View from Cockforest

Family History – Gillian Wearing

I love this work and this book. I love GW. More on Family History here.

Family History, Gillian Wearing - the catalogue, 2007

Family History, Gillian Wearing – the catalogue, 2007

Spolia – Lorna Macintyre at Cample Line

What a beautiful day it was to be motoring through parts of the country I normally only glimpse from a hurtling train, with L and N, past distant lamb and dry stane dyke, towards Cample Line.

Lorna’s excellent show, Spolia, manages to seamlessly meld geology, ancient mysterious objects and sculpting (both natural and intentional) with Irn Bru and Neil’s DVD player remote. Must be how I’m thinking about things right now (after scrutinising images of my recent photos, searching for squares, pixels) but Spolia also speaks eloquently about levels of resolution, density and the stuff of all surfaces. Which is the stuff of us all.

A great sarnie offering too – and a chance to catch up with Katie Anderson, one of our fine Fine Art artist alumni. Thank you to Tina, Holly, Katie, Andy and all at Cample Line.

Lorna Macintyre, Spolia, 2017

Lorna Macintyre, Spolia, 2017

Lorna Macintyre, Spolia, 2017

Lorna Macintyre, Spolia, 2017

Roger Hiorns at the Ikon

Thanks to a University of Cumbria Institute of the Arts related trip South, I got to see the Hiorns show at the Ikon (Birmingham). He seems like an old chum, having seen his work at Transmission and installed it at the Collins Gallery (University of Strathclyde, and now long gone) back in the day (that’s the early 2000s to you, jeez). The show looked to me like a sleek apocalypse – and he’s great with the traces of longing and nostalgia for youth (or is that youths?).

Also, the catalogue is a single essay (by Ruth Noack), surrounded by around 500 images of work and research, kinda, allegedly, un-curated. Delicious.

Roger Hiorns, Ikon Gallery, 2017

Roger Hiorns, Ikon Gallery, 2017

Will Internets Eat Brain?

Probably.

Very pleased to have caught Gillian Wylde’s performance at the CCA last week – all part of the GFF. Poised, stylish and hilarious. Included surprise ending with live head massage.

Screen Shot, Gillian Wylde

Screen Shot, Gillian Wylde

From the CCA site:

Listen up! The best art & philosophy is on YouTube for sure. Video artist and writer Gillian Wylde will present a live performance of fragments, texts, images and ideas trending in some of her recent work. Wylde’s work stages a critical engagement with high/low theory, shadow feminisms, happy nihilisms and the mediated. Following her incredible video-essay performances at The Hague and Arnolfini, ‘Will Internets Eat Brain?’ is an exclusive insight to Wylde’s world, encompassing two performances followed by a discussion on her work.

Peter at Kochi-Muziris Biennale with Lux Scotland

Peter is getting an outing next week – as part of Lux Scotland‘s curated Artists’ Cinema at the Kochi-Muziris Biennale, Kerara, India. Cheers Nicole and Lux Scotland…

Peter (Screen Shot) Digital film 29:55, 2014, Jane Topping.

Peter (Screen Shot) Digital film 29:55, 2014.

Sans Soleil

Revisiting Marker’s 1983 Sans Soleil this weekend was like visiting an old friend, one who has aged beautifully and is more inspirational than ever. Sigh.

Watch it here.

Screen Shots – Sans Soleil…

Screen Shot - Sans Soleil

Kate Davis – Charity

Thanks to Kate Davis, I popped along to the World Premier of Charity, the film made with the support of the 2016 Margaret Tait Award and Lux Scotland. Great to see a chum’s work in Cinema 1 at the GFT, and a full house. More about Kate and her work here

Gorgomancy

Is Chris Marker’s collage/collection of all sorts of works. Respectfully clunky, but maybe the only way to see Immemory without Macintosh OS9.

Gorgomancy

Here’s a little thing about formats.

It Follows

The trailer for this 2014 tense horror makes it appear bland and ordinary, but there’s more going on in David Robert Mitchell’s It Follows. Carpenter and Romero influenced (there’s a lot of it about) but also cinematography straight from Gregory Crewdson and Cindy Sherman’s Untitled #92 & #167. After effects similar to those experienced post Exorcist III/Ringu. You’ve been warned. Central Station at 7am was a place of (more than usual) paranoia and tension for this idiot yesterday.

 

Saturday Night and Sunday Morning

Working for six days on the trot has clearly resulted in a feeding frenzy for my eyeballs. Here’s one for Iain, a turner, though presumably a well behaved one.

Directed in 1960 by Karl Reisz from Alan Sillitoe‘s novel.

Saturday Night and Sunday Morning (credits only)