SCU'. i’ix '

MARTIN BOYCE The Moderr. Institute, Glasgow, Fri 7 May-Fri 4 June

Despite hrs assougrtron with the gallery since its inception, this is Martin Boyce's first solo show at the Modern Institute. In place of the large-scale installations that have typified his recent work, Boyce is using this homecoming to exhibit a set of related sculptures, developing existing themes and moving into new territory. His 20oz show at Tramway, later reworked for the Contemporary Art Gallery. Vancouver, is a starting point. ‘lt’s all connected to the Tramway stiow,’ says Boyce. 'That show Was, lil a broad sense, about park landscapes, and I’m still thinking about that kind of landscape, those kind of ideas The pieces for this exhibition are going to be individual sculptures that relate to the

psychological make-up of that kind of the same time, but there is an assumed presence, another kind of presence that’s quite ghost—like in a way. I’ve been doing pieces with distressed, dyed and bleached sweatshirts. These faded pieces of clothing are a way of introducing a sort of figurative presence, without

space, that mood of the urban park.’ While the Tiali.‘.‘.‘ti‘,’ and Vancouver exhibitions evoked discrete spaces, with twighlit street iirz'niture filtered through Boyce's modernist design aesthetic, the Moder. Institute show is set to haVe a trglitu focus, introducing an explicit human presence into the imagined park. ‘l’m interested in the way that we go to

making figures.’

f 7 "1 N\ .5

LUCIAN FREUD: ETCHINGS 1946-2004 National Gallery of Mcdtx'n Art, Edinburgh, until Sun 13 Jun 0...

pm: .':t'.'.' prtililrlkit» t), Lucian

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Lord Goodman in his Yellow Pyjamas (1987)

92 THE LIST. wk; 3.1.,

that, at night, other people occupy the space,’ says Boyce. ‘We never see them, because we’re not there at to this exploratory mode in the

Unlike the cohesive installations Boyce has become known for, then, parks during the day but with a sense this new show is a chance to see the

Mobile, installation view at Roma, Roma, Roma

artist on the move, investigating and inquiring. And there’s more than a nod

exhibition’s title, Brushing Against Strange Weeds. ‘lt’s a line from Michael 0ndaatje’s book Coming Through Slaughter,’ Boyce explains. ‘It really hit me that the phrase conjours up a landscape, and, when it comes to dealing with art, it also seems to talk about that space between you and the work. You have to feel your way through something, rather than feeling your way to something.’ (Jack Mottram)

Big Mouth

Hub 3AM Ai rUN

SNAEBJORNSDOTTIR 8: WILSON: BIG MOUTH Tramway, Glasgow, until Sun 30 May 0000

Urar'rrr rg riietaphor trorir the tnyic‘rerhe a carnivorous iliarsiipiril which lldb DCCI'. oxirtlcl bll It,t.' 19.50 b'namiorrrsoottir and \r‘v'risor‘.'s unstailatrorr spotlights IliafiS response to sur"'.’,‘t.:“.dir‘.;; habitats Hang (Led Ili captioty the 'rliylam res extitfitlliut‘. Ii) (EXC i‘.plrfrt;d as Haunt} t)er:ri Drought (li)\l\i[ at the Hams oi cokmral settlers. In a srriirlar \.arri It) the Mn: 1. us! I/i Imps/anon, the show eiiipioys a voyeuristic aspect. explorii rg hornar- responses to or rtarnrlrar territories.

illis laticirralroii is ecllOtEU lint/trg‘fiotil (fit: live elelliei its of the il‘isiallairul‘i. (1170 ilk“ odditilitick llui‘l‘. a \‘IUUUL)lk)}t?(,1|k)ii relays a tic-Hes Of er .lfio'VIJi'sis' accooi‘ds ol the thylacir it: throughout the gallery Bad/sooth a lotenr pole of signs - turthei fuels hornan curioszty. poi: it;ng arbitrary sigriiticance iii the direction ol t:)<I'l ict aninrals. while Fats/«iris. a black and while \;(it:t). unt‘;ri‘.otroi;ally records hurnarr interest exaniining the rigid presei ~.ed bodies ol t:Xillit.I species. Statoried on an ovum/ed circus plallorrit coiiie stage. a slotted sheep par’t stair .ed red dye exists if! Irriitio DCH‘Jét‘fli Cultural perceptions when: its pr.ri‘.ar‘, to”; ior‘. oscillates oetweer'i clothing and amniar hood. t;r‘.;:‘,riaily still in its prt’zser'veo state. the sheer.) rirena..':‘...,-iy pares dot-.7“. on the and its eyes rite-er your (ACT/y gase-

Healrsiiig a direct relatior‘.si'i.p between this look and the /ooriiorphic vzewing oer rch slandrr rg opposite. the ‘v.’lt}‘.‘.lt-ff' is therefore asked to consciously his or lie' ova/n beiiayiotifai

respozzm‘: to aiertients or the work rlvt‘fltnec. Hearni



Sorcha Dallas, Glasgow, until Sat 8 May 0...

Alex Frost at Sorcha Dallas. Glasgow's newest eponyriious cornriiercral gallery. makes sense. the small but charming interference to what should he the grotty hack end of Paddy's Market. sits neatly among its neighhours and wrthrn itself.

On entering the space the first thing that strikes you is that there are orin two works on display. But they sit together with an air of confidence that dravrs you in to ()fl(]tl|f'(} further.


Untitled fear and coat; is a large pencil dr‘avring on graph paper. But the scale is so (iispropor‘troriate to the coriiriion usage of graph paper that Frost has screen-printed his own. This intensity of erigageriient is echoed hy the tune it must have taken to fill in the squares with a variety of cross. circle and equal signs. Stepping back through the gallery the intricacy of the piece pulls together to form an intimate riioriierit. as you catch a portrait of hoth the artist and his environment. while seeing little of either.

Behind you is a sculptural piece. a physical manifestation of ephemeral packaging. The title of this piece. Fver‘ydai', seems to seep from the work. yet it is quite clearly an engagement wrth a Hyuta packet that most of us mll never have. [ ach indiVidual 'tir'ick' is screen printed and hand coloured: r’e rendering the everyday and suhiecting it to f r'ost's particular form of expression.

the show successlulk indicates f-r‘ost's dryersih and assurance With his riiaterrals. S(}f\.’lllt] to pique an interest. which wrll no doubt he satiated in the future. (1 ucy (‘iihsoni