DOCSLIB.ORG

Dundee Contemporary Arts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dundee Contemporary Arts Dundee Contempo rary Arts Annual Report 2018 – 19 Contents Welcome from Beth Bate, Director 3 DCA 20 4–5 Exhibitions 6–9 Cinema 10–13 Print Studio 14–17 Learning 18–21 Discovery Film Festival 22–25 Editions & Publications 26–27 DCA Shop 28–29 Audiences & Communications 30–33 Support 34 DCA Team 35 This page: Photograph by Erika Stevenson Opposite: Photograph by Alberto Bernasconi Dundee Contemporary Arts Annual Report Page 3 Welcome In a remarkable year for Dundee, when the Our international reach expanded with DCA cultural landscape has shifted and grown, Print Studio staff presenting papers at the and the eyes of the world were upon us, renowned IMPACT 10 Encurentro, the we were thrilled to celebrate DCA20, our International Multidisciplinary Printmaking twentieth birthday. Conference in Santander, with research playing a key role in the studio, alongside affordable It has been inspirational to look back at the early access to outstanding equipment and expertise days of DCA, the ambition and determination for artists at all stages of the careers. of the pioneers and politicians, the staff and supporters, who made it all possible. Widely The range of projects delivered by DCA’s seen as kick-starting Dundee’s rebirth from post- Learning team continues to have incredible industrial decline to becoming an internationally impact across Dundee and the wider Tayside renowned city that has placed culture at its region. From hosting two PhD researchers, heart, DCA is now one of Scotland’s most loved exploring the impact of creative activity on cultural centres, with over 409,000 visits a year. families with young children to delivering Rooted in the city and international in vision, creative workshops with people in the DCA has delivered on its early vision year after Hilltown and Stobswell areas, from working year, thanks to our fantastic audiences, artists with schools and teachers developing creative and staff. The opportunity to celebrate everyone’s skills to our long-term partnership with Tayside successes has been seized enthusiastically Healthcare Trust on the ST/ART project, DCA’s and we’re delighted to continue our DCA20 ethos ‘see, think, make, do’ continues to enrich programme throughout 2019. people’s lives. 2018 saw some of the busiest exhibitions ever All of our work is made possible by our held at DCA, with Santiago Sierra’s Black Flag stakeholders Creative Scotland and Dundee and Mike Kelley’s Mobile Homestead attracting City Council, as well as the many partners, over 13,000 visits, and we are pleased that our trusts, foundations, sponsors and donors who gallery numbers have continued to increase. support our important work. We are grateful to With media attention focused on Dundee, we all of them. As part of DCA20 we were pleased were delighted to attract such positive national to launch our first patron scheme and my and international press, including reviews in particular thanks to the individuals who have The Observer and Frieze , as well as coverage started on this new and exciting journey with us in The Art Newspaper , The Financial Times , The and for sharing our commitment to art, artists, New York Times and the South Munich Times . audiences and Dundee. Our rich and diverse cinema programme Beth Bate, Director continued to delight audiences and it was a pleasure to host so many events, with special guests, directors and producers visiting DCA. Lively debate, conversation and connection helps make our cinema, programmed in-house, so successful and relevant to our audiences. Top: Vinyl Dreaming wall at our DCA20 open weekend Bottom: State of Print at our DCA20 open weekend Photographs by Erika Stevenson Dundee Contemporary Arts Annual Report Page 5 “Dundee’s cultural successes and continued aspirations were founded upon, and can very clearly trace themselves back DCA2 0 to, important cultural milestones such as the creation of DCA.” Cllr John Alexander We launched a long weekend of specially programmed In March 2019 we kicked off our 20th birthday events and activities, starting with Gallery 2 being programme of events, celebrating two decades of being completely taken over by the exhibition. bold, open, meaningful and magical, enriching people’s State of Print This interactive artist-led nation was a makeshift state built with lives through art, creativity and culture. ink and recycled cardboard. Complete with border control, Cllr John Alexander, leader of Dundee City Council, said, currency exchange, maps, laws, national anthems, a TV “Dundee’s cultural successes and continued aspirations station, films and music, audiences immersed themselves in were founded upon, and can very clearly trace themselves this wildly creative response to national identity and power. back to, important cultural milestones such as the creation of DCA. DCA has and continues to play a pivota l role; culturally, Community groups from across Dundee were amongst the socially and economically and I’m very proud of what the first to visit State of Print when we welcomed our community team at DCA has achieved over those 20 years. Given the partners for tea and a slice of our wonderful DCA20 cake. city’s current position and vibrancy, I think we owe a large DCA’s acclaimed cinema has enjoyed bringing a range of thanks and congratulations to an institution which is as fantastic films, both home-grown and international, to our passionate about Dundee as it is about art and culture.” loyal audiences over the years. We launched the big birthday Our celebrations launched with an artists’ talk between weekend with a sneak preview of mid90s , Jonah Hill’s new Royal Academicians Jane and Louise Wilson, and DCA coming-of-age drama, the perfect film to remind us of DCA’s former life as Dundee’s unofficial skatepark. This was Director Beth Bate. Jane and Louise graduated in 1989 from Newcastle Polytechnic and Duncan of Jordanstone followed by a specially curated programme of best-loved College of Art and Design (DJCAD) respectively; their final films from the last two decades, with cinema tickets rolled degree show comprising a joint exhibition held in Newcastle back to 1999 prices. Audiences flocked to these sell out and Dundee. In 1999, they were nominated for the Turner screenings, which included modern classics such as Pan’s Prize and in 2012 exhibited at DCA with a show that brought Labyrinth , Ratcatcher and The Illusionist . Our ever popular film quiz was a special birthday edition, with people putting together two bodies of work: Atomgrad (Nature Abhors a their film knowledge from the last 20 years to the test. Vacuum) and Face Scripting – What Did the Building See . Artists continued to play a central role in our celebrations, Our open weekend provided plenty of opportunities to get with the symposium Artists in Print. This day-long event was creative, with free, drop-in workshops and events happening a celebration of print making and was an opportunity for across the building. These busy days were thriving with artists, academics, theoreticians and historians to consider creative activity, with visitors screen-printing DCA20 tote issues around print and contemporary art in Scotland. bags, creating a collaborative vinyl wall collage, making Through artists’ talks and chaired discussions with Tessa birthday badges and short animated films, and celebrating Lynch, Scott Myles, Claire Barclay, Helen de Main, Edwin our ‘see, think, make, do’ approach in exciting and fun ways. Pickstone and Jacqueline Butler, DCA Print Studio DCA Print Studio was packed with workshops for visitors to celebrated its twenty-year history of working with cutting take part in, from traditional printmaking techniques such as edge and traditional print technologies. This was a rare Japanese woodblock printing and shadowgraphs to newer opportunity to hear how practitioners think about using technologies including 3D printing and laser cutting. We held print processes in innovative and inventive ways, a display of the brilliant work created through ST/ART, our connecting to its social histories, collaborative processes long-term partnership project with Tayside Healthcare Arts and technological materiality. Trust, and a team from DCA’s Young Photo Club were on hand to document the whole weekend. Top: Eve Fowler, what a slight. what a sound. what a universal shudder. Photograph by Erika Stevenson Bottom: Mike Kelley, Mobile Homestead Photograph by Ruth Clark Dundee Contemporary Arts Annual Report Page 7 Exhibitions “This is how her mind In a year that has seen the cultural offering of Dundee grow exponentially, DCA’s exhibitions programme has gone from works, through metaphor, strength to strength, developing a mix of Scottish, British and international art projects across the galleries for our deep thought and delicate audiences. We welcomed 3 7, 487 visitors to the galleries across transformation: so much 2018/19 and are happy to report that this figure once again reflects a steady increase in attendance from previous years. like that of poet.” We devoted our entire summer season to the incredible work of American artist Eve Fowler with what a slight. what a sound. what Laura Cumming in The Observer on a universal shudder. This was the first solo exhibition of Fowler’s Lorna Macintyre: Pieces of You Are Here practice in Europe, and drew together a body of work focusing on the queer, experimental writing practice of Gertrude Stein. The exhibition in the galleries took the form of posters, prints, paintings, and installations employing materials such as vinyl, “The artist’s new film neon, collage, print, painting and film. Fowler’s work also reached explores unprecedented beyond our walls to appear as temporary public artworks on billboards, bus stops, and poster sites, spreading art and poetry levels of intimacy and across the city over the summer months. empathy with its subjects.” Over autumn, as the city around us was transforming faster than ever before with the opening of V&A Dundee, we developed two Eliel Jones in Frieze Magazine on distinct presentations of work by major international artists that Margaret Salmon: Hole in unique ways reflected on ideas of citizenship, nationhood, ownership and agency within very different parts of the world.
Load more

Recommended publications
  • National Collecting Scheme Scotland National
    National Collecting Scheme Scotland National Collecting Scheme Scotland is an initiative that supports public collections across Scotland to acquire and present challenging contemporary visual art. The initiative also seeks to enable curators within those organisations to extend their knowledge and understanding of contemporary visual arts, and to develop their engagement with the visual arts sector in Scotland. Scotland is home to some very fine public collections, which are of local, national and international significance. It is the aim of the NCSS that those public collections are able to reflect the range and vibrancy of contemporary art created here and abroad, that they can help build new audiences for the contemporary visual arts, as well as engage and work with artists and visual arts organisations. Some facts : • NCSS is an initiative of the Scottish Arts Council. • Currently NCSS has seven museum partners. These are Aberdeen Art Gallery, McManus Galleries, Dundee, Edinburgh City Art Centre, Gallery of Modern Art, Glasgow, Hunterian Art Gallery, Paisley Museum and Art Gallery, and the Pier Arts Centre, Orkney. • In its first phase - 2003-2006 - NCSS enabled a total of 122 acquisitions by six public collections (including craft in its first phase). In 2007-2008 a further 18 works of visual art have been acquired. The Scottish Arts Council will support further acquisitions in 2008-2009. • NCSS member were also involved in an innovative joint commissioning project – the first of its kind in the UK. They collaborated to commission Joanne Tatham & Tom O’Sullivan to create a substantial and ambitious new work of art for Scotland • Aberdeen Art Gallery hosted the Scotland & Venice exhibition December 2007- January 2008.
    [Show full text]
  • Jim Lambie Education Solo Exhibitions & Projects
    FUNCTIONAL OBJECTS BY CONTEMPORARY ARTISTS ! ! ! ! !JIM LAMBIE Born in Glasgow, Scotland, 1964 !Lives and works in Glasgow ! !EDUCATION !1980 Glasgow School of Art, BA (Hons) Fine Art ! !SOLO EXHIBITIONS & PROJECTS 2015 Anton Kern Gallery, New York, NY (forthcoming) Zero Concerto, Roslyn Oxley9 Gallery, Sydney, Australia Sun Rise, Sun Ra, Sun Set, Rat Hole Gallery, Tokyo, Japan 2014 Answer Machine, Sadie Coles HQ, London, UK The Fruitmarket Gallery, Edinburgh, Scotland 2013 The Flowers of Romance, Pearl Lam Galleries, Hong Kong! 2012 Shaved Ice, The Modern Institute, Glasgow, Scotland Metal Box, Gerhardsen Gerner, Berlin, Germany you drunken me – Jim Lambie in collaboration with Richard Hell, Arch Six, Glasgow, Scotland Everything Louder Than Everything Else, Franco Noero Gallery, Torino, Italy 2011 Spiritualized, Anton Kern Gallery, New York, NY Beach Boy, Pier Art Centre, Orkney, Scotland Goss-Michael Foundation, Dallas, TX 2010 Boyzilian, Galerie Patrick Seguin, Paris, France Jupiter Artland, Edinburgh, Scotland Metal Urbain, The Modern Institute, Glasgow, Scotland! 2009 Atelier Hermes, Seoul, South Korea ! Jim Lambie: Selected works 1996- 2006, Charles Riva Collection, Brussels, Belgium Television, Sadie Coles HQ, London, UK 2008 RSVP: Jim Lambie, Museum of Fine Arts, Boston, MA ! Festival Secret Afair, Inverleith House, Ediburgh, Scotland Forever Changes, Glasgow Museum of Modern Art, Glasgow, Scotland Rowche Rumble, c/o Atle Gerhardsen, Berlin, Germany Eight Miles High, ACCA, Melbourne, Australia Unknown Pleasures, Hara Museum of
    [Show full text]
  • Craft Generation Booklet CLAIRE BARCLAY
    CLAIRE BARCLAY Untitled Element from ‘Shadow Spans’ by Claire Barclay 2010 Shellac, calico, fur felt 22cm x 18cm x height 24cm From the installation work ‘Shadow Spans’ at The Whitechapel Gallery, London. The installation reflected on the nature of liminal spaces on the boundaries of indoors and outdoors, for example, the porch, the entrance, windows and doors, the pavement etc. The sculptural components were in some way exploring aspects of the transitions we experience between private and public space. This hat-like form suggestive of a shift from formal to informal when removed at the point of entering a building. It is also abstracted from its familiar form and so made odd and dysfunctional. 3 CLAIRE BARCLAY Where are you based? Based in Glasgow - work in the Glasgow Sculpture Studios, Glasgow Print Studio, studio at home, work with other fabricators, engineering company, saddlers, fabric printing facilities. What is your definition / the definition you prefer of craft? Craft is present in all disciplines where hand skills evolve over time through the exploration of and fascination with particular tasks, whether practical or absurd, traditional or improvised. How does craft relate to your practice as an artist? I don’t consciously think of myself as craft- ing while I am making, as I do not have a specific goal in mind. The materials and processes I use are determined more often by the context in which I am working. I try to use each project as an opportunity to learn more skills but if the skills needed are beyond my ability, I need to work in collaboration with experts in order to realize the work.
    [Show full text]
  • Henry Moore Grants Awarded 2016-17
    Grants awarded 2016-17 Funding given by Henry Moore Grants 1 April 2016 – 31 March 2017 New projects Pallant House Gallery, Chichester, Exhibition: The Mythic Method: Classicism in British Art 1920-1950, 22 October 2016-19 February 2017 - £5,000 Fundação Bienal de São Paulo, Exhibition: Heather Phillipson and Ruth Ewan's participation in 32nd Bienal de São Paulo - Live Uncertainty, 7 September-11 December 2016 - £10,000 Serpentine Gallery, London, Exhibition: Helen Marten: Drunk Brown House, 29 September-20 November 2016 - £7,000 Auto Italia South East, London, Exhibition: Feral Kin, 2 March-9 April 2017- £2,000 Art House Foundation, London, Exhibition: Alison Wilding Arena Redux, 10 June-9 July 2016 - £5,000 Parasol Unit Foundation for Contemporary Art, London, Exhibition: Robert Therrien: Works 1975- 1995, 2 October-11 December 2016 - £5,000 South London Gallery, Exhibition: Roman Ondak: The Source of Art is in the Life of a People, 29 September 2016-6 January 2017 - £7,000 York Art Gallery (York Museums Trust), Exhibition: Flesh, 23 September 2016-19 March 2017 - £6,000 Foreground, Frome, Commissions: Primary Capital Programme: Phase 1, 8 September 2016-31 January 2017 - £6,000 Barbican Centre Trust, London, Exhibition at The Curve: Bedwyr Williams: The Gulch, 29 September 2016-8 January 2017- £10,000 Glasgow Sculpture Studios, Exhibition: Zofia Kulik: Instead of Sculpture, 1 October-3 December 2016 - £5,000 Tramway, Glasgow: Exhibition/Commission: Claire Barclay: Yield Point, 10 February-9 April 2017 - £3,000 Nasher Sculpture Center,
    [Show full text]
  • The House at 4 the Esplanade
    THE HOUSE AT 4 THE ESPLANADE Introduction In the notes which follow I will try to set out something of the history of the house now known as 4 The Esplanade and its immediate environs: the ground identified on the Feuing Plan of Part of Broughty Ferry Links belonging to the Dundee and Arbroath Railway Company 1859. The Feuing of the Ground and the Building of the House at 1 and 2 Seward Place In 1872 the land on which 4 The Esplanade now stands was bought from the Scottish North Eastern Railway Company (SNER) by William Black and his wife Mary (nee Easton) who were then living across the water in Tayport. SNER was formed when the Aberdeen Railway Company amalgamated with the Scottish Midland Junction Railway Company on 29 July 1856. On 31 January 1862, the SNER took over the Dundee and Arbroath Railway; and the resultant company was absorbed by the Caledonian Railway on 10 August 1866. Feudal tenure, a system of land ownership with its roots in the 12th century, was an important part of land use planning in the nineteenth century. The most common form of feudal condition was the obligation to pay a sum of money annually to the superior: the feu duty. Other conditions could place constraints on the use of the land or buildings often in order to harmonise the appearance of a street or housing development. The land purchased by the Blacks formed part of some 12 acres of ground bought by SNER from the estate of David Hunter, 8 th Laird of Burnside who had laid out the plan for the New Town.
    [Show full text]
  • Dalziel + Scullion – CV
    Curriculum Vitae Dalziel + Scullion Studio Dundee, Scotland + 44 (0) 1382 774630 www.dalzielscullion.com Matthew Dalziel [email protected] 1957 Born in Irvine, Scotland Education 1981-85 BA(HONS) Fine Art Duncan of Jordanstone College of Art and Design, Dundee 1985-87 HND in Documentary Photography, Gwent College of Higher Education, Newport, Wales 1987-88 Postgraduate Diploma in Sculpture and Fine Art Photography, Glasgow School of Art Louise Scullion [email protected] 1966 Born in Helensburgh, Scotland Education 1984-88 BA (1st CLASS HONS) Environmental Art, Glasgow School of Art Solo Exhibitions + Projects 2016 TUMADH is TURAS, for Scot:Lands, part of Edinburgh’s Hogmanay Festival, Venue St Pauls Church Edinburgh. A live performance of Dalziel + Scullion’s multi-media art installation, Tumadh is Turas: Immersion & Journey, in a "hauntingly atmospheric" venue with a live soundtrack from Aidan O’Rourke, Graeme Stephen and John Blease. 2015 Rain, Permanent building / pavilion with sound installation. Kaust, Thuwai Saudia Arabia. Nomadic Boulders, Permanent large scale sculptural work. John O’Groats Scotland, UK. The Voice of Nature,Video / film works. Robert Burns Birthplace Museum. Alloway, Ayr, Scotland, UK. 2014 Immersion, Solo Festival exhibition, Dovecot Studios, Edinburgh as part of Generation, 25 Years of Scottish Art Tumadh, Solo exhibition, An Lanntair Gallery, Stornoway, Outer Hebrides, as part of Generation, 25 Years of Scottish Art Rosnes Bench, permanent artwork for Dumfries & Galloway Forest 2013 Imprint, permanent artwork for Warwick University Allotments, permanent works commissioned by Vale Of Leven Health Centre 2012 Wolf, solo exhibition at Timespan Helmsdale 2011 Gold Leaf, permanent large-scale sculpture. Pooley Country Park, Warwickshire.
    [Show full text]
  • Annual Report 2011/2012 Annual Report 2011/2012 Glasgow Women’S Library
    GLASGOW Women’s LIBRARY Annual Report 2011/2012 Annual Report 2011/2012 Glasgow Women’s Library Introduction Aims and Objectives Glasgow Women’s Library is a vibrant Glasgow Women’s Library aims to: In meeting our aims, GWL: information hub housing a lending library, º Advance the education of the general º Actively collects relevant information archive collections, contemporary and public by increasing knowledge and and materials so that they are historical artefacts relating to women’s understanding of women’s history, lives accessible to the broadest range of lives, histories and achievements. It and achievements. users. delivers an innovative Lifelong Learning º Provide information on a range of º Encourages the involvement of as many Programme, an Adult Literacy and women’s and gender equality issues. women as possible in developing the Numeracy Project, a dedicated Black and º Enable women, particularly the most Library and its related resources and Minority Ethnic Women’s Project and a vulnerable and excluded in society, to services and in contributing to the National Lifelong Learning Project. access the information, resources and documentation, collection, creation and services they need to make positive life use of materials. choices. º Provides and promotes Lifelong º Break down barriers to learning and Learning, training, education, skill- participation for women so that they sharing, volunteering, and employment become fully active citizens, develop opportunities for women. skills and knowledge, engender º Provides an accessible information self-confidence and equip themselves resource, library and archive relevant to pass on their experience to benefit to all areas of women’s lives, history, their families and broader communities.
    [Show full text]
  • FULL ATTENDEES Individuals
    Contemporary Collections and Collecting in Scotland Series Record of Attendence Individuals First name Surname Organisation Position Jennifer Melville Aberdeen Art Gallery Keeper of Fine Art Liesbeth Bik Artist Christine Borland Artist Rose Frain Artist Jos van der Pol Artist Gerrie van Noord Artist Pension Trust, London Co-Director Andrew Brown Arts Council England Senior Strategy Officer - Visual Arts Louise Shelley Centre for Contemporary Art, Glasgow Head of Programmes Kate Gray Collective Gallery, Edinburgh Director Jenny Crowe Consultant Moira Jeffrey Consultant Kirstie Skinner Consultant Elaine Martay Cultural Strategy and Diplomacy Team, Scottish GoveInternationalrnment Policy Mark O'Neill Culture Sport Glasgow Head of Arts and Museums Ben Harman Culture Sport Glasgow / Gallery of Modern Art, GlasgowCurator of Contemporary Art Victoria Hollows Culture Sport Glasgow / Gallery of Modern Art, GlasgowMuseum Manager Sean McGlashan Culture Sport Glasgow / Gallery of Modern Art, GlasgowCurator of Contemporary Art Margaux Achard Culture Sport Glasgow/ Kelvingrove Jenny Brownrigg Duncan of Jordanstone College of Art and Design Exhibitions Curator Edwin Janssen Duncan of Jordanstone College of Art and Design Artist/Academic Leader Laura Simpson Duncan of Jordanstone College of Art and Design Assistant Curator, Exhibitions Graham Domke Dundee Contemporary Arts Curator Clive Gillman Dundee Contemporary Arts Director Judith Winter Dundee Contemporary Arts Deputy Director and Head of Programmes Joanne Brown Edinburgh Art Festival Director Ian
    [Show full text]
  • Arts & Culture
    Arts & Culture 3 Day Itinerary Day 1 We’re heading south to Dundee – a city that’s fast becoming a cultural hub for Scotland. Also known as the City of Discovery, it is home to V&A Dundee – our nation’s first design museum and a sister venture of the famous London institution. It’s free to enter and has an extensive permanent collection as well as numerous touring exhibitions. The design of the waterfront building is well worth travelling for the photo opportunity alone! Dundee Contemporary Arts visit brings together art and film under one roof. The city centre building has two galleries that always have something interesting to see – as well as a print gallery focused on print, photography and digital work – and while the cinema programme has more of a nod to arthouse, you’ll also find the occasional Hollywood blockbuster. And no visit to Dundee would be complete without exploring its comic culture. Some of the world’s most famous comic strip characters, including Dennis the Menace, the Bash Street Kids and Desperate Dan were birthed in the city thanks to publisher DC Thomson. Head into the city centre and the aplty named Bash Lane to grab selfies with life-size sculptures of famous characters. Day 2 Take a break from city life and head to the country – to Royal Deeside to be precise. In this stunning part of the region you’ll find a number of small, independent galleries that are under the radar. One of our favourites – the Butterworth Gallery - lies near the town of Aboyne.
    [Show full text]
  • Enjoy 48 Hours in Dundee
    Enjoy 48 Hours in Dundee www.dundee.com Welcome to Dundee, one of Scotland’s most dynamic cities, where you are guaranteed a warm Scottish welcome, many places to eat and drink, great attractions and, because of Dundee’s proximity to Fife, Angus and Perthshire, some breathtaking scenery. The city benefits from a central geographic location, and has an excellent road, rail and air network with daily flights to London Stansted. www.dundee.com/visit There is so much on offer - V&A Dundee opened in 2018 – It is the first ever dedicated design museum in Scotland and the only other V&A Museum anywhere in the world outside London. Among a host of other things Dundee proudly celebrates its seafaring heritage. RRS Discovery, which was built in the city, is the vessel sailed by Captain Robert Falcon Scott on his first voyage to Antarctica in 1901. Whilst at City Quay you will discover one of the oldest British built wooden frigates still afloat, HMS Unicorn. Visit the award winning textile heritage centre, Verdant Works including the refurbished High Mill or The McManus: Dundee’s Art Gallery and Museum, home to one of Scotland’s most impressive collections of fine and decorative art. Visit Dundee’s Museum of Transport and explore the city’s West End, where the Dundee Repertory Theatre offers a wide range of genres and Dundee Contemporary Arts (DCA) housing two cinemas and contemporary art exhibitions. Behind the DCA you will find Dundee Science Centre. Enjoy discovering Dundee city centre where the Overgate is the jewel in Dundee’s retail crown.
    [Show full text]
  • Rachel Maclean Born 1987, Edinburgh
    Rachel Maclean Born 1987, Edinburgh. Lives and works in Glasgow. www.rachelmaclean.com Education: 2005 to 09 BA Honours Drawing and Painting, Edinburgh College of Art, Scotland 2008 School of the Museum of Fine Arts Boston, USA Video still from Make Me Up (2018) 1 Recent Press coverage: 2019 Guardian: https://www.theguardian.com/artanddesign/2019/jan/25/too-cute-review-birmingham 2018 Guardian: https://www.theguardian.com/artanddesign/2018/aug/05/rachel-maclean-artists-in- residence-channel-4-birmingham-bullring 2018 Financial Times: https://www.ft.com/content/a6cb6d0a-bfee-11e8-95b1-d36dfef1b89a 2018 BFI: https://www.bfi.org.uk/news-opinion/sight-sound-magazine/reviews- recommendations/make-me-up-rachel-maclean-digital-suffragette-satire-art-history 2018 BBC: https://www.bbc.co.uk/programmes/articles/VH2tVhVH0qnRXxLpTGYjvV/day-glo- dystopia-rachel-macleans-techno-fable-make-me-up 2017 The Scotsman: https://www.scotsman.com/lifestyle/culture/art/art-review-rachel-maclean-spite- your-face-1-4447789 2016 Frieze: https://frieze.com/article/focus-rachel-maclean VR still from I’m Terribly Sorry (2018) 2 Solo Exhibitions: Upcoming November 2019 Solo exhibition at Tel Aviv Museum of Art, Israel Upcoming September 2019 Solo exhibition at Arsenal Contemporary NYC, USA 2019 Tales of Disunion, Solo exhibition at Nassauischer Kunstverein, Wiesbaden, Germany 2019 Make Me Up, Solo exhibition at Kunsthalle Winterthur, Winterthur, Switzerland 2018 Please, Sir…, Solo exhibition at Gus Fisher Gallery, University of Auckland, New Zealand 2018/19 The Lion and The Unicorn, The National Gallery, London, England 2018/19 Rachel Maclean: Solo Exhibition, KWM Arts Centre, Beijing, China 2018 Spite Your Face, Rachel Maclean, Chapter, Cardiff, Wales 2018 Rachel Maclean: Solo Exhibition, Zabludowicz Collection, London, England 2018 Just B Yourself, Rachel Maclean, Dublin City Art Gallery, Dublin 2018 New Worlds, State of Concept, Athens, Greece 2018 Rachel Maclean: Solo Exhibition.
    [Show full text]
  • Tate Papers - Awkward Relations
    Tate Papers - Awkward Relations http://www.tate.org.uk/research/tateresearch/tatepapers/04autumn/mulho... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL Awkward Relations Neil Mulholland Fig.1 Keith Farquhar, John Lewis Partnership , 2000 Courtesy of the artist 1. UK ↔ DJ Yeah, I’d say all their work was informed by a crushingly naïve political viewpoint that could only have been nurtured in the bubble of an art school. I think the misfortune of that kind of art is that it’s politically imbecilic, and on an intellectual level they’re still living off the arguments of the Frankfurt school – Adorno and Horkheimer – from the Sixties. They argued that we are all slaves to something called dominant ideology; this bourgeois thing that was constructing our way of thinking for us, our politics and our society. Whereas the world we live in today is one that actually offers us much more choice to resist, rebel and construct our own community and I don’t think any of the artists in that programme have really taken that on board. The weakness of the art to me is that it is quite patronising actually. They’re trying to tell me something that I disagree with and they’re saying ‘Because we’re artists we know better’, and I think that’s one of the Modernist art myths they haven’t managed to get rid of.1 (Film director Ben Lewis on Relational Art, 2004) Since the mid 1990s ‘relational aesthetics’ has become an increasingly popular neologism for a series of practices identified in contemporary art by French curator Nicolas Bourriaud, including the work of artists such as Philippe Parreno , Douglas Gordon and Rirkrit Tiravanija, Liam Gillick , Pierre Huyghe , Maurizio Cattelan , and Vanessa Beecroft.
    [Show full text]