Visual Art
Reviews
To erN LAUSCHMANN The Transmission Gallery. Glasgow. until Sat 4 Dec .000
Although in three distinct parts, the bulk of the show is a series of brooding natural landscapes captured on video, glimpsed through the shadow of rustling leaves and augmented by a soundtrack of wind blowing. Nature makes man feel small but, as Lauschmann’s work makes clear, it is only because man rather enjoys feeling insignificant.
Attached to three of the four pillars in the Transmission’s ground floor space with gaffer tape is a series of electric desk fans facing up at microphones suspended from the ceiling and a clump of branches rudely taped to the pillars. Through this wittin clumsy staging. the video is projected. It would feel as if you are in the wings of a stage version of Wuthering Heights. This ought to make the sublime effect of the visuals projected onto the wall less powerful but in fact it makes them more unsettling.
The only thing that does lessen the effect of the main piece is trying to associate it with the other two: a kaleidoscopic piece of cubist video and a strangely sentimental photogragh of an impoverished mother with child. Judging by the exotic array of films that Lauschmann has programmed for screening in the Transmission’s basement, his sympathy is with the experimental. What are exciting about the list, however, are films like the ludicrous Turkish version of The Wizard of Oz (boasting an astonishingly camp Scarecrow) rather than the more typically avant-garde films such as Kerouac and Frank’s Pull My Daisy. When Lauschmann’s own work takes on the clumsy theatricality of the former it is truly original.
(Tim Abrahams)
MN b Ml l)l»\ NEW ASSOCIATES Royal Scottish Academy. Edinburgh, until Sun 19 Dec 00..
Shom‘asrng newh t‘ornrnrssranetl ‘.'./<)rl\ b\ the sexen latest eleetees to . ssot‘rateshrp of the Rmal Scottish At‘atlernx. this exhibition (leser‘r.'es \.'|(}‘.‘.’|l‘§} not onl‘. bet‘ause of the big names. but also for the geneml (ltlitllt‘, on <lrspla,. .lohri erne, first of all. is represented b\ a seleetror‘. of portraits of friends and larnrlx on tlrsplav rnt‘lutlrng his \.'.li(} Trltla Suzinton. In a typicallt exaggerated (illti rntorrnal stHe. the\ 're retreshrngh rnueh more about character than the» are about srrnple reproduction. Calurn Colxrn. on the other hand. takes a rnueh rr‘ore painstakrngh st‘rentrtrt‘ approach — his 'G-O-D' tr'rphCh forms a narratine of ruonographv
t‘iitW‘JlU'V- "lsll’"\‘0"w70l\? -":‘<>:‘-ts e’feet \(Z- exeeutror‘. \i‘nre Sand. Me"at s {f a": .
hut-\t stuuies of the was surrounding Eu nbargh speak eiogaent}. ‘or' Tense xes. Maria.” Lewn's washes 0* unhste anti black tie rnanage to per": ‘. war, to We ttr'ert‘h tandst‘apes thex 'er‘rreserfi. Jo Ganter‘s structured work is best apprecratea on an aesthetre rexei, t‘at Gertie" Munro's tiooa'nenteu expe'rn‘rents f‘" a set (2‘ 37 cast ron building brows ar‘bea? \.r\.ra'l\ to the curiosity.
Michael Visoet‘hr's quite literallx monumental works are. hon-«ever. the pick of the lot. Whether photographing a take paper tower on a hrllsrde or tying ClOuO- tipped tower rnaguettes together. they are the trernendoush appealing rcrng-on- the-Cake of a high-gualrn collection. rDauo‘ Pollock»
114 THE LIST .I ‘6 [Na \1
PAINlth; CALLUM INNES lngleby Gallery, Edinburgh, until Sat 18 Dec .00
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this rnethorl throughot t exploration into the teehnraue. lhe. are of srrrrr a" :r ran: ~ ' _ complex in their eonsirlererl f.()lllj)“r?5ltlt).'“).
lhe solirl struares anrl reetangles stern fro" tl‘at r" ,' rte" -" "- gird. But although the .‘rorks are notrrgealt. prfltuirri" ~'-'r ,rrr’r r‘w- 2. . (:learlr.’ see the artist's hanrl. lhe rrroress .s but." e,-'r,1rm ,zr :‘ ‘ x'rrtness. a <lo<:urnent. a tribute to the r'iakrri'r lhe :' turf ,r .: "ar’r a'w' :'l
(leline ‘r'orn the aeerrlental (trips anrl illeeris. 4-? “we ,r ‘r we 1 ,r' 1 eoriser“\.'atr‘.'e gualrt‘,’ that is testament to lnnem' " I: in", ‘ r' .r:
lhe 'Intaglio' prints rn the hallu'xa. are alum i‘:7'r’ r' ,"r‘ .r- ,’ '- v;:,::?,f anrlrnanipulatearnerlrurn lhe, arenef were. 1r. ‘ ' ,f'"r-' 2 but eornposrtions of lagers anrt textures ~. ,r' -,-r .r‘ 1'»: via ,e°, "
is a lightness and stillness that befits the r;a'ie’ . " 2"’,"§1.’:' rr' rat-2" ‘ r'e l' this 'nrnirnalisrn earr feel like an absenae l'w-w: a 1: ii’r n' o' 1,ou ior‘grng for something 'nrrre.
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