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✽ Zoe Beloff: A History of Dreams Remains to be Written Imaginary
worlds collide in this first solo show from the Edinburgh-born, New York-based expat. See review, page 106. Talbot Rice Gallery, Edinburgh, until Sat 16 Feb.
✽ Harland Miller: Overcoming Optimism The York-born painter creates
mock dog-eared Penguin book designs with darkly subversive titles for his enjoyable first solo exhibition in Scotland. Ingleby Gallery, Edinburgh, until Sat 26 Jan.
✽ John Bellany: A Passion for Life Resonant and emotive large-scale retrospective exhibition of the Scottish painter’s work. See review, page 106. Scottish National Gallery, Edinburgh, until Sun 27 Jan.
✽ George Wyllie: In Pursuit of the Question Mark Last chance to catch
this life-affirming celebration of the late artist’s work, including documentation of some of his most famous sculptures. Mitchell Library, Glasgow, until Sat 2 Feb.
✽ Seventh Street Level Open Broad overview of current approaches to the photographic process from 19 artists. See review, page 106. Street Level Photoworks, Glasgow, until Sun 3 Feb.
✽ Economy Parallel exhibitions investigating the dominance of the economy as a factor
in shaping people’s lives. See preview, page 110. Stills Gallery, Edinburgh, until Sun 21 Apr; CCA, Glasgow, Sat 26 Jan–Sat 23 Mar.
✽ Massimo Bartolini: Studio Matters + 1 The Italian artist unveils ‘La strada
di sotto’ (‘The Street Below’), a huge field of coloured lights of the kind used during Sicilian street celebrations, as well as smaller works. Reviewed next issue. Fruitmarket, Edinburgh, Fri 1 Feb–Sun 14 Apr.
24 Jan–21 Feb 2013 THE LIST 105
LAUREN GAULT: SWEET ENSILAGE The Glasgow-based artist creates objects that explore theories around sight and seeing
L auren Gault’s exhibition title Sweet Ensilage is in a strange way seductively suggestive of a particular state of being: a state of ‘sweet ensilage’. The show draws on theories surrounding sight, seeing and the seminal research of Temple Grandin in the treatment of autism and livestock management.
By means of her most ambitious use of found objects to date, and in order to anchor the rest of the show, she will install four large objects that come from a particular industry, not from culture. Gault looks to Grandin’s use of agriculture as a cultural language in order to discuss her own ideas around installation. She says: ‘You do want to achieve a sort of “staticising” or
halting of experience into something new when making work in this way.’ For Gault, it is as if sculpture is a physical movement from one set of internally understood realities to another, wider and articulated set. ‘It’s an active word that is suggestive of a deliberacy in movement when almost articulated. It moves from idea as 2D plain into this other sphere that all of a sudden doesn’t belong to me anymore and in the context of an exhibition.’
Sculpture for her is the resultant layering of references or, as she puts it, ‘an anti- archeological object’. (Talitha Kotzé)
Tramway, Glasgow, Fri 1–Sun 24 February.