More photos of setting up Circus Between Worlds

I was recently sent some additional photos taken by Mark Pinder from the Circus Between Worlds event. Here are a selection of images from the setting up of the Circus and rehearsals.

Neil and I consult the running order

Pardon?

Along with Deanna Smith and Sarah Grundy, and I was one of the performers in Deanna's performance.

Sarah, Dee and me cosy in Dee's costume

Three heads popping out of a black tent-like costume

Here we go!

Me and Dee waiting for our cue 

Charlie Dearnley kindly assisted me with my performance.

Where is it?

Charlie fills his bucket

Ooh! That's a good stretch!

If only this would stay on my head

Ready for action

In action

All images copyright of Mark Pinder, 2016

Project Title: Walker & Bromwich

’

s Circus between Worlds

Or: Circus between Worlds, a project by Zoe Walker and Neil

Bromwich

At: Glasgow International, Gi2016

Circus between Worlds, a project by Zoe Walker and Neil Bromwich

At Glasgow International, Gi2016

Project Title: Walker & Bromwich

’

s Circus between Worlds

Or: Circus between Worlds, a project by Zoe Walker and Neil

Bromwich

At: Glasgow International, Gi2016

Project Title: Walker & Bromwich

’

s Circus between Worlds

Or: Circus between Worlds, a project by Zoe Walker and Neil

Bromwich

At: Glasgow International, Gi2016

Documentation of Circus Between Worlds performance on Vimeo

Documentation of my performance at Circus Between Worlds is now available on Vimeo.

Funnelvision from Helen Shaddock on Vimeo.

Two characters engage in a playful physical & psychological battle in which they cause havoc for each other but also find moments of harmony.

 

Glasgow International - Oxford House - Kate V Robertson and Carol Rhodes

Two beautifully considered solo exhibitions (by Kate V Robertson and Carol Rhodes) are housed within the quirky 'chicken-liver pate' coloured building that is Oxford House.

KATE V ROBERTSON

semper solum

Semper Solum is an ambitious new installation responding to the site and context of the courtroom in Oxford House – open to the public for the first time in its new incarnation. The works on show relate to individual and collective identity and play with ideas of binaries, opacity and judgement and hover between recent past and the near future temporalities.

www.patriciaflemingprojects.co.uk

This is a stunning exhibition in which the work draws attention to the features of the building as much as the features of the building frame the work.

CAROL RHODES

CONSTRUCTION SITE

Rhodes is known for her small-scale paintings depicting, from an aerial perspective, encounters between nature and human settlement. This show focuses on works made since 2007 and includes a number of the preparatory drawings that Rhodes makes for each of her paintings. These have rarely been exhibited anywhere and are for the first time being presented in direct dialogue with her paintings. The intention is to reveal the deeply layered and rich complexity of Rhodes’s practice.

The colour palette of many of the paintings is ideally suited to the tones of the gallery space.

http://glasgowinternational.org/festival-2016/programme-2016/

Glasgow International - Tramway

TRAMWAY

ALEXANDRA BIRCKEN, SHEILA HICKS, LAWRENCE LEK, MIKA ROTTENBERG AND AMIE SIEGEL

Tramway is home to a group show including artists Alexandra Bircken, Sheila Hicks, Lawrence Lek, Mika Rottenberg and Amie Siegel. The show is curated by the festival Director Sarah McCrory and co-designed by artist Martin Boyce.

The venues, organisations and artists are all fundamentally shaped by the city in which they are based. Glasgow plays an important role in the way these organisations and artists have developed and how and where they work.

Glasgow’s cultural spaces exist predominately as a result of its industrial legacy.The city’s wealth in the 18th and 19th centuries came predominately from industry, shipbuilding, metal-works, textiles and its role as a key trading port. Many of our galleries and museums are reclaimed spaces born from this wealth of industry. The Tramway exhibition space itself was an industrial space, functioning as a tram factory and depot from 1893 until the early 1960s, when Glasgow’s tram services stopped.

Works by the five artists focus on ideas of production, manufacture, material culture, design, history and labour, which all in turn reflect back out upon the city.

This is an opportunity to consider feminist practices, ideas of authenticity, skill and craft, as well as what it means to discuss the work of artists who make alongside artists who work with new technologies.

The exhibition design is by Glasgow-based artist Martin Boyce. His works include the use of industrial materials, for example concrete, expanded steel and industrial lighting which often relate to the natural world. For this exhibition, he has applied elements of his sculptural vocabulary to frame the artists’ works in this monumental space.

The work that I was most intrigued by was that by artist Mika Rottenberg. 

Rottenberg taps into truths about our modern consumer society, its inequalities and instant gratifications. 

Her video installations and the narratives of her vivid characters are immersive, absorbing, uncomfortable, visceral, thought-provoking and fantastical all at once.

http://www.andrearosengallery.com/artists/mika-rottenberg/images#nonoseknows-2015_1

A day of exploring Glasgow international

Saturday was the first and only day of our visit to Glasgow that we did not have a Circus Between Worlds rehearsal or commitments at Caledonian Church, and so I enjoyed taking the group on an exploration of some of the other exhibitions in the festival. My (rather packed) itinerary that included a real range of types of work was as follows:

HENRY COOMBES
SEAT IN SHADOW
Function Room, Avant Garde Bar. 

HEATHER LANDER & SIMON HARLOW
MATERIALIA
The Briggait


JOCK MOONEY
WHO ARE YOU AND WHAT DO YOU WANT?
The Briggait
MONIKA SOSNOWSKA
The Modern Institute, 3 Aird’s Lane

JOANNE TATHAM & TOM O’SULLIVAN
A PETITION FOR AN ENQUIRY INTO A CONDITION OF ANXIETY
The Modern Institute, 14-20 Osborne Street
















SIDSEL MEINECHE HANSEN
NO RIGHT WAY 2 CUM
Transmission


MARI HOKKANEN
SET & SETTINGS
Street Level Photoworks

CATRINE VAL
POLITICAL LETTERS
Street Level Photoworks


NICOLAS PARTY
MEZZOTINT
Glasgow Print Studio

DERRICK ALEXIS COARD
Project Ability Gallery


HIROFUMI SUDA

KIND OF GREY
Glasgow Project Room

MATTHEW SMITH
Koppe Astner


EMILY MAE SMITH
HONEST ESPIONAGE
Mary Mary


PILVI TAKALA
CCA


CLAIRE BARCLAY
BRIGHT BODIES
Kelvin Hall


HELEN JOHNSON
BARRON FIELD
Kelvin Hall


MARION FERGUSON, BELINDA GILBERT SCOTT, RUTH SWITALSKI
-SCAPE
1 Royal Terrace

Glasgow International on Front Row

As the Glasgow International Festival of Visual Art opens with exhibitions across the city, Wednesday's episode of BBC Radio 4's Front Row gives an introduction to festival and some of the exhibitions included in the biennial.

Kirsty Lang asks if it's Glasgow's industrial legacy, its history of metal work and textiles, or the very buildings and environment of the city itself that makes it such an inspiration for artists.

Turner Prize winner Duncan Campbell, Muriel Gray, and the artist Claire Barclay, among others, share their views as Kirsty visits exhibitions at Tramway, GOMA, Kelvin Hall and the Kelvingrove Art Gallery and Museum to see some of the many works in the festival reacting to the city. She meets the artist Tessa Lynch who is showing her Painter's Table at the Gallery of Modern Art (GoMA), views the Tramway group show featuring artists Alexandra Birken, Sheila Hicks, Lawrence Lek, Mika Rottenberg and Amie Siegel, speaks to Claire Barclay who is installing Bright Bodies at Kelvin Hall, and Aaron Angell who has his installation The Death of Robin Hood at the Kelvingrove Art Gallery and Glasgow Botanic Gardens.

http://bbc.in/207YRnS

Glasgow International - GoMA and Glasgow School of Art

After a day working on the site, we ventured into the city to attend some of the exhibition previews.

COSIMA VON BONIN

WHO'S EXPLOITING WHO IN THE DEEP SEA?

GoMA

Von Bonin’s exhibition Who’s Exploiting Who In The Deep Sea?* brings together a series of works from 2006 onwards exploring the artist’s affection for the creatures of the sea. Working with textiles, music, sculpture, performance, video and painting, her practice is varied and often collaborative in nature.

The artist’s cast of characters are a host of contradictions – approachable creatures who are reminiscent of childhood companions are not what they seem. Weaving together humour with melancholy, these sculptures have ambiguous roles and feelings. Von Bonin is able to use these creatures as agents to explore art history, popular culture and craft, to destabilise perceived constructions of feminism. She has created her own crew to explore the deep sea, where, as an analogy of the human condition it is a true place of the unknown.

The exhibition is co-curated by Director Sarah McCrory and SculptureCenter Curator Ruba Katrib. The exhibition will open in September at SculptureCenter.

www.glasgowlife.org.uk/museums/GoMA

TESSA LYNCH

PAINTER’S TABLE

GoMA

Lynch works predominantly with sculpture and performance. Projects develop from research concerned with the emotional impact of the built environment and the questionable existence of the female flâneur, which refers to a man who saunters around observing society, or ‘flâneuse’.

Lynch describes her new exhibition as an architectural drama: a collection of new sculptural works which loosely mimic the objects, scenarios and histories found on her daily commute. The mundane examination of this regular transition from home life to work life generates a self-portrait, exposing what it is to be a female artist living in this city.

Frequently using performance as an active framework for making, Lynch has shared her commute with writers Jenny Richards and Rhona Warwick Paterson to create a new text and performance work. Similar to how a map allows one to navigate city roads and streets, the text offers viewers a script through which one can navigate this installation.

SERENA KORDA

HOLD FAST, STAND SURE, I SCREAM A REVOLUTION

Reid Gallery, Reid Building, The Glasgow School of Art

Korda has produced a new sound sculpture that combines her interest in primitive impulses, invented tradition and our skewed relationship to nature. Taking her inspiration from the politically radical history of Garnethill (where the Reid Gallery is situated), Korda continues her investigation into ‘thin places’, anomalies in the landscape which were viewed in pre-Christian times as access points to the afterlife. Foraging expeditions on the Isle of Mull presented the deadly potential of some fungi as possible pathways to ‘thin places’. Mushrooms are imbued in our consciousness as grotesque, magic and poisonous. They attract and repulse in equal measure.

Korda is producing a series of sound experiments performed by an army of ‘agitators’ gathered from the communities of Garnethill and Mull.

Supported by Glasgow International, The Glasgow School of Art, Comar and The Henry Moore Foundation.

www.gsa.ac.uk