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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

exterior-view

Polygraphs is a group exhibition exploring truth, fiction and evidence in a complicated world. Centred around Abstract (2012), a two-channel video work by Berlin based filmmaker and writer Hito Steyerl, gifted to Glasgow Museums’ collection last year, the exhibition is drawn entirely from Glasgow Museums’ collection.

steyerl-installation

Abstract, 2012 Hito Steyerl Two channel HD video with sound 7 minutes, 30 seconds Image CC 4.0 Hito Steyerl Image courtesy of the Artist and Andrew Kreps Gallery, New York

Artists are often witness to a changing global environment and their role within that culture is to document, ask questions and create layers of meaning to engage audiences with current international discourses. Thus, Abstract provides a frame through which to encounter other artists interested in interrogating dominant historical narratives and our relationships to the arms trade, colonialism, the slave trade and feminism.

Polygraphs reflects GoMA’s long-standing interest in research and evidence based documentary artworks. The exhibition includes works from the last 100 years and poses questions about the relationship of museums to the histories, identities and politics that they represent. By re-displaying older works alongside more recent pieces the exhibition reactivates truths and fictions still relevant today.

cybercrannog

cybercrannog

The resource space and public programme for Polygraphs has been developed in conjunction with graphic designer Neil McGuire and Cyber-Crannog

Note: Abstract was presented by the Contemporary Art Society through the Collections Fund, 2015. It marks the first work by Hito Steyerl to enter a public collection in the UK

ARTISTS: Jane Evelyn Atwood, Muirhead Bone, Boyle Family, Gerard Byrne, Graham Fagen, Hans-Peter Feldmann, Beth Forde, Alasdair Gray, Ian Hamilton Finlay, David Hockney, Wyndham Lewis, Peter Kennard, kennardphillips, Barbara Kruger, Scott Myles, Anthony Schrag and Hito Steyerl

Greetings from Lanesville (still), 1976

Greetings from Lanesville (still), 1976

 

Please Turn Us On
28 July 2016 – 22 January 2017
Arthur Ginsberg with Video Free America
Heather Phillipson
Stansfield/Hooykaas
Videofreex

Please Turn Us On places Glasgow at the centre of a dialogue between early video art and international counterculture. Stansfield/Hooykaas’ What’s It To You? is presented in direct conversation with three other projects that play on themes explored in this seminal, Glasgow-made work.

Elsa Stansfield (b. Glasgow, 1945, d. Amsterdam, 2004) and Madelon Hooykaas (b. Maartensdijk, 1942) worked at the genesis of time-based practice, with the pair quick to realise the potential of video as an art form and as a communication tool. Shown at Glasgow’s The Third Eye Centre for a week in 1975, What’s It To You? was the first installation of its kind ever to be seen in Glasgow. During its original showing the work combined recorded and live film with photography and text. It was truly an interactive work, with audience engagement at its very core. The public’s changing responses to being filmed and questioned gave the work a different meaning with each viewing.

Using a combination of media to offer multiple readings of the work became a staple throughout Stansfield/Hooykaas’ rich career. Keen not to have the authoritative voice within their work, rather they attempted to use new video tape technology to break down social hierarchies and democratise the act of looking at and making artworks. It was through these means that What’s It To You? put Glasgow in communication with other counterculture movements across the globe.

Similarly dynamic projects were taking place across America. In Greetings from Lanesville Videofreex brought their brand of guerrilla broadcasting to Upstate New York. Their Lanesville TV was the first localised, pirate television station in the world. It featured interviews with the rural community, audience phone-ins and dramatic news reports. Videofreex helped to create a portrait of the local community, made by the local community. This happened at a time of great social and political turmoil, when many people didn’t feel like their attitudes were being fairly represented by traditional media. Lanesville TV offered a much-needed alternative voice and paved the way for modern, user-generated broadcasting.

As Stansfield/Hooykaas and Videofreex worked with our shared public experiences, The Continuing Story of Carel and Ferd anticipated the camera’s ability to enter into the most personal parts of our lives. Between 1970 and 1972 director Arthur Ginsberg filmed the not-so-average daily lives of soon-to-be-wed Carel Rowe and Ferd Eggan. This precursor to reality television documents the couple’s changing desires and the drastic evolution of their relationship while living their lives in front of the camera. It is an early warning about the risks of living too close to an electronic medium.

Running through the exhibition is a new commission by London-based artist Heather Phillipson, bringing the issues raised by Stansfield/Hooykaas, Videofreex and Arthur Ginsberg into the contemporary. By focusing the historical elements of Please Turn Us On through her work, Phillipson suggests that despite the current ubiquitousness of personal filming equipment our understanding of its consequences hasn’t developed all that much in the last four decades.

Wolfgang Tillmans, Tag/Nacht, 2009 Courtesy Maureen Paley, London

Wolfgang Tillmans, Tag/Nacht, 2009 Courtesy Maureen Paley, London

Wolfgang Tillmans pictures from New World
Gallery 2
18 February – 7 August 2016

Gallery 2 is currently closed just now for the installation of Wolfgang Tillmans pictures from New World and will reopen to the public on 18 February. The exhibition is a presentation of works from the Turner Prize winning photographer’s series Neue Welt (New World) which were purchased for Glasgow Museums’ collection under the Art Fund International scheme (2007 -12).

Travelling beyond the artists’ beaten path, Wolfgang Tillmans pictures from New World questions how the world appears when viewed from outside one’s immediate vicinity. After spending the best part of a decade working on studio based abstract works, pictures from New World sees the artist returning to a more documentary style reminiscent of his output throughout nineties, this time however leaving (for the best part) his local haunts of London, Berlin and New York, instead heading to the Far East, Africa and South America.

Detail shot from We Love Real Life Scotland, 2006, Ross Sinclair, courtesy of the artist

Devils in the Making
Gallery 1
18 September 2015–28 February 2016

In 1996 Douglas Gordon became the first Scottish artist to win the prestigious Turner Prize. He was one of an already successful group of graduates from The Glasgow School of Art (GSA), who were exhibiting around the world to critical acclaim.That same year GoMA opened to the public with a collection that did not represent the work of these influential artists. Much criticism was leveled at the city by the artistic community as a result. Twenty years on GoMA regularly exhibits, commissions and collects works by artists based in Glasgow, many of whom trained at GSA. This exhibition showcases some of the works that have been made in the city during the intervening decades.

Devils in the Making will run in parallel with the Turner Prize opening 1st October at Tramway. This is the first time the Turner Prize, arguably the UK’s most prestigious contemporary art prize, will be held in Scotland.

“The wealth of artistic talent in Glasgow is astounding and I am very proud that Glasgow Museums plays its part in supporting contemporary artists. One of the ways we do this is by bringing contemporary artworks into our collection and displaying these works in our magnificent galleries and museums.

The Glasgow School of Art plays a significant role in establishing and maintaining Glasgow’s standing as an internationally recognised centre for contemporary art. One of Europe’s foremost art schools, GSA has nurtured and produced many of Scotland’s leading artists and, over the years, Glasgow Museums has had the fortune to add works by some of these artists to its collection, a selection of these works can be seen in this exhibition.

I hope that fellow Glaswegians will support our home-grown talent by visiting this exhibition and that visitors to the city will include GoMA in their itinerary.” Councillor Archie Graham, Chair of Glasgow Life

On display outside GoMA, and lighting up Royal Exchange Square, will be Ross Sinclair’s imposing light installation ‘We Love Real Life Scotland’. Last seen 10 years ago on Glasgow’s City Chambers, ‘We Love Real Life Scotland’ is a collection of neon works displaying Sinclair’s trademark Real Life logo. The works are both celebratory and critical, asking just what it is to be Scottish – a question as pertinent now as it has ever been.

Sinclair, who trained at GSA and now teaches there, said about seeing the work again: “Things have changed immeasurably in this country since I made ‘We Love Real Life Scotland’ and it was shown for the first time round at the back of the City Chambers in 2005. It sometimes feels that politically, Scotland has moved forward a hundred years since then, not just ten. And, while it was important to set the work in a context of politics at that time, I feel it is now time to address a cultural context and I’m therefore delighted that it should be hanging on the front of Glasgow’s Gallery of Modern Art.”

Inside GoMA the exhibition will include a number of works by Glasgow trained artists who have won or who have been shortlisted for the Turner Prize.

Since the inception of the Turner Prize in 1984 Scotland has been strongly represented among the shortlisted artists. When Glasgow-based artist Douglas Gordon was awarded the prize in 1996 he was the first of five artists trained at The Glasgow School of Art to win. GSA has also produced and 30% of shortlisted artists since 2006.

Devils in the Making will include Douglas Gordon’s ‘A moment’s silence (for someone close to you)’, a work bought by Glasgow Museums in 2005. Gordon’s video and installation work is often based on a disruption of perception; by making his audience aware of their own fugitive subjectivity he questions how we give meaning to our experience of things.

In 2005, Glasgow-trained artist Simon Starling was awarded the Turner Prize for an exhibition featuring the work ‘Tabernas Desert Run’. Purchased by Glasgow Museums in 2005, the work consists of a modified bicycle used by Starling to cross the Tabernas Desert in Spain. During the journey the unusual powering method created a small amount of water that was collected in a bottle attached to the bike. It was then used to produce a watercolour of a prickly pear cactus, a plant this is not native to Spain but survives because of its sparing use of water.

Also on display, and bought by Glasgow Museums in 2006, ‘Our Love is Like the Earth, the Sun, the Trees and the Birth’(2006) by 2011 Turner Prize winner Martin Boyce is a fictional environment inspired by modernist design and urban landscape.

Devils in the Making will also feature works by Glasgow-trained artists shortlisted for the Turner Prize including Christine Borland, Karla Black, Jim Lambie, Nathan Coley and David Shrigley.

Devils in the Making artists: Claire Barclay, Beagles & Ramsay, Karla Black, Christine Borland, Martin Boyce, Roderick Buchanan, Nathan Coley, Nick Evans, Alex Frost, Douglas Gordon, Kenny Hunter, Torsten Lauschmann , James McLardy, Victoria Morton, Craig Mulholland, Toby Paterson , Jim Lambie, David Sherry, David Shrigley and Ross Sinclair

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