Aaron Angell, photo Max Slaven

Aaron Angell, photo Max Slaven

Aaron Angell
Gallery One
December 8 2017 – March 18 2018

Leading British artist Aaron Angell presents a series of new works including ceramic sculpture, inflatables, painting, Victorian furniture and plant life to create an anachronistic interior, which mines various points in history and unusual hobbyist cultures to develop a large scale, immersive exhibition.

At the exhibition’s heart is Glasgow Museums’ notable and recently conserved Wardian case. This Victorian fern case will be displayed for the first time in over a quarter of a century. It was conserved especially for the exhibition and is to be fully planted with a range of ferns and mosses in a style reminiscent of its original display in the mid-nineteenth century. One of the very few surviving, original Wardian Cases, the piece was built a stone’s throw from GoMA and dates from around 1860. It is without doubt one of the finest ever made.

The centrepiece of this show is approximately the most Victorian object ever manufactured. It has it all. Fetishisation of the most stolid aspects of the classical world, the bondage of wildness and growth, even the concealed sexual organs of the ferns and mosses themselves. It is also, almost by mistake, a prototype for the radical biotopic architecture of the mid-20th century.

As an exhibition space without any proper walls, I was interested in contrasting the case with a treatment of the hall at GoMA as a basic exercise in open plan interior design. The cliché of the loft, the archipelago of stations, objects, and pools of light. This is much more a house for a couple than an exhibition of my work. Aaron Angell 2017

Alongside the case will be four new sculptures – a piece of inflatable furniture filled with a mock hypocaust heating system, a methane ‘sewer’ gas lamp, a cabbage and a cinerary urn. The lamp will feature the four pipe form that occurs throughout Angell’s recent work and a sconce modelled on a Roman coin. Ceramic works, made shortly after Angell’s recent residency at the Leach Pottery in St Ives, are based on the profile of Roman cineraria or cinerary urns intended for the remains of married couples. Having never visited Italy, the history of the Roman civilization remains “Literary and ridiculous” to Angell, a malleable idea rather than a historical fact.

In a continuation of the artist’s interest in problems of scale, hobbyist aesthetics and poetic thought, Angell will also display a giant flatpol cabbage, presented as a sculpture. Grown by expert giant vegetable grower Kevin Fortey the cabbage will be housed in a concrete artist-made planter. The cabbage, like the ferns and mosses, will continue to grow during the exhibition’s run, offering the idea of the exhibition as a living extension of Angell’s practice.

All of the works reference the complex history of GoMA’s site as a residence, garden, and neoclassical fancy. They continue Angell’s interest in marginal forms of image making and collapse the distinction between high and low art. The intentionally amateurish look of his sculptural work, for example, is offset by the in depth, nuanced and detailed histories that Angell mines for reference and by the difficulty of the ceramic process itself.

GoMA would like to thank the Friends of Glasgow Museums for supporting the conservation of the Wardian Case.

The artist and Glasgow Museums would like to thank Glasgow Botanic Gardens, Royal Botanical Gardens Edinburgh and Dr Mary Gibby for their assistance and advice in regards to the planting of the Wardian Case.

Aaron Angell (b. 1987, Kent) studied at the Slade School of Art and is the founder of Troy Town Art Pottery, a radical and psychedelic pottery for artists. He lives and works in London.

Upcoming solo exhibitions include: Koppe Astner, Glasgow, Art Exchange, Colchester, and Kunstverein Freiburg, Germany.

Recent exhibitions include Why I built the Cloaca Maxima (Rob Tufnell, London, 2017), That Continuous Thing: Artists and the Ceramics Studio, 1920 – today (Tate St Ives, 2017), Variations on the Chaldon Doom (Markus Lüttgen, Cologne, 2017), The British Art Show 8 (Edinburgh, Leeds, Southampton, Norwich, 2017, Grotwork (Studio Voltaire, London, 2016), Woman expecting triplets returning home from the cinema (SWG3, Glasgow, 2012).

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Work from the Collection opened last Thursday evening and is an exhibition by the Glasgow-based artist Stephen Sutcliffe. Glasgow Museums purchased five works by Sutcliffe for the City’s collection in 2013 but this is the first time the wall drawing, photograph and films are being exhibited in the gallery. We are delighted that Sutcliffe has lent us two further works for inclusion in the show.

Sutcliffe’s work draws upon an extensive personal archive of broadcast material and printed ephemera that he has collected over a number of years. The appropriation and reimaging of original materials is present throughout Sutcliffe’s films, drawings and photographs.

In his wall drawings and photographs he has reworked cartoons by Saul Steinberg, whose work often featured in The New Yorker magazine. In his films, recordings from television, cinema and radio are edited together to make poetic new works that focus on anxiety and self-doubt. His careful editing of sound and image creates an awkwardness or interruption, which is often humorous at first glance, but can be read as quite dark and satirical, revealing an interest in the subversion of dominant narratives about communication, power and class.

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At the end of July 2017 the Gallery of Modern Art (GoMA) in Glasgow unveiled a permanent display on its two elliptical balcony spaces within the interior of the building. Stones Steeped in History tells the story of the building from before it was built in 1776 through its various uses and modifications up to its controversial opening as a gallery of contemporary and modern art in 1996.

The display describes that the original building belonged to William Cunninghame of Laishaw and that he was a millionaire merchant. We are explicit in detailing that his wealth trading American tobacco and Caribbean sugar relied on the exploitation of slave labour on plantations. The information on display also gives the further context of how Glasgow’s Georgian New Town in and around Cunninghame’s mansion developed as a business quarter. Again we detail that this new city grew through wealth acquired through slavery and selling addictive tobacco, sugar and alcohol.

GoMA welcomes around 600,000 visitors per year and is Scotland’s most visited modern art gallery. We feel it is important that we allow visitors access to information about the establishment of GoMA and what the beautiful neo-classical building was used for before. It has been a home, a bank, an exchange and a library before its current use as a gallery.

This new display allows us to tell the story of the building through times of great wealth from international trade – with undeniable links to slavery – to innovations such as one of the city’s first telephone exchanges and on to Glasgow’s rise as a centre for art and culture. The permanency of the display allows us to be transparent about this history all year round (not just for one-off events during the course of the year) and to treat and interpret the building as the beautiful architectural object that it is.

PlayDay @ GoMA
Wednesday 2 August 10 – 4pm
Throughout the gallery

Join artist Jane McInally and GoMA in day full of fun, play and creative chance. Activities for playful humans will be throughout the building – take a chance to try something new or revisit games of memories!

Follow the lines thoughout the building to find Play Day @ GoMA, which will be popping up throughout the building, as well as outside and a mischievious tour of GoMA online by Anthony Schrag (2011) ‘Stirling’s Demise (or the ghosts of GoMA)’

11am – 4pm for facilitated programme, some self-led activities will be available from 10 am

FREE, materials provided and bring your cameras to capture the play!

#PlayDay2017

 

TASTE!

TASTE!

TASTE

Gallery 2
From 14 July 2017
Henri Cartier-Bresson, Beryl Cook, Fischli/Weiss, Sarah Forrest, Andy Goldsworthy, Douglas Gordon, David Hockney, Eduardo Paolozzi, David Shrigley, Stanley Spencer, Andy Warhol and Lawrence Weiner
TASTE! * is an exhibition of artworks from Glasgow Museums’ collection displayed alongside material from our archive, exploring how collections are built, artworks are commissioned, and exhibitions are organised. Through the display of artwork and archive, TASTE! will present a narrative that unpicks the history of the Gallery of Modern Art’s (GoMA) collecting, shining a light on both the artworks and the processes behind their journey from artist’s studio to museum collection. By hanging artwork and archive together, TASTE! suggests that object and idea are of equal importance and offers the exhibition as a space to enjoy, question and discuss the value of art.

Few things can cause controversy in the way that contemporary art can. From unmade beds to piles of bricks, the objects, processes and concepts behind modern and contemporary art are undoubtedly challenging. Since opening its doors in 1996, GoMA has, like the work its shown, sometimes been a controversial place. Once notorious for not including artists emerging from Glasgow in the early to mid-90s in favour of popular, figurative artworks, much of what has been shown here has divided opinion.  Now GoMA can pride itself on being a forward thinking, progressive collecting institution with one of the strongest and most diverse collections of Contemporary Art in the UK, holding a wide range of works from cutting edge performance art to internationally significant photography and video.

TASTE! aims to show how curators have approached collecting over the last two decades, exploring artists and curators methods, reasoning and influences.
Showing works in a new and experimental context will invoke the spirit in which many artworks were made. Trying new methods of work is key part of both artistic and museological practice and by showing some different combinations of artworks and never before seen objects from the archive**, GoMA is trying something new – attempting to offer a unique insight into contemporary art for both experienced museum goers and first time visitors alike.
Much of the thought processes that take place inside artist’s studios and the offices of the world’s art galleries are completely invisible and alien to many. I think partly because of this it can be a challenge for some visitors when they’re confronted with an unmade bed or pile of bricks and told it’s a work of art. By showing artworks and documents from our archive we hope to offer a greater insight into the how’s and whys of what goes on at GoMA.Curator of Modern and Contemporary Art, Will Cooper

*With works by 12 artists including Andy Warhol, Beryl Cook, Douglas Gordon, Sarah Forrest and Eduardo Paolozzi, TASTE! will periodically change with rotations taking placing over the coming years.

**This exhibition will, for the first time, place works together to create a snapshot of our collecting history, with some never before seen archive material expanding on GoMA’s rich history.

Installation shot from 'Deep in the Heart of Your Brain' (2016) Jacqueline Donachie, photo Ruth Clark

Installation shot from ‘Deep in the Heart of Your Brain’ (2016) Jacqueline Donachie, photo Ruth Clark

This time last year Deep in the Heart of Your Brain* had been open for a couple of weeks and the excellent reviews for the exhibition had started come in. Roll on one year and the artist Jacqueline Donachie, along with the Fruitmarket Gallery in Edinburgh, has won the inaugural Freelands Award and is currently making new work for the exhibition in Edinburgh later this year; Glasgow Museums now has a capsule collection of her works acquired for the City with the support of the National Fund for Acquisitions; over 40,000 visitors attended the exhibition; and 2105 people attended 52 events, talks and workshops as part of the public programme.

The Deep in the Heart of Your Brain symposium** was a significant aspect of the public programme. It was exciting to programme in response to the exhibition and be a part of the amazing discussions that happened that day. We were delighted when Moira Jeffrey agreed to write a response to the symposium and are now even more delighted to be able to publish it online here. Field Notes from the Heart’s Frontier.

GoMA are very grateful to Moira for her wonderfully considered response to the day and her enthusiasm for taking on a very open brief! We would also like to thank Jacqueline Donachie for feedback, Angelo Nese for copy editing and Kirsty McBride for a fantastic job on the design.

*Deep in the Heart of Your Brain, 20 May–13 November 2016, Gallery 4, Gallery of Modern Art (GoMA), Glasgow, the symposium and Field Notes from the Heart’s Frontier  were commissioned by Glasgow Museums with support from a Wellcome Trust Arts Award. Jacqueline Donachie also re-ceived support to work with GoMA from the National Lottery through the Creative Scotland Open Project Fund.

**The Deep in the Heart of Your Brain symposium was held at Platform, Glasgow on November 4, 2016, to develop the themes of Jacqueline Donachie’s exhibition of the same name at the Gallery of Modern Art, Glasgow. The symposium was co-produced by Katie Bruce and Jacqueline Donachie and chaired by Alison Stirling, Projects Director, Artlink, Edinburgh. Its aims were to bring artists, institutions, academics and interested individuals together to dis-cuss care, bravery, lived experience, autoethnography and expert cultures in relation to the ethics and practice of knowledge exchange/public engagement in the art/medical research field.

The contributions were:
Jacqueline Donachie, Artist. Illuminating Loss
Karen Guthrie, Artist and filmmaker. The Closer We Get
Sarah Cunningham-Burley, Professor of Medical and Family Sociology, Assistant Principal, Research-led learning and Dean of Molecular, Genetic and Population Health Sciences in the College of Medicine and Veterinary Medicine, University of Edinburgh. Making the private public: lived experience of health and illness.
Jason E. Bowman, Artist with a curatorial practice, writer, researcher and educator. MFA: Fine Art Programme Leader at the Valand Academy, University of Gothenburg. Curating as Care Making

IMG_3090 2Marlie Mul
This exhibition is cancelled
26 May – 29 October

This would have been Marlie Mul’s first exhibition in Scotland, however after careful consideration the artist has cancelled the exhibition.

There is no exhibition.

Except for large billboard posters that advertised the exhibition’s cancellation, the gallery is empty.

While there is no exhibition, visitors are welcome to continue to use the gallery space. To discuss using Gallery 1 for you own activities please speak to a member of staff on site, or download a proposal form here This exhibition CANCELLED_ Public Proposal Form.

The exhibition is cancelled is supported by The Henry Moore Foundation and The Mondriaan Fund.

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