MIXE l) M! I)»: NEMIEAQADE:TOBYFMWERSON CCA, Glasgow, until Sun 25 May 00..

This is Toby Paterson’s first major solo outing and, as such, is something of a revelation. Seen singly. in the context of group shows, Paterson’s paintings on Perspex, wall drawings and sculpture have always been clear to read. The connection between the work and its architectural inspiration has been a precise give-and- take. But at the CCA, Paterson has gathered new work in an unconventional installation that makes the show less a collection of works to date and more of an essay on the artist’s practice, or a meta-work offering new modes of viewing the pieces on show.

First up, in the foyer space, is Full Scale Maquette for a Sculpture Titled New Facade, a blocky cut-out wall, lined with bold colours, that almost blocks the way into the gallery. It fits Paterson’s modernist aesthetic, but, more than that, the piece literally wrong-foots the visitor on their way in and, in announcing its status as a maquette, alludes to the problems Paterson encountered with New Facade itself, an aborted twin of the installed piece, made of concrete. Instead of compromising the planned sculpture, Paterson engages with the architectural shortcomings of the space, turning a practical problem into a question about the status of the gallery itself.

GROUP Si 1'03.


Market, Glasgow. until Sat 24 May 0..

R(?/(!:.”7(:'7 '5; a pixetal sum; for Market as: .t illll‘S to rea‘f'rn‘ its nostien as a '(inVéll‘l contemporar‘, ex'rilntion space. The Shots. :::>r ‘nrrses zirt'sts unitese work :>' 4: "(tit-fl "3w <=x:;~:2',er‘::(:t; gnaw“ * (i'flerer‘t ;:;;i:te:;a1r::,.r:;:{lie .'.::':;2. '.'.’Cll\8 are a {tires reaction to these experiences; and deal \.'.’l!l‘ beunuanes. unlhether geographical. nautical. ;>S\Ci‘0l()gl(3£ll oi r‘tetapiterim. in r‘attxe In the first space, Sand Him presents two \‘ldCC DICCCS based on ".lS experiences ‘.'.’liillll Saddam Hussein's: torture DHSOHS. These graphic ems serve as a Chilling reminder. CSLTGCIZE'l‘,

Church in 3 Peripheral Scheme

There's more of this in the next room, which has been shrunk with a slatted false ceiling, the white walls painted in an oppressive brown, and stubby walls dividing the space. The paintings and drawings hung here - Seminary in 3 Woodland Setting or Suburban Church - bleed into the fabric of the exhibition space. The Perspex paintings in particular. by virtue of their transparency, shift from being acts of reclamation, highlighting lost architectural gems, to functioning as interruptions, like little temporal aftershocks of past buildings reverberating through the present one.

The CCA‘s third gallery, on the other hand. is a riot of colour and light, with a sprawling painting spanning all four walls that alternates between merging with works hung on the walls and providing a sharp contrast. Paterson is having fun here - the wall painting draws on defunct festival parks in London and Poland, and, in co- opting these utopian visions, his own work comes across as an equally impossible model for living with buildings. Again, the works shown reconfigure the space, rather than occupying it.

This all bodes well for the forthcoming unveiling of Paterson's permanent work for the CCA, 3 Le Corbusier- inspired light well: the exhibition hints at a new, more directly engaged approach and the permanent piece is set to be the first example of this new practice.

(Jack Mottram)

DOlgllalll at Such a tense politim' tune .tiec em: ‘.::x.:s :7" ' 'r' {a ' ‘;;::..s, z - :; ' ' "I . ' <

But mOung though the pieces are. tl‘m ecce'v' ;‘ _‘:I‘,'. '. tie: r‘ ' ' 5-7: l." l . . é: a ‘:' ' r ' .<

tail to pertain to art,'tnirtg "ere than a ‘ilfiftfléhl ' 1.0. 8'. :7 : ' 2 ' r < :; ' " r H z. ' <

particularh brutal \‘(lt’EC 018'} Rome. th‘:_{i'~l?$7 ;at-, . z < I 5:: ' ' ' . 2 The second space :8 the most :3'(?$(?"'.{‘:'.1f" "1:"; ;:" .. . . '2 {L " “l? H , :<

successful of the three, Belr‘da Guam to is :t' 3; S..:.~;>'-'~‘ I ‘3 ~ o r, ' u

{TOllilllUQS her 0X17 :7';l°.i;)" 3‘ min". f?’5""“£‘-' " i / " : ' .' a: z ' "‘.~’- " . '

spaces; and their Viagra. new". :r" " 'N.’C,.g}" " 2:. « ‘5; "a : ,-',-:, ' .'

certain films; 0‘ Fels” am: Gen/tram). it i'i“.'.ll‘gS. . t ' . z z ' ' 3- ' 2 '

fea'am /r7;:"“e":,.:gsrr :? S'l-L‘: row-3:31:35 .ta t“':,..::" t"-_:- r « ' >1 V » r l.‘ ' 39’“

lzg'tt {it-1997‘.iihi'K}OtltS‘flé-‘C'CtlSOS " Set/1‘: -.-x' ' ' . '

Rove to st.."'trng ett’ect. Lee, Cm "" “(m ma: ' ' :z, 8 ' .,

86 TEE LIST 8;: Ma, .‘L‘CS


News from the nor/d of art

ROSALIND NASHASHIBI IS the third Scotland-based artist to win the Beck's Futures Award. following in the footsteps of Roderick Buchanan and Toby Paterson. Nashashibi won £24,000 for her four 16mm films exploring cultural displacement. The State of Things is a black and white film of 8 Salvation Army jumble sale in Glasgow set to the soundtrack of an old Egyptian love song. In Dahiet al Bareed (District of the Post Office), the artist. who is half- Palestinian, filmed an urban neighbourhood in the West Bank, a short distance from the first Israeli checkpoint outside Jerusalem. Nashashibi will be showing work during the opening week of the Venice Biennale and has a solo show opening on 31 May at Edinburgh‘s Fruitmarket Gallery as part of its Visions for the Future programme. The Beck‘s Futures exhibition which also features Glasgow-based shortlisted artists Lucy Skaer, Alan Currall and David Sherry tours to Glasgow's CCA on 2 June.



Beck’s Futures winner

Nashashibi l «’1 ,i* i'l l,/‘.;l ' l) 1 l‘, l 0' o , r ' ' (“1" ' l ' i l x. 4 <1; . . { i't' ' < ‘1 ' " .' ’1‘ l" 1.1' ;' /'/\ nl’ ' / 1 I 4 4 1'1' )i "lb .. l I / NI {‘rvw {,r ’41,: 4 r 7/ - 'lr / i/tit)‘l()"‘, A {, .J’, ,', U', l ; 1‘, ('1 p/‘rfl'r / :1 r‘ ’01 {,4 1 r9 , , 4/ a ,/ ,. ’; f/