2000) by Justin
Carter
To celebrate the first phase of the nex'. artist's residential centre, Outside the Box at Cove Park, Trarm'xay has l":‘.'ll(‘(l the first t\‘-.ro ‘.’l%ll<il artrsts-rn-resrdence Oct at Cove to exhibit nex'. - Justin Carter continues his fascrnatron \‘xrth temporary living structures, first seen Ill his portable flat pack art.sts' garret l-lrs installation rs inspired by the nearby Faslane Peace (amp, and a second camp at (iotrlpourt \.'.'hr(h tied llI with Carter's \.".'orkrng methods due to its temporary exrstence for twenty days each year 'One of the structures Is partly made from materials from the Faslane Peace (,amp,’ (artev‘ explains The starting point was hndrng these blocks of wood that cradled the missiles at the base, and l".'e .nx'erted one to form the lrntel of the door lhe walls are also from l‘aslane, \.‘~.’rth signage from a conservation centre that used to be there and panels from crates used to transport nussrles' (arter adds "The odd thing s the :eal
'. . . drunk lads on a night out.’
Dealing with the issues of masculinity and identity, Owen explores ’lad culture'. The expectations he felt during his adolescence is central to his work. 'When I grow up I'll be able to strip down an engine,’ says Owen. ’That's what I grew up with. I‘ll be able to have theatrical sex with a woman or master the workings of the internal combustion engine.’ Owen is well aware that he is drawn to generalisations but what he does is comment on the laddish thing, answering back to the whole Loaded and FHM culture.
For the Collective Gallery space, alongside a video projection from collaborative duo Michelle Naismith and James Thornhill, aka Love Laboratory, Owen has created a series of halos constructed from car maintenance manuals and pornographic magazines. He also plans to paint a life- size version of Lads - three soldiers standing in a group, fumbling in their trousers — directly onto the gallery walls. Owen explains: ’Those images were from a Ministry of Defence handbook. The figures are at different stages of unfastening their nuclear proof outfits so they don’t contaminate themselves when they’re having a piss. I just put them in a more narrative image as I want it to look like drunk lads on a night out. That kind of sneaking off down an alleyway and having a slash.’ (Helen Monaghan)
objec is I found look more unlikely than the stuff l".e aclcieu rnysel.‘ '
As her residency continues, Sha/ Kerr \.'.'rll be docunwntrng the use of the (one Park sate, and the plans for its development At lr‘arn‘.'\.ay, Kerr will be taking over the project room to show last Days Of Yummy, a reconstructed documentary, mrxrng \.’!(l(‘() projection xxrth stills, about the high profile case of an 11-year-old Chicago boy who broke ranks from his gang and was eventually murdered 'I lived Ill Northern Ireland during the 80s and since then, a lot of my work has been about these extreme events and ho\.\ non-fiction footage can be subverted to subtly put across different political ‘xievt's,’ Kerr says "lhrs piece is a re- creation of my thoughts on how Yummy rnrght have been caught, and a documentary style, ','l(lll(llll(l the react:ons of people on the streets of Chicago to the re- enactment ilack l\.lottrarnl
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Artbeat
News and views from the world of art THE SHORTLIST FOR the Archibald Campbell and Harvey WS Photography Prize 2000 was announced just before the Festival and the winners are. . . Graham Fagen, Paul Gray, llana Halperin, Alison Hayes, Torsten Lauschmann, Tatiana Maria Lund, Alexander & Susan Maris and Scott Myles. A collaboration between the Scottish Arts Council, Archibald Campbell and Harley WS and Stills, the handsome cash prize of £5,000 will be award annually over the next three years to a Scottish-based photographer. The work from this impressive line-up of artists will be on show at Stills Gallery, Edinburgh from 28 November until 20 January.
DUNDEE-BORN ARTIST James McIntosh Patrick's long and lustrous career is celebrated in an on—lrne exhibition throughout September and October. Log on to wwwprc‘turesonnet,c'om and View his remarkable output of work which includes some of the most Outstanding Scottish landscape paintings of the 20th century And any artists who would like their work featured in the on-lrne portfolio should email newartrsts@prc turesonnetc om with details of yOur work
CHANGES ARE AFOOT in gallery land as the Nexus Galleries chain on Edinburgh's Bread Street are changing the way they operate. In less than a year of opening, the three galleries will no longer sell artwork but will be available for hire. Primarily aimed at individual artists, groups of artists or other galleries, the spaces offer all mod cons and a very central location. Interested parties should contact Colin Stone on 0131 622 8120.
AND IT’S FAREWELL to Edinburgh’s Bellevue Gallery as we know it as the owners of the Georgian townhouse gallery are selling up. Established in 1997, the gallery has showcased the work of both emerging and established (illlSlS. But it's not all doom and gloom, as they are on the look out for new premises. We \x'rsh them well lit their new venture.
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Scott Myles' work is shortlisted for the Archibald Campbell and Harvey WS Photography Prize 2000
/ J‘s-ye fie.) THE LIST 87