Tramway, Glasgow, Fri 7 Sep—Sun 28 Oct.

Matrix, Bullet Dodge, Bullet Stop and Matrix, Worm In by Angela Bulloch

shown. influencing both newly commissioned work, like

Simon Starling's attempt to engage with the height of the


vast space. and pieces imported to gel with the exhibition‘s

Tota/ Object Complete With Missing Parts began life as a group show complementary to last year's Beckett Time festival. based on the playwrights art criticism. But it took on a life of its own when the artists realised their work might be misinterpreted if it were seen as a simple illustration of Beckett's ideas.

'We wanted to use him as a starting point. not to IabOur the pornt.‘ says curator Andrew Benton. inspired by the way Beckett approached art in such a different manner to his contemporaries in the 40s and 50s ‘He was trying to find an ideal object - he was really dreaming of one but never quite found one in the course of his analysis.‘

The title comes from the first line of a text called Three Dia/ogues wrth George Duthurt. ‘What you see in the space is not the whole story.' says Benton. ‘You get the tip of the iceberg. The work of art is a starting point. but not the completion pernt. I became interested in artists who addressed that sense of elsewhere.‘

As ever. the Tramway itself has made its mark on the work

‘Work that has been commissioned for other spaces is being re-thought for this show and in the process is becoming quite different.’ says Benton. 'There‘s one video piece. by Joao Penalva. that we‘ve managed to make into an object. He's re-thought the way he‘s presenting it in the space so it‘s a thing rather than just a projection.’

The piece that's required the most re-thinking is Narelle Jubelin's curtain. It was originally designed in relation to the Mies Van Der Rohe Pavilion in Barcelona. which determined its scale. proportions and colour. To fit into the shape of the Tramway. she had to build a 20ft wall. ‘It's uncanny and incredibly SOphisticated how much of the spatial awareness of how the wall worked in the Barcelona Pavilion has carried forward into the space at Tramway.‘ says Benton.

Total Object looks set to be something very special, both a group show reacting to and moulded by the challenges of mounting an exhibition in Tramway 2. and a Beckett- inspired web of reference points hinted at by each piece on show. (Jack Mottram)


NEW WORK SCOTLAND 4 Collective Gallery, Edinburgh, Sat 15 Sep—Sun 14 Oct.

Now in its second year. the Collective Gallery's New Work Scotland Programme is a showcase for young. Scottish artists that aims to take a snapshot of contemporary practice around the COuntry.

‘We wanted to find a way of supporting young artists and of accessing a lot of different kinds of work.‘ says gallery director Sarah lvlunro. “It's a context in which young artists can develop a body of work. I steer away from saying that this is the best new work in Scotland. it's more about givrng people the opportunity to develop their practice. That gives people the chance to come in and get a broader sense of what the artists are doing.‘

Two very different artists have been installed in the Collective for the first show of the programme. Steve Duval's romanTech investigates the

84 THE LIST (3 SOD-2t) Sep 2001

hot topic of genetically modified foods. Along with wall drawings meditating on the wider impact of the GM controversy. Duval is transforming the gallery space into a forum for debate. with reading materials ranging from scientific information to a treatise on the roots of GM in romantic literature. Jenny Hogarth‘s show. Does This Sound Like Something You 've Heard Before? takes the form of fantastical installations reminiscent of sci-fi fantasy film sets. crafted from combinations of obsolete technology impracticany juxtaposed. Like Duval. Hogarth is tackling social issues. this time homing in on questiOns of identity and the role status Symbols play in society.

The NWSP provides an overview of current art practice but. unlike most shows devoted to new work. gives audiences the chance to fully appreciate the artists. away from the hustle and bustle of the standard group show. (Jack Mottram)

Jenny Hogarth’s show homes in on questions of identity


News from the world of art

GLASGOW'S BULKHEAD HAS sadly ceased trading due to lack of funding. Set up in 1997 by Nicola Atkinson-Griffith. the first Bulkhead project began with a unique On The Buses exhibition in which art works appeared on the bulkhead of a fleet of First Glasgow buses. The project then took up residence in a gallery space on the High Street hosting a range of exhibitions including works by Joanne Tatham and Tom O'Sullivan. Scott Myles. Justin Carter. Kathleen Little. Claire Barclay and many others. Bulkhead also set up an annual prize which presented work in public places in Glasgow offering a 533.000 prize for the winner. We are very sad to see Bulkhead go and would like to wish Nicola and her team the very best for the future.

COMMISSIONS ARE SOUGHT for Edinburgh’s new Royal Infirmary from artists, designers and craft practitioners. If you are interested in developing and implementing a hospital-wide mapping/orientation project and/or a place making project for the new sanctuary, write to: Tom Littlewood, Ginkgo, Whinnyhall, Victoria Avenue, Milnathort, Kinross, KY13 9YE. Tel: 01577 861685 or e- mail info@allaboutginkgo

SIX OF BRITAIN‘S top digital filmmakers. illustratOrs and interactive designers (Digitalent) have teamed up with Tango to support ‘Unleash The Talent Inside. the UK's first initiative to find the digital makers of the future. With support from The Face and short film and animation entrants are invited by logging onto the Channel 4 website The judging panel includes Stella McCartney. John Galliano and Elaine Constantine and the prize includes €2,500. Channel 4 screenings. exposwe in The Face and an opportunity to work for the magazine and For more information. log onto the website. Closing date is 31 October.

Bidding a fond farewell to Bulkhead