The Glasgow International Chronicles: Part III

Next on my list of my whirlwind tour of Glasgow International is the Centre for Contemporary Arts (CCA). Entrance is free!! In conjunction with the festival, the space has been taken over with some specially commissioned pieces. I had chance to see three out of the four exhibits, one whole heartedly recommended, one slightly recommended and the other unfortunately not so much. But it comes down to taste rather than quality in this instance I feel.

First, the not so great. (Now my opinion might be bias as this was the last one I visited and I was aware I was on a time restriction.)

Third Hand: Autonomous Art from Scottish Prisons. This exhibition is in until 23rd April. For opening times check the CCA website. This exhibition is a tin. (Does what it says.) The show presents works of art created by prisoners creating artwork for the first time. For me, (and although it is a great cause and premise (any introduction of making into anybody's life at any time has nothing but a positive impact in my eyes)) it lacks the criticality that is present in other art of similar vain. It follows the trend of 'outsider art' but instead of presenting the show with the same validity of other contemporary art shows, it looses its chance to ask the audience to see beyond the labels of 'naive' and 'outsider art' as the brochure suggests. It feels crammed into a little corner of a room. (I wasn't that into the artwork itself either. What can I say? Sometimes you like what you like and you don't what you don't.) If you are there in the building already you might as well have a skirt around. But I wasn't that into it.

Now the slightly recommended. This exhibit is called: The Polity of (symbol) and is open until 25th April. Open daily.

The exhibition is particularly pertinent today due to the theme it deals with. Φ is (quote) a floating nomadic country without possession of any landmass rooted on earth, whose occupants live, work and play together as an autonomous community. This utopian state is manifested in the form of an intergalactic vessel. 

This exhibition is part of a community-led research project, encouraging an open dialogue on the right to inhabit specific geographies instigating an inquiry into who exactly is welcome in Britain. 

They try and create a different experience as soon as you enter the door. (If I'm honest it reminds me of a parody of a cult (the kind of representations in films.)) Flags are hanging everywhere, what feels like a propaganda film plays in the background promoting this version of society. A row of chairs (ready for unannounced rallies) faces an official looking set up. Government booths which you approach to fill out a form to receive a visa. Dependent on how you fill the form, depends on whether or not your visa is accepted.

I completely get what they were trying to do - and I did enjoy it. The only thing was the visa application. What I thought would be a double sided sheet was a full on A5 booklet full of very difficult questions about geography and current/historical affairs. Now I'm not very good at this when it comes to my own country, so when it was focussed on Africa and Asia I really struggled. Particularly as some of the events focussed on living memory but before my year of birth. (A lady never tells her age, but I'll let you know it's the early 90s.) I liked that it highlighted how ignorant we are when world issues not concerning the West/ Europe are not as valued or known as the rest of the world. But, after the third page of these difficult questions, the visa application just made me feel stupid. I think it was too long, and because of that they may struggle to get all the answers they wanted, as half way through I just started to guess them all unless I thought I knew the answer.

In summary: nice idea. Not realised to the best of its potential. Worth a sniff.

Finally, and not least by any means, the exhibit I found myself drawn to. (In honesty, I came to see the exhibition mentioned above, but I fell in love with this one.) Simply named after the artist (Pilvi Takala) the show displays an overview of her work to date. (Including a new commission by Creative Scotland to revisit a previous performance.)

She intelligently investigates social situations and human behaviour by subtly subverting the norm. (Essentially, Takala becomes the unexpected in a regular situation with invisible written rules that are followed by everyone else. She successfully, very gently, disrupts societal routine to create quiet ripples that have very present and very visible repercussions.)

Her work primarily exists in video. There were some key standouts from her selected works that were on display that made me question things I wouldn't have given a second thought to before.

The Trainee, 13.52 min, 2008.

This was a month long project where the artist (with only a select few knowing of the true reason of her being there) posed as a marketing trainee using odd working methods. She shifted her focus from working to thinking. For example, the film shows her repeatedly riding the lift up and down the different floors of the office building 'thinking'. Some colleagues found this amusing, some clearly thought she was weird. This particular exercise she tried ended in an email being sent to her manager. She tries other tactics to subvert the norm - so I thought this film was definitely worth a watch.

To briefly name a few others I would recommend researching:

• Wallflower, 10.25 min, 2006
• Easy Rider, 4.25 min, 2006
• Broad Sense, 8.36 mins, 2011
• Lost Pigeons, posters, phone, 5 min sound, 2012 

The exhibition had a very clean and simple layout, with one room dedicated to a piece entitled Broad Sense. Once finished with this room, the long rectangular space is transformed by multiple TVs hung from the ceiling, each with two chairs. (Good choices of seating here. Tate take note.) But the extra touch that worked so well was that the clothes (or props) that featured so heavily in a few of the pieces are slung across the back of the seats you sit on to watch the work. It was a nice reminder to the reality and physical presence that these pieces have that can sometimes feel distanced because of the media used to capture these happenings. It brings the immediacy of the work to the forefront of the audience's mind again. These pieces don't work in isolation with no contextualisation on our part. They have a place in our everyday lives and having the clothes there breaks down that barrier and safe distance that a screen can provide.

Overall, I loved this exhibition so much, that I am readying myself to buy a book of Takala's work. If the other exhibits don't tickle your fancy just make sure you come for this! On until Sunday 15 May. And it's free. So no excuses. Unless you live a long way from Glasgow. Then I'll let you off.

Review: Everyman (PLAY)

So I had the luck of seeing this play at the beginning of last month. (Like, right at the beginning. I think I saw this on the 1st.) And it only cost me £15. (A bargain.) Now at this price, I thought that I would be sat quite far back (in fact, I thought I would be sat right at the back) but as it turns out, I was right at the front. In fact, I was so close to the sat that I could have spat at the actors (as my mother would say.) My seat was A25 and that's where it was at I have to tell you! Somehow, a lot of the stage direction was pointed towards the area of this seat. So those numbers are worth booking!

Onto the play itself. The main thing that attracted me to this story that I had never heard of before was that is was a rewrite by Carol Ann Duffy. Got to love the Duffster. She reworked a 15th century play originally entitled: 'The Somonyng of Everyman'.

Here is a brief summary from the National Theatre website:

Everyman is successful, popular and riding high when Death comes calling. He is forced to abandon the life he has built and embark on a last, frantic search to recruit a friend, anyone, to speak in his defence. But Death is close behind, and time is running out.

It really is quite a journey that you're taken through. Visually and verbally. Duffy manages to balance her fantastic ear for the modern day voice with the original morals of the play. It felt as if she had rewritten this with a Shakespearean twist. And the mix of those two things worked fantastically well.

It's a fantastically choreographed moral spectacle, that leaves you thinking about it's themes long after the curtains have closed. (These being metaphorical curtains, as there were none.)

However, if you aren't lucky enough to be able to get into London to check this out (don't get me started on the London-centrism for culture that we have in the UK) but the National Theatre have this fantastic scheme in place. They broadcast live certain performances in cinemas across the UK. This particular play, 'Everyman' is going to be shared live on 16th July so check out your nearest cinema to see if they are showing it. I've already seen two other performances via this live streaming service in the cinema, 'A View From The Bridge' and 'Man + Superman'. And they were really enjoyable that you didn't feel like you were missing out too much at not being there. So definitely recommended!

Review: Romeo and Juliet - Rose Theatre (PLAY)

Romeo and Juliet. Infamous for their love. A story that we all know. The one that Shakespeare is probably most famed for.

This love story has been retold for over 400 years, and due to such familiarity, it poses a tricky task. Yes, it is probably a safe bet in terms of drawing in various audiences (who doesn't love a doomed tale of star-crossed lovers?) but it is equally risky. Do you change it? Do you add your own interpretation or even words to the masterpiece of William himself? How can you make a 400 year old love story something that contemporary audiences can resonate with?

This current version of the play has a run until the 21st March at the Rose Theatre in Kingston Upon Thames (a leafy suburb of London.) And most likely because of its location, the prices for this play are reasonably cheap. Particularly the tickets that we paid for on our visit last night. The Rose Theatre do this fantastic deal, where (for certain productions) you can pay £8 to sit in the 'Pit Cushions'. This basically means that you sit on the floor in the space in front of the stage. You either bring your own cushion or borrow one from the theatre. Simple. This deal is so fantastic, as you get a very good view. (If not one of the best.) Now, I naively thought that only young people would be snapping up these tickets, but to the far right of me, a pair of elderly ladies seemed to be quite content soaking in the Shakespeare with their cushions. I really think this is a great idea - and it's something I've never experienced before. I'm not sure I could really go back to normal seating again. There is something much more comfortable and informal about watching a play on the floor. (I did cheekily take my shoes off.) I think the reason I loved it so much was because it reminded me of being in Primary School and sitting cross-legged for story time. And this is exactly what theatre is. Just a shinier-more-glorified-adult-version of it.

Now to talk about the actual play (rather than my love for the floor.) This production took some bold risks. From the fact that Mercutio was a woman (which I very much appreciated) to the addition of a character that doesn't exist - Pedro. (Basically a servant of the Capulet household.) It took me a little while to settle into this version and to let go of the Baz Luhrmann adaptation (step aside Leo) but once I did I was swept away by the direction of Sally Cookson. She and the music maestro Benji Bower created a very intense story that pulsated and exploded in key moments throughout the play. There were moments of dance and physical theatre to highlight important emotional points that really gave this adaptation its edge.

Apart from the fantastic portrayals given by both Romeo and Juliet (especially the Nurse, she stole every scene she was in) praise must be given to the set designers. They've created a very dynamic stage, with different levels, that were used most effectively throughout the performance. I was very surprised at the athleticism of the actors, as they ran across the stage, climbed up the set and jumped down again. It really utilised the space and made for a fast-paced dynamic show. By having these explosive moments, they made the emotional scenes even more reflective and more powerful. Having this stark contrast really worked to the play's advantage. And equally made the dance/musical elements of the play make sense and hold more validity in their addition.

All in all, if you fancy a lovely evening (or afternoon) I heartedly recommend paying a visit to Kingston and seeing this adaptation of one of the best love stories to have ever been written.

For never was there a story of more woe,
than this of Juliet and her Romeo.

Review: Turner Prize 2014 (EXHIBITION)

Here it is. The big one. The prize that (most) people want. The Turner Prize 2014. Exhibition showing at Tate Britain until 4th January. Now, this is my first time actually going to the exhibition, and I'm very glad I had the opportunity to do so.

Now, a little brief history on the Turner Prize:

It's an annual prize that is named after the painter J. M. W. Turner, which can only be won by a British visual artist under the age of 50. (They also get a pretty little sum of money to go along with the prestige.) It's quite a big deal on the British art scene.

So who are this year's nominees?

James Richards,
Tris Vonna-Michell,
Ciara Phillips,
Duncan Campbell.

We'll make our way through the top of the list down (as this is the order you encounter their works in the exhibition.)

James Richards
Immediately as you enter the exhibition you are facing a flat screen TV displaying images that don't seem to quite fit together yet have a cohesive element about them. The film viewed contains found and original images that are intuitively edited. (Almost as if he has created a moving collage of clips. Something of note, is the different frames used for the various clips in the video, seems to be about what isn't on show. The black and white imagery creates a sense of unity, and the chosen framing and actions within the videos feels rather sensual in choice.

(And this is quite bad, but I was a little perplexed on the choice of seating for this video. I mean, it was almost like a sofa, without the back, but the type of cushions made it look like only one person could sit on one at a time, when you could have easily fit two bottoms on one cushion. Now this probably seems trivial, but. And hear me out. But. It really affects how you view the artwork and I probably didn't stay there for as long as I should have because you feel as if you are standing in the door way, there's nowhere to sit, so you just move on. Actually, I could write a whole post about the awful choice/ position of seating at this exhibition. Which is something that really should have been taken into consideration, especially considering how the majority of the work on show, was video.)

Anyway. Moving oh so swiftly on.

As you moved away from Richards' video piece and around the corner, you are surrounded by larger hanging carpets depicting different people. These focused on people who I believe were not necessary famous - my friend informed me they were people at events (who were out of shot) that were important and noted. So again, this theme of focussing on the other.

And lastly, there were some photographs displayed via old projector slides. These didn't really bring much interest to me, so I can't say I thought anything about them worth noting. Only way the use of this method of presentation?


Tris Vonna-Michell
Again, Vonna-Michell is another video artist. The primary video contained a lot of irratic repetative speech. The imagery focused on tables, and other imagery that I didn't think was necessary. It felt as if the speech was more important then what we were watching. Almost felt as if the images were a ploy to get people to sit down and listen as we live in a massive image culture and people's attention span might not last for very long to listen to a purely sonic piece.

And once more, the position of the long benches for this piece were awful. No matter where you sat you were in someone's way or someone was in your way (unless you were fortunate enough to sit at the front.)

There was a second piece that was projector slides, that automatically changed. Along with this went a narrative that was spoken through the speakers surrounding the chairs creating a very intimate atmosphere. Now this a feel worked much better than the first piece on display. This piece was very much like story-telling.


Ciara Phillips
Quite honestly, I was a huge fan of this. As you entered the space given to Phillips, it had quite an impression - but I feel like the main reason for this was simply because of of sudden shift of medium. The previous two artists both had video pieces, and both used old projector slides for their pieces and here, we came into brightly lit room (you actually notice how high the ceiling is) and from top to toe the walls are covered in her patterned prints. And very occasionally we get a series of photographs of the artist, all looking the same.

Once you get over the sudden shift in the lighting, and the change of there being no screen, I began to feel as if she was a token vote. To change up the choice of the type of artist that they are promoting. Yet this piece still managed to have a sonic element to it. It simply read out words listed. It felt very uninspired and I did just have to leave.


Duncan Campbell
Now you've guessed it. It's another video artist! (Really, all I can say is what is the Tate thinking? But we won't get into that now, I'll moan about that later.) The first piece you see is a film with different shapes forming (as if being drawn by an invisible hand) with German words and noises erupting from speakers placed near the old film projector. I vaguely remember this piece having to do with Sigmar Polke (which seems slightly suspicious, as the Tate have a big exhibition housing his works at the moment - coincidence or planned promotion?) But this piece was entirely pointless for me.

Now the second piece (and big show stopper) there was a film. That's it. Tah-dah! A film, one displayed as you would if you went to the cinema. With a running time of 54 minutes. Which really is quite brave, so I do have to give it to Campbell for expecting people to hand around for almost an hour to watch this film in a gallery. The medium really does make a difference, and with a film you aren't going to have an immediate impact. So you do have to sit there. Also, it's a medium that we are so familiar with so it does need to leave quite an impression.

We saw the film from 20 minutes in until the end (as that was the point we happened to walk in) and that is the longest I have every sat in a gallery and watched a film piece for. It followed 'art film' conventions. Academic vocabulary. (Sometimes I had no idea what was going on.) Almost came across as a little preachy. But towards the end it did make a point about the art market, art and worth. And it wasn't that bad.


Overall, what we can gage from this exhibition is the following:

• The Tate thinks that the only art of any worth currently happening is video.
• Ditto that with sound art.
• For some reason there is a return to using traditional projectors/ slides/ film and leaving digital behind.
• The Tate NEED to sort out their seating in exhibitions.
• I think Campbell is going to win. The rest were just there to build up to his film.

Now I could be very wrong - but that's part of the fun. Guessing who is going to win. It's just like picking a couple to win on Strictly. 

I would say it was worth a look - you do have to pay though - student price being £6. However, I wish the Tate had picked a broader range of artists this year. It feels as if the British art scene has become very samey, very safe and just not that interesting.