Pos­ter­ity’s not what it used to be

Univer­sity col­lec­tion poses the ques­tions – what do we choose to keep and why?

The Herald - Arts - - GALLERIES -

ex­tra­or­di­nary breadth of the univer­sity’s col­lec­tions. How do we clas­sify the “stuff” we value? And why?

It is a ques­tion of mem­ory, when it comes down to it. A univer­sity col­lec­tion, like any large in­sti­tu­tional be­ing, mark­ing his­tory, chart­ing small points of in­ter­est from a cer­tain mo­ment in Time, giv­ing a nod to what might be pos­ter­ity.

We will keep this, ac­quire this. We will ceil­ing, topped by a noisy pro­jec­tor Tal­bot Rice have com­mis­sioned two col­lect and re­mem­ber. Blobs, Ze­bras, cast­ing the im­age of Iso­bel Tur­ley’s Zane “po­etic re­sponses” to bring out the What You Will. (2013) in su­per-mas­sive size, high on the con­nec­tions be­tween the works,

The more re­cent por­tion of the gallery wall. avail­able from early March, al­though univer­sity’s col­lec­tions is at the heart of A re­peat­ing two sec­ond, close-up loop you may push all that aside and find Be­tween Poles and Tides, a new of an amur leop­ard, filmed at Ed­in­burgh your­self mak­ing your own exhibition which high­lights the Zoo, the an­i­mal has a hun­gry look in its clas­si­fi­ca­tions. univer­sity’s art ac­qui­si­tions in the six eye, un­cer­tain, per­pet­u­ally ready to You could blithely coral Jonathan years since it merged with Ed­in­burgh pounce. It is un­nerv­ing and deeply Owens and Luc Tuy­mans into a group Col­lege of Art. claus­tro­pho­bic, and pro­vides a su­per­called “ghosts”, per­haps. Owen’s Eraser

The pur­chases, of some 50 artists in sized counter to the more intimate works Draw­ings, cre­ated by metic­u­lously all, cover holes that, says Tal­bot Rice else­where. rub­bing out the protagonist in any As­sis­tant Cu­ra­tor Stu­art Fal­lon, had A tex­tu­ral David Batch­e­lor paint­ing par­tic­u­lar im­age or pho­to­graph, sug­gest emerged dur­ing the 1980s and 1990s hangs nearby, half-hid­den by steplad­ders im­per­ma­nence and the fal­li­bil­ity of when the univer­sity sim­ply stopped and gallery as­sis­tants. Up­stairs, Daisy mem­ory in the images erased. col­lect­ing any con­tem­po­rary art at all. To LaFarge rep­re­sents the most re­cent This ephemer­al­ity is echoed in Luc lose one decade might seem like batch of grad­u­ates with Not for Gain Tuy­mans’ trip­tych of prints, The Arena mis­for­tune. To lose two looks like (2016), a gen­tly dis­turb­ing botan­i­cal (2016), de­pict­ing “the ghostly shadow of care­less­ness. video from last year’s ECA de­gree show a crowd gath­er­ing in an uniden­ti­fied city

And so what of this reck­on­ing of the which pitched a post-apoc­a­lyp­tic po­etic square.” There is an un­cer­tainty and last six years catch-up? Fal­lon had his voiceover with shakey footage from the am­bi­gu­ity in both works. An un­ease, work cut­too.out,whit­tling50artists­downRoy­alBotan­ics. to twelve, the res­o­lu­tion in­volv­ing a Nearby, works from Ian Hamil­ton Down in the main hall, works by Katie cer­tain “ar­chiv­ing” that might not seem Fin­lay, in­clud­ing Both the Gar­den Style Pater­son and Ilana Halperin sug­gest a that dis­sim­i­lar to Hess’s. And yet there is (1987), a guil­lo­tine in­ter­twined with sense of ge­ol­ogy, of Deep Time, from the much sense here. hon­ey­suckle and the shadow of minia­ture body stones – which Halperin

We wan­der around the par­tial­lyRousseau, range around a vit­rine of calls “minia­ture plan­ets” – of Phys­i­cal in­stalled exhibition amidst the de­bris of Jes­sica Harrison’s Painted Ladies, a Ge­ol­ogy (new land­mass) to Pater­son’s in­stal­la­tion – a tall scaf­fold­ing tower se­ries of porce­lain Doul­ton fig­ures Time­pieces (2014), a se­ries of nine reach­ing the gallery’s not-in­con­sid­er­able al­tered and dis­placed with tat­toos. clocks telling the time on all the plan­ets

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