M io'rr/ i CUBA SI! 50 YEARS OF CUBAN PHOTOGRAPHY Dick Institute Museum and Art Gallery. Kilmarnock. until Fri 15 Jun 000.

Golf with Fidel, 1959 by Alberto Korda

Compelling black and white images flood this intriguing exhibition, a welcome contrast to the seductive diet of cadillacs, cigars and salsa dancers of tourist advertisements. But apart from that Mona Lisa of photographs, Korda‘s mystical portrait of Che Guevara, or Corales’ heroic Cavalry, what do these eleven photographers tell us about Cuban 20th century reality?

While the romance and history of the revolution is well-represented, as is a strain of artistic photography, the most powerful images capture moments in the everyday life of ordinary people. Raul Canibano’s Peasant Land series reveals densities of emotion, as the body of the old bony man from La Tunas lies prone, hat-on-head under a mosquito net which

functions as a wall to his bed and a vision of the family as shadow puppets.

Lazaro Miranda shares the same poetic vision with his Natural Man and Havana Captured images. My one quibble is the lack of a feminine viewpoint, of the textured lives of women, key mediators between the domestic and public economies, only briefly glimpsed in curator Keith Cardwell’s Home From School.

Catch papier—mache' artist Filiberto Mora‘s idiosyncratic, vivid models of

bicycle taxis, motorbikes, open cars and lorry buses of people and his three giant Santeria Saints which grace and protect the exhibition. Well worth the

trip to Kilmarnock. (Jan Fairley)


I’M A STRANGER HERE - :fl .'.it." :i‘t.’ '(';t‘::ut: Li" "M7. f'itr. Stills Gallery, Edinburgh, until Sat 16

Jun .0.

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Firth Gallery. Edinburgh. until Sat 2 Jun .000

2 a: in l Snapshots of nature \ . ' z ' - » 2 2 . '«l ' ' . "if 1 American cityscar‘es aioniinii l!’ tr» Irv 2f ethereal Skisixipean itheatinosp'w-r ' " f' if. Sforrn Brenna. ‘rfriag'ar‘. An I a” the -\ i .1?" »« 2w; ‘~; '3»: :3: inzitiri'is Haiku series of ‘.-.orks_ li'lifb‘". w; illz‘ " ,' :' Ti»: w "ppies made to Kilpatrriks xibran’i [Hill‘t'lle .i“ .t 'r‘-:' :2 r'l‘r l' i' «ii-z: ~;i :ale ominous storm clouds merge inti: ii ’2‘ tr , a; ‘2‘: 1 r ' (1"i’l more iinaginar‘, abstract :and: l are . i " 2'2 ;f 1hr Kilpatrirtk's new. drawings pimrzezwi ,i '."e first a; rpearg‘inrte of grainy photographic duality. Vitr'.'.’ll‘_ ; r 2 '~‘:: n: .il"’>.‘%‘3 tr‘»: r‘. itstline. these ‘.'.'()l'i\§; is like flit‘king tillil‘il‘ in --: : u ' '7‘ '3‘ The Tliiiltn’l.’ houses snapshots ot nature. rl telen l~.li:n.iiihiiri'

s'iuiiiANfHA CLARK: GULL Bulkhead, Glasgow, until Sun 3 Jun 0..

r\ 2‘ i "a Mr reari the pi‘ess; r'elr‘3ase for Samantha Clark's exhibition (ii/ll at It made promises the work couldn't keep. lhe actual work .'.‘ii’-’?l' ‘.‘.i’llll‘.ll is produced by bounr:ing a beam of light from a 'ei : Mi .‘..ii°'-' m'iti, a screen. The light dances across the surface and the itartlr. engrossing and imrgnant. llowevrn the press full 3.1m:- Viva: of migration. settlement. colonisation, t)(}()itlztlttll'7itl ,inri . i 2'll‘rz"-’. are explored in Clark's work'. It feels like padding. l'»: 2 .i in u inr‘essfiilly does the physical work (ZOHJUTU tip the r;ririilii;tirii; I filrii responses to questions of displacemei'it. colonisation, ntr It“, 1 wet ‘r‘.<)’,éitl‘.'€?. Just that in its desire to axroid appearing singular. it ..i.}'1é:'it:f3‘) for ambiguity. Consequently, it's incapable of articulating the '-’:l‘>li,ll‘§ iir‘ri paradoxes of these big themes. E «sei‘tra'i, this is a very formal work. Like much painting and sculpture. the real

upeinent here is ‘.‘.'ltlt materials The fact that it appears superfi(:iall\,r contemprtrap;

'i' l"; t or some its roriventional pedigree. (John Beagles)

.. ‘7 .n : mm

Compendium of contemporary practice

lldi'l‘réf ,. MFA INTERIM SHOW Glasgow School Of Art, Glasgow, until Fri 1 Jun .0.

presence. The range is suitany broad from Saad Hai Hiri's fusion of Minimalism and Op art. to Ankiir Bagla's large abstracts and finally /oi Pappa's grotesque. zombie self portraits. As well as these. lro;r Hultle‘, has a series of seductive photograph, printed on lllllltllflC‘CE,1ll'/élf;t:‘)_ .'.rhir,h WI” further help to satiate fliosr: of ,’)ll starved of Visual pleasures.

Elsewhere, David Wishart (“Spin/f, the kind of I(Jl()8‘,’ll(llatl(;. wry lllllll’Hll pr'e\.rioiisl\,r popularised by ex MA" 'ilICll as Alan (,‘urrall. ttl‘) f,‘;ll-’: , at trophies for non f;[)f,’(,lllf;£1(§tll‘:‘.":lll‘:llt l" ' m ':‘ l: . ' " v is amusing and. ‘.‘/ltll|li the (,(Jllilli’;t|t|‘.": ' we; r r ' x2 ._ ' g2 i- 1' ! €:ll‘./ll'()lilll(:llt of a master's roiirse.

r»; T»:‘ 4'! «tr: ' ~ seiner/hat pointed. Check them out

today. before the; take over torrior'roxr; lilohn Beaglesi

At tin‘es. ‘.'.'éili<lll{} around the Mi /\

llltttl'lll‘ exhibition is strangely

reri‘inisitent of flirking through the

pages of a i1()lf‘t)(3lt(tllllll of :znten‘piiarj iraotrce. MA stirrirrri’n

teiizl to i e: r‘rriii‘il. l)l\;tlr,f~’:l‘t iti'i’i

V I:::f:t« >"izi‘ (if? t ltllf) T)hl/.'. l“) l‘i/


92'. Hi. / Lo 27'"! THE LIST 87