VisualArt HITLIST THE BEST EXHIBITIONS
What Presence! The Rock Photography of Harry Papadopoulos Work by the photographer who was on the staff of Sounds magazine from 1979-1984 and captured numerous post-punk icons, including The Clash, Blondie and Billy Mackenzie from The Associates. See Big Pic, page 13. Street Level Photoworks, Glasgow, Sat 17 Dec–Sat 25 Feb.
What We Make with Words Glasgow artists exhibit work exploring the impact of writing on contemporary art practice, to mark the launch of the latest volume of journal 2HB. CCA, Glasgow, until Sat 17 Dec. Torsten Lauschmann: Startle Reaction Exploration of technology past and present in Lauschmann’s most ambitious solo show to date. See review, page 120. Dundee Contemporary Arts, until Sun 8 Jan.
Lili Reynaud-Dewar: Some objects blackened and a body too Reynaud-Dewar’s new exhibition is inspired by the choreography of Josephine Baker. See Artbeat, right. Mary Mary, Glasgow, until Sat 14 Jan.
Beholder A gloriously disparate jumbled-up wonderland of works on the theme of beauty by artists ranging from Yoko Ono to LS Lowry and Anthony Schrag. See review, page 120. Talbot Rice Gallery, Edinburgh, until Sat 18 Feb. Alasdair Gray: City Recorder Exhibition of works from 1977 when painter and writer Alasdair Gray was official ‘artist recorder’ for the city of Glasgow. Reviewed next issue. Gallery of Modern Art, Glasgow until Mon 13 Aug.
Henrik Håkansson: The End Multi-channel video installation and assorted film works from Swedish performative artist Håkansson. See review, page 120. The Modern Institute, Glasgow, until Fri 23 Dec.
Hidden City: Edinburgh Uncovered The latest annual members’ show from Edinburgh Printmakers offers a range of views on the capital. See review, page 120. Edinburgh Printmakers, until Fri 23 Dec.
Christmas Group Show Mixed exhibition that’s perfect for a break from seasonal shopping, including work by illustrators Miriam Sturdee, Omar Arreaz and Turine Tran. Axolotl Gallery, Edinburgh, until Sat 7 Jan.
Alison Watt: Hiding in Full View Paintings by the Scottish-born artist, inspired by the photography of American artist Francesca Woodman. Reviewed next issue. Ingleby Gallery, Edinburgh, until Sat 28 Jan.
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ARTBeat LILI REYNAUD-DEWAR
What first made you want to be an artist? I’d like to answer that it was the fact of spending hours in the 70s as a toddler in my Dad’s jazz record shop, but actually it wasn’t. I don’t know at all what happened to me. I might have been slightly deranged. Your new exhibition draws on the relationship between Josephine Baker and Le Corbusier. What first drew you to those artists? I read about an affair between Le Corbusier and Josephine Baker. It happened during a cruise on a transatlantic boat. Le Corbusier is said to have dressed as Josephine Baker as a way to seduce the African-American star. She told him, ‘What a pity you’re an architect, Monsieur. You’d make a sensational partner.’ I’m fascinated by the story: Le Corbusier dressed as a black dancer, the reunion between the exotic body language of the dancer and the rationale mind of the architect etc . . . Plus, I find Josephine Baker’s way of turning him down quite witty. This is the first time you’ve made your own body a subject in your work. Was that a difficult decision to make? I used my body a lot as teenager when I was practising as a ballet dancer. But since then I have preferred using the bodies of people I find fun, interesting looking, and whose company makes me happy, like my friends and family. That said, I like dancing alone in my studio too. Which other living artist should be better known than they currently are? By ‘other’ do you suggest I should be better known that I currently am? Should I take this as a dubious compliment? The answer to this question is my husband (a sculptor) and my father (a writer). And also Jason McPhail. ■ Lili Reynaud-Dewar, Mary Mary, Glasgow, until Sat 14 Jan. 15 Dec 2011–5 Jan 2012 THE LIST 119