All encompassing spectacle of colour, light and sound

INST/\l 1 Al l()N PIPILOTTI HIST Tramway, Glasgow, until Sun 10 Jun 0000

You could argue that one ol the (I<)l‘rf1if}T(,‘llT faults rn rnrrr‘!‘ 9' ‘rtwrzporar I, an a; that rn rts earnest desrr'e to appear cerehral rt neglects ‘.' measure. {Jr}. dr‘, anrl dr‘, agarn olten seerns to he the rallyrng call for rrrarr, an artrst. l orturratety l’rprlr;tr. llrst's exhrhrtron at the lr‘arn‘.'/a\,/ Shot-x a l or; cannot h, any stretch of the rrnagrnatron he accused of lackrng yrsual punch.

Trarnway has alv~rays heen a drttrcult. rrnposrng space to deal '.'.’ITt‘. hut llrst. vrr’tue ol an arnhrtrous use of state of the art yrdeo technology has produced an all encornpassrng spectacle of colour, lrght and sound.

Utrlrsrng lace drapes. surtahly loopy arnhrent sounds and rotatrng .rdeo prorectrons. she has (I()ll]lll(3(l up an hallucrnatory. :lr'earnlrke landscape. The rotating hearns of lrght. the electronrc '.'.rashes ol sound pct are :n rn:n ref Blade Runner.

The vrdeo rrnages range from acrd coloured slowrno shots of a yourg {)rr: r'unnrng down the street. to more rrnposrrtg rrnages of a ‘.‘./ornal "s lace contorted agarnst a glass wrndow. Whrle the ‘.'rdeos are devord of a uorce. heinnri the

saturated colour rrnagery ltrst cornrnunrcates a sense of someone ; . t; a He o"

guret. everyday lrustratron.

The spectacle occasronally overx'rhelrns the content. hut on The whole tl‘rs rs a rrnpr'essrve. anrhrtrous work thanktully dexord ol the l udortr: tr-ndenrres .‘.'hr<:l‘ treguently allect contemporary yrdeo art. ulolin Beagles.



National Gallery Of Modern Art, Edinburgh, until Sat 9 Jun 00..

You know never to rudge a hook T)‘, rts cover. hut go on. adrnrt rt. \ou have. Any random walk through a hookstore needs you to go through some sort of selectron process; rt rt's not hy author then rt has to he hy desrgn. And no longer need you he asharned ot \our phrlrstrne approach now that . w L Cilllll'ltlate has suslllested that front . - " ,- "-3- _ a - covers are an arttorrn rn thernselxes. A mini-classic in itself The Edrnhurgh puhlrshrng house has cornmrssroned srx conterrrporar‘,

<:~rr‘tstt.e.‘earlo Holt”

Scottrsh artlsts lrorn Alrson Watt to (Jolsrn's '.'.r\'>\ rs at r.‘ "W 1' r' 1 John Bellany to r'edesrgn the cokers of and humour. tru. rv r ,t‘ r . a :: srx rnrnr—classrcs. The or‘rgrnal artwork treated t», [)apo‘ :'\".a ' r- r '

rs now on drsplay so under the cuter (amount; at. ;" um 1m, ,‘

ol art, we can all judge a hook ht rts Jeckxll's ether :‘er:;;>"a f,. Ti." (tower. Turt‘t-K paentr'tgs o‘ \.'.arte' ".1 .r'”) The exhrhrtron. although srnall. rs a

wealth of talent. All the artrsts haw unrgue styles. hut the common thread rs the s‘rrnplrcrh ot therr rdeas. Alrsor: Watt's hlank page rss the tarr‘rters' ot‘se'xatro" o" Jttl'iéfs wart/1‘: nernes‘rs or genesrs. a heautttul|e

W: Kelniar‘ {1"é:;‘(-'51:"‘.;:_

!l‘.Trr.’l>l(7TttT!lTllE% of 1"»),-

\TTA"\ \"'\ .l ,C‘ J \‘( "' \"(' Tr! \Mm‘tlll.“\,,\. T \JLTKTlti.) )\/ In; .3

fultnlfx'mtl {Idiot trl‘rt'ul 8 "at:

supermafural tales.

W'TTT'HET. It's a treat to see Calurn The e [Turntrcc .s r: r‘ tlarrs (T Colyrn's actual constructed set. ‘.‘.’l‘.rttlt rtself. lsal a. rt



Inverleith House, Royal Botanic Garden, Edinburgh, until Sun 27 May .00.

1Vi'." \z't‘\trr ‘T‘D"T:, ('3‘?) _l‘ 8‘ J T'lr'l' reer true ‘l‘tL‘Tl T)‘ | (f. ‘,r T. he‘d- ‘yr 'lf‘1y T 1' T'ITTT‘T‘IJV. TTT ‘TIT‘rTT, tt' 1' T TT‘. r'l TTt‘J‘WT‘ ' ttT I'T ' tTT T IrtTri TTTT '

An intoxicating collaboration

Mum.» tom .t'r /: paramhrr-t

(tl'rr,TTTl:'T‘r“:":'l"t“«‘»Ll""rt‘»rt Thitl" T T ' T‘.T"1' 'r :arntwl oat .',"i|‘."rr1(tl‘.tt‘; lcokrnr; tr, Mr lw-v :~ . 1‘rltl‘erniatywrt 'nr‘r- :.:...r." ‘r'rrn' Beddetllrle, t'att;,:.'~‘sarrh|\,try/hr "km? the rmrttart {Trove} 'fth. ()ther 'e .; ' ,"‘t "re, {we rnlluer rteé; .nr'lazle Alasrlarr (Err. prese' Ta .1 -m '1 .rr‘f'us Tlrrlf;l\r-‘.‘l\ statues and T rasare Some 'o-p'ar'koar ._.' _" Trr‘r .rr= r :w of the .'.'orksarer‘cllalroratrons and l r: r" w; - ‘l o “.r rl‘. het‘xxeer‘ ()lo'.'.'ska and TyTiKrrllel'. r t .1 :Tw others are solo eltor'ts ()rlr- rrrorr‘ Mac, t’ "‘~- ~‘IT1rT,".N .'..:’k devoted to ‘.'.ror'ks created Tl‘,’ therr erg.» l J r' a”. 1' r'r farnrlres and lrrends. The .HT“ ".H'srl. rtrr /.,r U r

(Nona/ska shon‘rs a senes ot’ ;larlrng ra'tw til it, . i a :rmrr.‘ ltrl rirr parntrngs ot rlehutante poses: drearn syrrlrro at tr‘.‘.l' t. r'

grrls akrn to those ol ()hantal ,lolle and rf‘nrra': l marries

53(L'rll ltltlltl KATJA STRUNZ The Modern Institute, Glasgow, until Fri 18 May 00.

Stayrng true to rts prrncrples. the Modern lnstrtute's current "KT‘ITrle' re, \lrgtel, rnodernrst. The Berlrn hased artrst Katra Strunx's aurork esr hens ,anos: :rn, rue... relerences to the socral '.'~.Ior‘ld. pr‘eler'rrng rnstead an esoterrr,. ahstrar ‘. T(lll'ltltl’]!7.

In each of her works. larnrlrar. unspectacular rnrrterrals re. suhtlety altered rn an attempt to translorrrr therr rTTtrl‘TiT‘, and rrrnser ruerrtl; mur )kr: TT‘rl ‘xar'rous stylrstrc concerns of cr)rtstrtrctr\.rrsrrr. arte pr rurera arrzr ltlrtill".;trr‘,lll.

In one work. a tx'rrsted tangle of wrres and rrlelalirr, praces rotates r'.'o.'.ri, fro'n

‘.'.'l)'/‘l :1“r1’l'\l TTTT‘

perceptron of them. Her pr'erlornrnantly sculptural works krmxznngl‘. tn; the cerlrng; its appearance rs rnore organrc than rnanutarttured. Nearn, srrxe:

.ke an oss're'l War of l'l’)T'.‘,‘." .a.!r.

pearls appear to use rnagrcally from the lloor.

T|se\.'/lrere. a large angular dragonal hlack hearn "rrts r." tl e rl’." ml the .'.a|l. lrorn a rlrstance rt could he rnrstaken tor a llrchard Serra o" a r'. .ndrrstr'ai steel; closer rnspectron reveals Its structure to l,e corrrrarseri n‘ '.‘:r;o"rl hand sculled wood.

There's nothrng surprrsrng here. The .Uor‘k rfi tastelull. pr M’T‘L rioslalgrc. The Modern lnstrtute rs alter all a prenate rornr' trailer V, and" t? r', .'; decorous. chrc. cornrnercral work. ltJohn Beagle»

Hell “,rrrutarrre’t zrrl’l

ohr )t rt) st rr


lngleby Gallery, Edinburgh, until 26 May .00.

/ am 1’ guxtaposes erwronrnental land artrst and WW.) Tur‘ner‘ T’rr/e narrower Hrchard long. Scotland hased Arnerrcan photographer Thornas \Joshua Cooper and prolrlrr, early .7ch centur‘, T rrglrsh artist T’aul Nash ‘Tf'ir‘lll' TTT'ZTD.

()ooper's T TIM/TIMI" (r‘o'ge. taken crrth a l‘.)th<:er1trrn, lreldcarner'a. rrnrnedratelt, calls to rrtrnd Mrllars's ‘2’-“f:.1oortra:t’rtlttnmrn The tecnnrcai

excellence of Cooper 3; '.'.ork alrnost

:lrst'acts lr'orn tlte content. rernrndrng as that thrs rs not nature hut rnar‘s

‘v.ers:on rrt' rt. lake (Looper. much of Nash‘s work has flung"? reseai poet", ' rar‘dsrt'rpe. llrs .‘.ratr,-r<:o!ours lr‘r partreular ernphasrse The rr.;t<}rr,::r. sprr ’Ira

<t\"ri751l)' ere ot at cert pra<es, and at the same Tr'l e ':.’/r‘.‘: tarrrrrat ', '1 ’T

rxosta'gra. Long's text works act as a geograpnrcal shortl‘arrd'. Inapprr'g r,-’;fir:r:rrrl’g

T, t.T ‘j/TJTZT,IT,"T ,‘J'

approach to rnakrrrd art. The stone errcle rnsfarlatror trl‘n'm' _,‘ i."

a domestrc sett ng. alrgned slrglttly to the r‘rght. arloxxrg for :: frrerlar/n INT”!

beyond. a pocket of nature rs seen tl‘rr'ough a ‘.'.'rndo.'.. The spare

tc sonsrde" these trnasliarnedly Rornantr’; response-w t/ "“: £171". A“) T 97"} "’JT‘W

‘.“ 'rl‘ r r rut/l, t“ "lily/i]

arid elegant enyrr'ons ot the lnglehr, (jailer, we a a. r, M.

'Al: these farms feed the .rnailrnatron. they are the ovstrlratror‘ err/:r'ef‘re

Susannah Thompson

1. THE LIST 91