I GLASGOW SCULPTURE STUDIO
'l‘hc Briggait. l~ll Briilgcgatc. 55.3 HRS. 'l‘hu Sal noon 4pm.
Lorna Maclntyre l’nul Sal l7 l)cc. noon 5pm. \c‘u \\(ll'l\. lASl CHANCE TO 8i i
I MANSFIELD PARK GALLERY 5 ll}nillanil Strcct. 3-13 4l34. 'l'uc l'ri llain (rpm; Sal llain 5pm tcloxcil 34 “cc l(i.ltttl).
Christmas Exhibition 2005 l‘iilil Inc 3] Jan. .\'c\\ paintings h} Stuart Buchanan. pith olhcr al'l'orilalilc armork.
I THE MODERN INSTITUTE
73 Roltct'holt Sti‘cct. Suilc (i. l’loor l. 3-18 37] l. .\loii l-‘ri Illain 5pm; Sat noon 5pm.
Walter Dahn .0. l'ntil 'l‘iic 3t) l)cc. l-‘i'cc. 'l‘hc (icrinan ill’ll\l \\ ho \tiitlicil untlcr .lti\c‘pll BL‘U}\ \ll(l\\L‘;l\L‘\ his lalcxt \xork. [ASl (ill/\NCE- l0 Si l .
I MONO
l3 Kings (‘ourl. King Slrcct. 553 9-158. Sun 'l'hu noon midnight; l-"ri Sat noon midnight (cloxcil 35 «k 36 “cc; l (k 3 .lani
Project Ability at Mono l'ntil Sal 3t l)cc. li\hihition oi \iork h} tltlllll\ \\ ho lakc part in thc l’roicct .-\hilit_\ programinc. including l)onalil (’raig. Ralph Douglas. .lcnima (illt‘lll‘l\l and \cil (illllt‘\. iASl (:ttAN(1l to St l.
I SORCHA DALLAS
5 St \largarct'x l’lacc. ()78l3 (itl57-45. 'l‘hu Sat l 5pm lcloxcil lh’ |)cc (i .lattl :51 Nick Evans: Some Newer Formalisms 00000 l’iiiil Sal 2| .laii. l'ractiirctl \culplurc anil olhcr llL‘\\ \mi'k. SL‘C l'L‘\ lc‘“. [illgt‘ ll)” tlllll lillltxl.
Artist Spaces ‘
I MARKET GALLERY
33~-l l)iikc Slrcct. 556 7376. 'l‘uc Sat noon (ipin,
Image in Me l'iitil [in It» l)cc. l)octiiiicnlai'} -\t} lc \\ork h} l.intl\a_\ Sccrx. \xhich hlurx tltc houiiilary hcluccn \\ltal\ in trout and hchinil llic lcnx. l ASl (El u‘iNCi l() Si l.
I MARY MARY
Hal 3/]. ~15 .'\lL‘\illI(ll'iI l’ark Strcct. 55H Kim-7,
5'3 Meiro Koizumi l'iiiil iii In l)cc. l)i\iointcil \ itlco \xork h} .lapancxc tll'll\l \lcii'o Koi/umi. Scc prcx ic\\. pagc lll‘) and Ililllxl. i/\Sl CHANCE l0 Si l.
Edinburgh
I CITY ART CENTRE
3 Markct Strch 53‘) 3993. Mon \Vctl. l‘ri & Sat Illain 5pm: 'l'hu Illam 7pm: Sun noon 5pm; Sat l .lan noon 5pm (clowd 35 (Q 30 “cc; 3 Jan. Immortal Pharaoh: Tomb of Thutmose III l'ntil Sun 8 Jan. to H.450). This major cxhihilion lcatui'cs an c\acl rcplica ol' 'l'huiinoscx' hiu'ial chainhcr in thc VaIIc} ol' lhc Kings. \xhich “as ci‘calctl l'ollou ing his rulc ll‘tllll l-17‘) to H36 H('.
I COLLECTIVE GALLERY
33 33 (.ocklilll'lt Strcct. 330 I360. 'l’uc Sal noon 5pm lClU\Ctl 3.3 “cc ‘) .lani.
Echo Echo l'niil Sal 2| .lan. li\hihilion of work h} .'\lc\ l’ollai‘il. .loannc 'l'alhain and Toni ()‘Sullixan to L‘Ulllplt‘lllt‘lll St’ll't Ilt‘t’ .I/HHUI'V.’ .S't'uI/um/ A“ li'nir (' at thc National (lallcr) ol' Moilcrn Art. Iiach artist tlc\clop\ anil PI'L‘\L‘lll\ ttltlt\ idual l'oi'inal \ocahulai'icx.
I DEAN GALLERY
73 Bcll'ol‘tl Road. 634 (i3llll. l)ail} lllain 5pm; Sun 1 Jan noon 5pm (cloxcil 35 & 3(i |)cct.
Echoes of Antiquity: Eduardo Paolozzi and Traditional Sources l'ntil Sun l3 Mar. l’rcc. :\rchi\c inatcrial highlighting Paolo/H‘s llllL‘l‘L‘\l in lll}lll(iltlj_'_\ and histor).
Charles Rennie Mackintosh in France 1923-27: Landscape Watercolours l'ntil Sun 5 l-‘ch. £5 (£3.5lli. Although hc'x licxt knoun tor lll\ archilccturc and intcrior ilcxignx. this c\hihition look\ at \lackintoxh'x linc \xatcrcolourx allcr hc mmcd to l’rancc.
Paolozzi of the Month li\cr_\ 'l‘hu until 33 “cc. |3.»l5 l.3()pin l‘rcc. liach \xcck l)anicl llcrrmann. thc l’aoIo/xi curator. \\ ill go c a talk on a ilillcrcnt \Hit'k in thc c\hihilion.
Artists and Camouflage t'nnl Well l5 .\lar. .'\l't‘lll\t‘ tlixpla} looking at lhc cniplo} iiicnt ol' linc artists during \\'\\'l.
I EDINBURGH PRINTMAKERS 33 l'nion Strcct. 557 347‘). ’l‘uc Sal Illam (rpm lL‘l(t\t‘kl 3.1 l)cc ‘) Jam.
The Christmas Exhibition l‘niil Sal 3| .lan. l)i\pla_\ ol' uork h} \tilllt‘ ol llic l’i'intmakcrs‘ lincxl.
John Taylor A series of prints and related paintings exploring mininalist concerns - flat colour, line and plane I Glasgow Print Sit/(lie, Glasgow.
I FRUITMARKET GALLERY
45 .\lal‘kct Sli'ccl. 335 3383. Mon Sal l lain (ipni; Sun noon 5pm; \Vctl 38 “cc Mon 3 .laii noon 5pm (chm-ll
3.5 37 |)cct.
At the Same Time Somewhere Else . . . Sat '7 l)cc Inc 33 l'clt. lircc. Photograph}. \ itlco. inxtallation and tlrauing \xork h} .\lclik ()hanian. l’ia Ronickc and Scan Sinilcr. \thoxc \\ol'k comliincx tlocuincntar} and pct'xoltal approachcx.
I NATIONAL GALLERY OF SCOTLAND
'l‘hc Mound. 034 (i300, Moll \Vcll t\'
l‘ri Sun lilain 5pm; 'l‘hu lilani 7pm; Sun I .lan noon 5pm tcloxctl 35 k 30 l)cci. Choice: 21 Years of Collecting for Scotland 0... l'ntil Sun l5 .lan. l‘rcc, Ro}al Scottish .'\t‘;ltlt‘llt} Building. li\hihilion ol tll\L‘l'\L' \\(ll'l\\ l'roin Scotland's national collcction. acquircil iintlcr lhc \HIlL‘ltllll c)c ol tlcparliiig tlircctor gcncral. Sir ’l‘iinoth} (‘lil'lortl Decoding Art: Paolozzi’s St Sebastian I (1957) hi Io l)cc.
l3..l5 l.l5pin. l‘rcc. Rinal Scottish .'\L‘iltlt‘lll} Building. 'l‘alk h} Bill llarc. The Vaughan Bequest of Turner Watercolours Sun I 'l‘uc 3| .lan l-rcc. 'l‘hc annual (ll\pl£l_\ ot' 'l'urncr'x inagniliccni \ialci'colourx hcqucalhcil in l‘)l)() h) lhc l.ontlon arl collcclor llcnr} Vaughan. Nl St i()‘~.".’.
I NATIONAL GALLERY OF MODERN ART
7.5 llcll'oril Roazl. (ill (i3tll) l)ai|_\
lllani 5pm; Sun I .lan noon 5pm tcloxctl 35 & 3o l)cci.
Jon Schueler: The Sound of Sleat l'ntil Sun 5 Mar. .-\ ilixpla) ol \\ol'k cclcliraling thc :\lllL‘l'lL‘;lll :\h\traci li\prc\\ioni\l paintcr “lto \ct up a \[lltlltt in \lallaig. on thc Sound ol Slcal. Jannis Kounellis: Works 1959-2005 0.... l'nlil Sun 8 Ian. I‘ill'\l rctroxpccln c it] Sk'tlllillltl til utit'k h} this kc} ligurc ol [)()\l mu ltalian arl \\llo \\;l\ cloxcl_\ in\ol\cil \\ ith lhc arlc poxci'a ino\cincnl.
Strategy: Get Arts Revisited l'iiiil
Sun 3 Jan. Photographs h} (icoi'gc ()lncr
and archiw nialcrial lrom lhc groiintlhi‘caking I‘l7lt c\hihition Sim/mi: (iv/ ,il'lx
Selective Memory: Scotland and Venice 00000 l'niil Sun 5 Mai: l‘rcc. Sclcclcil highlights l'roni Scotlixh artists c\hihiliiig at lhc 5 l \t \cnicc llicnnalc. including ('alh} \Vilkcx. .v\lc\ l’ollai‘il. .loannc "latham and 'l‘om ()‘Sullixan. Scc main piccc. pagc Ill-7. antl lllllt\l.
Selective Memory: Guided Tours li\cr_\ Sal tk Sun until Sun lh’ l)cc.
3 3.30pm. l‘i'cc. (iuitlctl tour gixcn h} a changing rota ol artists. gallci'} stall and otltct' c\pcl'l\
I NATIONAL PORTRAIT GALLERY
1 ()uccn Sliccl. (i3-l (i3tlll. .\lon \Vcil & l'i'i Sun Illain 5pm; 'l‘hu lllain “pm. Sun I .lan noon 5pm lt‘lltxc‘tl 35 «k 30 “cm. The Battle of Trafalgar and the Death of Nelson 1805-2005 l'niil Sun 3‘) Ian. li\hihilion ol’ \xork l'roni ilic collcction to mark thc hiccnlcnar} ol tlic Baltlc ol 'l‘ralalgar.
Cut and Dried l'nlil Sun 3o _\lai1 l'ircc. ‘l‘uo ctiiiiplcmcnlar} tlixpla}\ lcatui‘ing lhc silhouctlcx ol' .'\llf_'ll\llll litlouarl and \uitcrcolourx li'oin llarr} .\lorc (iortloii. Celebrating the Scotsman l‘niil Sun l3 .\lar. l'rcc. li\hihition to mark I5” kcah \incc I‘ln' Xi nix/mm \xcnl dad}. and lcaluring [ltil'll'tlllx ol lhc papcr'x cililorx and propricloix
BP Portrait Award Sat I" l)cc Sun l3 .\lai'. l‘rcc. ()nl_\ Scottish \lio\\iiig ol this annual c\|iihilion \\hich cncoui'agc\ )oung artists to locus on lhc thcinc ot porti‘aitui'c. Ni ‘.‘.’ St t( )\‘.y
Charles Rennie Mackintosh 1868—1927 by Francis Henry Newbery \Vctl 3l l)cc. l3.~l5 l.l5piii, l'rcc. Talk on this painting h} .lannw Macaulay
Visual Art
Reviewoftheyear
Alexander Kennedy selects his favourite art from the last 12 months.
I The best work shown in Scotland this year has been slightly more substantial than that limping and fading into the recent past. There has been a forceful rejection of slacker wit, with everyone beginning to get more serious - and about time. Things haven’t been this good for an age. Barbara Kruger descended on the city during the first Glasgow International, bringing Twelve, which successfully used the limitations of the medium of film to explore relationships between purely formalist concerns and excessively emotive subject matter.
I In another film installation in DCA. David Claerhout <~:-legantly used the space and examined photographic representation. reanimating static scenes and tree/ing elements of others. Modernist architecture thwarted the easy interaction of characters. and species were fro/en in uneasy peace.
3 Upstairs in lnverleith House, Mark Leckey’s brilliance poured from a constructed sound system, playing music by his band Jack too Jack, while on the ground floor Keith Farquhar’s paired-down installation utilised the materials mentioned and literally resonated with the words of a hooligan describing his armour: ‘Nice pair of trainers, shoes, jeans and a top.’
R Simplicity of approach could also he found in Prisms and Shadows. Tony Paterson's expertly curated show in the Glasgow Print Studios, which demonstrated that the work itself. rather than the flat idea. should dominate an exhibition; he refused to smother the show (which included pieces by Jim Lamhie. Alex Frost and Toby Zeigler) With ego or a neat theme.
3 Like it Matters in the CCA, Glasgow, acted like a call to order. Again, the show was led by the power of the work and not the curators’ whims, with Karla Black, Mike Peters and Michael Stumpf creating new sculptures that moved away from the embarrassing gags of London’s YBA artists, towards a direct approach to making that charged the galleries in the CCA with newfound confidence.
’_;.i" .‘ ' THE LIST 111