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VISUAL ART list.co.uk/visualart
HITLIST THE BEST EXHIBITIONS
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✽ Heather Phillipson: sub-fusc love- feast Music and live interaction make for stimulating environments here (pictured, top). See review at list.co.uk. Dundee Contemporary Arts, until Sun 9 Nov, free.
✽ Conor Kelly: Do You Feel Like We Do? Kelly’s new show focuses on the function of painting. See preview, page 96. CCA, Glasgow, Fri 19 Sep–Sat 4 Oct.
✽ Brian Cheeswright: 36 Years of
Brain Feed Edinburgh- based figurative painter Cheeswright exhibits recent works. See preview, page 96. Interview Room 11, Edinburgh, Fri 19 Sep–Sat 18 Oct.
✽ Gregor Wright: Dinosaur Expert I’m Feeling Lucky Foam figures, sculptures, wall drawings and paintings make up Wright’s solo show. See preview, page 97. CCA, Glasgow, Fri 19 Sep–Sun 2 Nov.
✽ Duncan Campbell See preview, left. The Common Guild, Glasgow, Sat 20 Sep–
Sat 25 Oct.
✽ Arika, Episode 6: Make a Way
Out of No Way Three days of film screenings, discussions, performances and workshops that
A F A J R U H T R A
provoke audiences to question established norms and look at the world in a new way. See preview, page 96. Tramway, Glasgow, Fri 26–Sun 28 Sep.
✽ Michael White 100 portraits sketched on top of job centre correspondence
that White collected while unemployed. See preview, page 98. Queens Park Railway Club, Glasgow, Sat 2–Sat 25 Oct.
18 Sep–16 Oct 2014 THE LIST 95
DUNCAN CAMPBELL Homecoming fi lm exhibition for Turner Prize nominee
F ollowing the Common Guild-curated Scottish show at last year’s Venice Biennale, all three featured artists – Corin Sworn, Hayley Tompkins and Duncan Campbell – have solo shows back home in Glasgow as part of GENERATION. Campbell is the last to show to his home crowd, and this work is the most demanding, involving two 90-minute i lms, shown consecutively.
It’s a difi cult work to dip in to, a bold step for Venice where the art-viewing public are trying to accomplish something akin to a world tour in a couple of days. But the boldness was repaid by the work’s critical reception, which earned Campbell a place on this year’s Turner Prize shortlist. It’s one of his most complex works to date, beginning as a response to the 1953 essay i lm Les Statues Meurent Aussi, from Chris Marker and Alain Resnais, which rel ects on how artefacts from sub-Saharan Africa have been turned into objets d’art, losing their original meaning in the process. This is shown in full (in French, though an English text is available) in sequence with Campbell’s
own i lm, It for Others. His piece echoes Les Statues aesthetically in its lingering contemplation of tribal artefacts, as orchestral music plays in the background. But it also broadens the discussion into a wider contemplation of objects and how we apportion them meaning and value, from a plate of steak and chips to an iconic photograph or a tribal mask. Marker and Resnais’ i lm itself becomes an object being contemplated.
Part of the i lm is a collaboration with dance pioneers Michael Clark Company, in which Campbell shoots the dancers from above, concentrating on abstract shapes their bodies make. How does one put a value on that, he seems to ask? Yet, in an art context, it too becomes objectii ed. Campbell’s i lm opens questions within questions, an ambitious meditation on objects, meaning, economic value and, therefore, art itself. (Susan Mansi eld)
The Common Guild, Glasgow, Sat 20 Sep–Sat 25 Oct.