EE'W‘FACADE: TOBY PATERSON CCA. Glasgow, Sat 12 Apr-Sun 25 May

After a year in which Toby Paterson scooped the Beck‘s Futures prize and filled gallery spaces from Warsaw to Buffalo, you could be forgiven for thinking he might take a breather. Instead of resting on his laurels, though, Paterson has chosen to pack his first major solo show at the

CCA with brand new work.

‘l‘m feeling pretty wiped out at the moment.’ Paterson admits. ‘l’m doing three wall paintings for the show, and somewhere between 20 and 30 works are going in there as well, all from the

past year.‘

As ever. his focus is on the architectural. For the CCA, he's creating more works that fall, as he puts it. ‘between the drawing board and


‘In CCA 2, I‘m showing works relating to the Glasgow architects Gillespie, Kidd & Coia,‘ he says. ‘Loads of their buildings have been demolished, unsympathetically altered or left to rot. It’s quite an incredible situation, in that

they‘re among Scotland's most innovative architects and their buildings have been

brutalised. I’m re-presenting, as it were, images of these buildings that are no longer there.‘ Alongside this reclamation of undervalued edifices, Paterson is exploring ideas at the intersection of architecture and culture: ‘l‘m doing a big, chaotic, abstract wall painting that stretches all the way around the space, with lots of other stuff dotted around it. The work relates to two different sites: the 1951 Festival of Britain site on the South Bank and this incredible place in Silesia in Poland, which is a park of recreation and culture that‘s still there but semi-derelict.


Gallery of Modern Art, Glasgow, Thu 10 Apr—Mon 29 Sep

Earthbound by Anthony

Gormley ‘Sanmuaryf‘ l‘. was the on, :t Quasiinodo as he ‘led tron: tl‘e haying mob in Hugr 's Tf‘e H.1/T(.‘l‘[)(i(jk of ,\’otre Dame. It s the warm safe place we always seek at the end at a ti‘aurnat'e ,ourney and :t IS the name 0‘ one of the most ambitious and intriguing exhibitions GOMA has OVCF put on.

Shaun McGlashan. the SOflly spoken veter; n curator of the exhibition tells of the long road to Sanctaart : 'A few years ago Amnesty approaChed us to see st womd be interested in a selling show, to help raise money for them. We decided to work with them on a show

a:)::..t human i'ghts, was Te" proadeiieo o.i'. to {)0 'i‘ore spec ‘;(:a y about asyltiii: f;(3(}'<(?l'53. So I went away to took ‘or five best .i‘. contemporary a". that :t‘eat with the zssues of "Lift‘ltf‘ rzgl‘ts. ljus‘. got th'nkng. ookzng at poo s. hat ‘.'.ia".teo the pest. the bees knees.’

He stops to ratigt‘ at the oua "these; of his own expression. ‘I got some kt,“y "aii‘es to agree Quite early 0 Af‘ll‘ilt‘iy Gor'ivey ai‘d Jew“, Hol/er. \«Vhei‘ you get a f' big 'taii‘es otl‘ers a'e =.'.«l!ii‘g to ‘oliow and see". we had Hat‘s llaaoke and t“en Leo" Gout/t . Nancy 8:) Bro. B'll Viola. Cu'r e. llowson. Hunter and l‘ilitl“, others :noitioing Saad Hif’l. Gonkar Gyasto and Zoo,“ at tl"'(-2e o‘ whom wore refugees ‘.‘.i."() settled in Br'tain. It's a very Boleotic blend: it's the CLiTTEf‘tgr edge ." Glasgow. the cutting edge internati. "ally with ages tl‘a‘. rai‘ge fro'i‘ 2:3 to £32 \,ea's (Ml. lt's an amazing mixture

The oxh hiti. it. llt)‘.'.’(3\.0r. s 0"» part 0‘ this ga'gahtuai‘ undertakwc as MoGlashan .s at great pair‘s to point out: 'T'tere's 862/73118’} the exhibition ai‘t: Sanctuary the protect. which is a city “Moe. really extreme outreach D'Cgramine intomng G'aswegians and asylum seekers. We want ths to be rea‘ for the astiun‘ seekers and the people of Glasgow. not MST some art show for arty tam people,’ Paul Dale.

Both are sort of odd utopian propaganda exercises. What I‘m doing is jamming the two together to make a hybrid festival park. a sort of of bright colour.‘

manifestation of culture through architecture.‘ Alongside the gallery show, Paterson is

stitching a permanent work into the fabric of the glimpse of his future practice. ‘l've had an

CCA building itself which will be hidden away in intensive period of domg things. and not had as a corner on the top level of the CCA. ‘I‘ve taken a bit of a cue from Le Corbusier, from a building forward,‘ he says. ‘Not that I feel like I'm called La Tourette,‘ he says. ‘There are chapels there that are lit with natural light diffused down for things that I feel I‘ve dealt with and a pomt to tubes. He painted colour inside the tubes. lt’s


Random Rules (2002)

going to be quite unusual, in that space which is so monochromatic, to have these intense spots

New Facade is a chance to reflect on Toby Paterson‘s work to date. but it also offers a much time as I would like to keep pushing things treading water. but this feels like a cut off pomt move off in new directions.‘ (Jack Mottrain)

GLASGOW ART FAIR George Square, Glasgow. Thu 10—Sun 13 Apr

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Installation by Craig Mulholland at Switchspace