Curation

1. THE GLASGOW SCHOOL OF ART, GLASGOW, SCOTLAND

I have been Exhibitions Director at The Glasgow School of Art since 2009, curating a year-round public programme that works with contemporary artists, designers and architects from the UK and abroad, as well as interacting with teaching and research activities and developing creative opportunities with staff and students. 

2017

Installation shot, ‘Observing Women At Work: Franki Raffles’, Reid Gallery, The Glasgow School of Art (2017). Photo: Alan Dimmick

‘Observing Women at Work: Franki Raffles’, 4 Mar – 27 April 2017, Reid Gallery, GSA

Franki Raffles (1955-94) was a feminist social documentary photographer. This exhibition Observing Women at Work presents a selection of photographs and material by Franki Raffles [1955-94] from three bodies of work, namely ‘Women Workers in the USSR’ (1984/1989)’, ‘To Let You Understand’ (1987-88) and material from  the first ‘Zero Tolerance’ campaign (1992), entitled  ‘Prevalence’.  Zero Tolerance was a charity established by Franki Raffles and Evelyn Gillan, together with a small group of women who came together through working on Edinburgh District Council Women’s Committee projects in the late 1980s. Zero Tolerance breaking campaign to raise awareness of the issue of men’s violence against women and children. Raffles’ work will also be contextualised in this exhibition with works of key photographers including Margaret Fay Shaw (1903-2004), Helen Muspratt (1907-1934) and The Hackney Flashers Collective.  This feminist and socialist collective was set up in 1974 and included members Sally Greenhill, Elizabeth Heron, Michael Ann Mullen, Maggie Murray, Christine Roche, Julia Vellacott, Jo Spence and Ann Dekker. The Franki Raffles Archive is an Edinburgh Napier University research project, run by Dr Alistair Scott (Associate Professor, Film & Television, School of Arts and Creative Industries), who this exhibition is produced with. The photographs are held by University of St Andrews Special Collections Division. This exhibition has been curated by Jenny Brownrigg.

See more documentation images of exhibition here.

Installation shot, ‘Observing Women at Work: Franki Raffles’, Reid Gallery, The Glasgow School of Art (2017). Photo: Alan Dimmick

Franki Raffles, ‘Soviet Women Workers’, from the exhibition ‘Observing Women At Work: Franki Raffles’, Reid Gallery, The Glasgow School of Art (2017). Photo: Alan Dimmick

From ‘To Let You Understand…‘, Franki Raffles (1988), ‘Observing Women at Work: Franki Raffles’, Reid Gallery, The Glasgow School of Art (2017) Photo: Alan Dimmick

The exhibition is accompanied by a 52 page book, ‘Observing Women at Work: Franki Raffles’, available from GSA Shop online for £7. Designed by Maeve Redmond, the book contains an introduction by Sarah Munro (Director, Baltic), with essays by Dr Alistair Scott (Edinburgh Napier University) and Jenny Brownrigg (GSA).

2016

‘Hosts and Visitors’, Birthe Jorgensen and Sogol Mabadi, Reid Gallery, GSA, 9 July – 19 August 2016. Showcasing new works by Glasgow-based artists Birthe Jorgensen (b. Copenhagen, Denmark) and Sogol Mabadi (b. Tehran, Iran). ‘Hosts and Visitors’ takes as its inspiration the subject of diaspora and migration.

'Hosts and Visitors', Birthe Jorgensen & Sogol Mabadi

‘Hosts and Visitors’, Birthe Jorgensen & Sogol Mabadi

Serena Korda, ‘Hold Fast, Stand Sure, I Scream A Revolution’, Reid Gallery, GSA, 8 – 27 April 2016. Part of Glasgow International 2016 Supported Programme. This exhibition also was shown at An Tobar, The Isle of Mull, who co-partnered the project (4 June – 30 July 2016)

'Hold Fast, Stand Sure, I scream a revolution, Serena Korda, Reid Gallery, GSA (2016). Photo: Alan Macateer

‘Hold Fast, Stand Sure, I scream a revolution, Serena Korda, Reid Gallery, GSA (2016). Photo: Alan Macateer

'Hold Fast, Stand Sure, I scream a revolution', Serena Korda, performance, Reid Gallery GSA (2016) Photo: Alan Macateer

‘Hold Fast, Stand Sure, I scream a revolution’, Serena Korda, performance, Reid Gallery GSA (2016) Photo: Alan Macateer

Korda produced a new sound sculpture for the Reid Gallery that combines her interest in primitive impulses, invented tradition and our skewed relationship to nature.  The new work takes inspiration from the politically radical history of Garnethill (the surrounding area of the Reid Gallery), whilst considering the geographical significance of The Isle of Mull as a portal to the underworld.  Korda will produce a series of sound experiments performed by an army of ‘Agitators’ gathered from the communities of Garnethill and Mull.  In partnership with Comar, Mull. Alongside the installation of porcelain mushroom’s in Korda’s solo show, was an archive room comprising of artefacts that formed the basis of her research into the radicalism of Garnethill and its alternate spiritualities.  These include loans from four archive collections including Glasgow Girls work from GSA Archives and Collections with a bookplate by Jessie M King and part of a teaset by Anne MacBeth; ephemera from Glasgow Women’s Library including posters and badges, from their early inception on Garnethill; loans from CCA, the Third Eye Centre archive, including film footage from guru Sri Chimnoy visits; and images from University of Glasgow’s R.D. Laing archive.

'Hold Fast, Stand Sure, I scream a revolution', Serena Korda (2016), Reid Gallery, GSA. Photo: Alan Macateer

‘Hold Fast, Stand Sure, I scream a revolution’, Serena Korda (2016), Reid Gallery, GSA. Photo: Alan Macateer

'Hold Fast, Stand Sure, I scream a revolution', Serena Korda (2016), Reid Gallery, GSA. Photo: Alan Macateer.

‘Hold Fast, Stand Sure, I scream a revolution’, Serena Korda (2016), Reid Gallery, GSA. Photo: Alan Macateer

Christina McBride, ‘When Light Becomes Darkness’, Reid Ground Floor Corridor, GSA, 8-30 April 2016. Part of Glasgow International 2016 Across the City Programme.

'Untitled', from 'Unbound' Series, (2015) Christina MacBride

‘Untitled’, from ‘Bound’ Series, (2015) Christina McBride

A solo exhibition of colour and black & white photographic works by McBride with accompanying new bookwork. Bound charts a journey through Patagonia by the artist and Mexican writer Roberto Bravo. McBride is a lecturer at School of Fine Art, GSA.

Rachel Lowther ‘Nothing Compares To the First Time Getting Shot At’, Reid Gallery, 16 Jan-20 March 2016

'Nothing compares to the first time getting shot at', Rachel Lowther (2016), Reid Gallery, GSA. Photo: Alan Dimmick

‘Nothing compares to the first time getting shot at’, Rachel Lowther (2016), Reid Gallery, GSA. Photo: Alan Dimmick

'Nothing compares to the first time getting shot at', Rachel Lowther (2016), Reid Gallery, GSA. Photo: Alan Dimmick

‘Nothing compares to the first time getting shot at’, Rachel Lowther (2016), Reid Gallery, GSA. Photo: Alan Dimmick

Rachel Lowther was commissioned to spend 2015 researching WW1  holdings in GSA’s Archives & Collections. This research has inspired a body of new work for the Reid Gallery. Supported by Museums Galleries Scotland.

'Nothing compares to the first time getting shot at', Rachel Lowther (2016), Reid Gallery, GSA. Photo: Alan Dimmick

‘Nothing compares to the first time getting shot at’, Rachel Lowther (2016), Reid Gallery, GSA. Photo: Alan Dimmick

2015

Grace Ndiritu ‘A Return to Normalcy: Birth of a New Museum’, Reid Gallery, GSA, 1 Oct-12 Dec

'Holotropic Breathing For The Masses: An Afro-Futuristic Performance', Grace Ndiritu, The Glasgow School of Art (2015)

‘Holotropic Breathing For The Masses: An Afro-Futuristic Performance’, Grace Ndiritu, The Glasgow School of Art (2015)

Set in Mackintosh Lecture Theatre, for 'Holotropic Breathing For The Masses: An Afro-Futuristic Performance', Grace Ndiritu (2015)

Set in Mackintosh Lecture Theatre, for ‘Holotropic Breathing For The Masses: An Afro-Futuristic Performance’, Grace Ndiritu (2015)

A solo show by Grace Ndiritu, including a specially commissioned new film and performance staged at The Glasgow School of Art, in the Mackintosh Lecture Theatre. This show is part of the Turner Prize fringe programme across the city. For ‘Holotropic Breathing For the Masses: An Afro-Futuristic Performance’ (2015) Ndiritu invited 40 participants to come to Glasgow School of Art  to re-activate the Mackintosh Building using the Ancient Egyptian Breath of Life ritual. Using Ancient Egypt as an anchor point in a collective history, Ndiritu acted as a high priestess, leading the participants through this deep process so that they could experience a type of re-birthing experience to activate memories of the Mackintosh Building pre-fire and to bring the building energetically back to life. The film and set were subsequently part of the exhibition ‘A Return to Normalcy: Birth of a New Museum’.

'Workers: Post-Hippie Pop Abstraction', Grace Ndiritu, Reid Gallery, GSA (2015)

‘Workers: Post-Hippie Pop Abstraction’, Grace Ndiritu, Reid Gallery, GSA (2015)

'Holotropic Breathing For the Masses: An Afro-Futuristic Performance', Grace Ndiritu (2015), set in Reid Gallery, GSA.

‘Holotropic Breathing For the Masses: An Afro-Futuristic Performance’, Grace Ndiritu (2015), set in Reid Gallery, GSA.

Catherine Street ‘Muscle Theory’, 18-30 April 2015, Reid Gallery

Installation view, 'Muscle Theory', (2015) Catherine Street, Reid Gallery, The Glasgow School of Art. Photo: Alan Dimmick

Installation view, ‘Muscle Theory’, (2015) Catherine Street, Reid Gallery, The Glasgow School of Art. Photo: Alan Dimmick

'Muscle Theory' (2015), Catherine Street, Reid Gallery, The Glasgow School of Art. Photo: Alan Dimmick

‘Muscle Theory’ (2015), Catherine Street, Reid Gallery, The Glasgow School of Art. Photo: Alan Dimmick

'Breathing the Speaking' performance, Catherine Street (2015), part of 'Muscle Theory', Catherine Street, Reid Gallery, The Glasgow School of Art. Photo: Alan Dimmick

‘Breathing the Speaking’ performance, Catherine Street (2015), part of ‘Muscle Theory’, Catherine Street, Reid Gallery, The Glasgow School of Art. Photo: Alan Dimmick

This new work is somewhere between an exhibition and a slowly unfolding piece of performance. Ideas, sounds and images gradually reveal their connections and antagonisms. Precisely spoken voice recordings, softly flickering projections and live performances are configured to create an atmosphere of intense reverie that is occasionally interrupted by moments of vulnerability, salaciousness, confusion or cynicism. Catherine Street is an artist based in Edinburgh.

Kellenberger–White, 13 March – 12 April 2015

In progress, the making of the font for the Glasgow International visual identity. Photo: Kellenberger–White

In progress, the making of the font for the Glasgow International visual identity.
Photo: Kellenberger–White

Kellenberger–White (2015), Reid Gallery, The Glasgow School of Art Photo: Alan Dimmick

Kellenberger–White (2015), Reid Gallery, The Glasgow School of Art Photo: Alan Dimmick

Kellenberger–White (2015), Reid Gallery, The Glasgow School of Art Photo: Alan Dimmick

Kellenberger–White (2015), Reid Gallery, The Glasgow School of Art Photo: Alan Dimmick

Kellenberger–White (2015), Reid Gallery, The Glasgow School of Art Photo: Alan Dimmick

Kellenberger–White (2015), Reid Gallery, The Glasgow School of Art Photo: Alan Dimmick

This exhibition with London-based design studio Kellenberger–White showcased the identity they developed  for Glasgow International Festival of Visual Art in 2014. Kellenberger-White have been nominated by Design Museum in Graphics Section for Design of the Year 2015 for this design identity. Commissioned by Sarah McCrory, Director of GI, to design the identity for the Festival’s 2014 edition, they created a highly characterful typeface that captures the quickness and scale of large hand-painted lettering used on warehouses, docks and ships throughout Glasgow’s industrial waterfront. The hand-painted digitised font maximised inexpensive materials.

2014

Alasdair Gray Season: Spheres of Influence II, 22 Nov 2014 – 25 Jan 2015, Reid Gallery.

Aubrey Beardsley, Oliver Braid, Eric Gill, Alasdair Gray, Peter Howson, Dorothy Iannone, David Kindersley and Lida Lopes Cardozo, Stuart Murray, My Bookcase, Denis Tegetmeier, Hanna Tuulikki

'Spheres of Influence II', Reid Gallery, The Glasgow School of Art (2014). Photo: Alan Dimmick

‘Spheres of Influence II’, Reid Gallery, The Glasgow School of Art (2014). Photo: Alan Dimmick

This exhibition provides an alternative reading of Alasdair Gray’s visual work, through the prism of others’ works, both historical and contemporary. The exhibition will include a series of Gray’s work from Alasdair Gray’s personal archive. The Alasdair Gray Season celebrates Gray at eighty years old. This exhibition is part of a season focusing on Alasdair Gray’s visual work, with exhibitions and events across venues including The Glasgow School of Art, GOMA, Kelvingrove Museum and Glasgow Print Studio.  ‘Spheres of Influence I’ is at Gallery of Modern Art, Glasgow.

Display case, 'Spheres of Influence II', GSA (2014). Photo: Alan Dimmick

Display case, ‘Spheres of Influence II’, GSA (2014). Photo: Alan Dimmick

Alasdair Gray, Leaf from Ledger (1962) Photo: Ruth Clark

Alasdair Gray, Leaf from Ledger (1962) Photo: Ruth Clark

Cabbages in an Orchard; The formers and forms of Charles Rennie Mackintosh and Graham Fagen , 28 June – 29 August 2014 Reid Gallery. Graham Fagen, has been invited  to research Charles Rennie Mackintosh through the GSA Archives & Collections Centre, and to create a solo exhibition of new work to be featured as part of GENERATION. Accompanying full colour publication, designed by Owned and Operated, with introduction by me and essays by Graham Fagen and Johnny Rodger.

Image: Graham Fagen, ‘Scheme for Conscience’ (detail), 2014, Graham Fagen. Courtesy the artist and Matt’s Gallery, London

Image: Graham Fagen, ‘Scheme for Conscience’ (detail), 2014, Graham Fagen. Courtesy the artist and Matt’s Gallery, London

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'Cabbages in an Orchard', Graham Fagen, installation view (2014). Reid Gallery, The Glasgow School of Art. Photo: McAteer.

‘Cabbages in an Orchard’, Graham Fagen, installation view (2014). Reid Gallery, The Glasgow School of Art. Photo: McAteer.

‘Caesura’, Heaven Baek (South Korea), Briggs & Cole (UK), Raydale Dower (UK) Three commissions to launch the new Reid Gallery at The Glasgow School of Art. The Reid Building has been designed by Steven Holl Architects in conjunction with JM Architects. 22 March – 4 May 2014.  A ‘caesura’ denotes a brief, silent pause in poetry or music, during which metrical time is not counted. As the new Reid Building welcomes people and springs into life, occupied by its community, visited by the public, this exhibition is intended to act as a pause in time, the beginning of a new chapter for the art school.

'Caesura', installation view, Reid Gallery, The Glasgow school of Art (2014). Photo: Janet Wilson.

‘Caesura’, installation view, Reid Gallery, The Glasgow school of Art (2014). Photo: Janet Wilson.

'Poème électronique, Revealed Structure, (After Iannis Xenakis, Le Corbusier & Edgard Varèse, 1958)' Raydale Dower (2014). Based on original architectural plans and engineering drawings, courtesy of Le Corbusier Foundation, Paris. Piano wood. Photo: Janet Wilson.

‘Poème électronique, Revealed Structure, (After Iannis Xenakis, Le Corbusier & Edgard Varèse, 1958)’ Raydale Dower (2014). Based on original architectural plans and engineering drawings, courtesy of Le Corbusier Foundation, Paris. Piano wood. Photo: Janet Wilson.

Linear Construction No.1, Naum Gabo (1942 – 43). Perspex and nylon monofilament. On loan from The Pier Arts Centre Collection. As part of 'Implicit Form', Raydale Dower (2014)

Linear Construction No.1, Naum Gabo (1942 – 43). Perspex and nylon monofilament. On loan from The Pier Arts Centre Collection. As part of ‘Implicit Form’, Raydale Dower (2014)

'성북구 성북동 Seongbuk district Seongbuk resident' (2014), Heaven Baek. Film still (HD, 23 mins)

‘성북구 성북동 Seongbuk district Seongbuk resident’ (2014), Heaven Baek. Film still (HD, 23 mins)

'성북구 성북동 Seongbuk district Seongbuk resident' (2014), Heaven Baek. Film still (HD, 23 mins)

‘성북구 성북동 Seongbuk district Seongbuk resident’ (2014), Heaven Baek. Film still (HD, 23 mins)

'성북구 성북동 Seongbuk district Seongbuk resident' (2014), Heaven Baek. Film still (HD, 23 mins)

‘성북구 성북동 Seongbuk district Seongbuk resident’ (2014), Heaven Baek. Film still (HD, 23 mins)

'성북구 성북동 Seongbuk district Seongbuk resident' (2014), Heaven Baek. Film still (HD, 23 mins)

‘성북구 성북동 Seongbuk district Seongbuk resident’ (2014), Heaven Baek. Film still (HD, 23 mins)

'Vase/Handpicked Flowers', handblown glass, Briggs & Cole, as part of 'Temperance 3/5'. Photo: Janet Wilson

‘Vase/Handpicked Flowers’, handblown glass, Briggs & Cole, as part of ‘Temperance 3/5’. Photo: Janet Wilson

Briggs & Cole, as part of 'Temperance 3/5'. Photo: Janet Wilson

Briggs & Cole, as part of ‘Temperance 3/5’. Photo: Janet Wilson

'Table' (2014) collage, steel legs, varnished oak, Briggs & Cole, as part of 'Temperance 3/5'. Photo: Janet Wilson

‘Table’ (2014) collage, steel legs, varnished oak, Briggs & Cole, as part of ‘Temperance 3/5’. Photo: Janet Wilson

'Fabric', 100% silk (2014) Briggs & Cole, as part of 'Temperance 3/5'. Photo: Janet Wilson

‘Fabric’, 100% silk (2014) Briggs & Cole, as part of ‘Temperance 3/5’. Photo: Janet Wilson

‘This Song Belongs to Those who Sing It’, [exhibition, public artwork] Michael Stumpf A new commission for external and internal works at The Glasgow School of Art. This project is part of the Supported Programme, Glasgow International Festival of Visual Art. 4 April – 4 May 2014.

'This Song Belongs to Those Who Sing It', Michael Stumpf (2014). Leaflet, cover.

‘This Song Belongs to Those Who Sing It’, Michael Stumpf (2014). Leaflet, cover.

'NOW SING', Michael Stumpf (2014), Reid Building Balcony, GSA Photo: Sarah Lowndes

‘NOW SING’, Michael Stumpf (2014), Reid Building Balcony, GSA Photo: Sarah Lowndes

'NOW SING' detail (2014), Michael Stumpf. Cast acrylic resin, steel, wood.Installed on Reid Building balcony, GSA, 'This Song Belongs to Those who Sing It', GSA. Photo: Jenny Brownrigg

‘NOW SING’ detail (2014), Michael Stumpf. Cast acrylic resin, steel, wood.Installed on Reid Building balcony, GSA, ‘This Song Belongs to Those who Sing It’, GSA. Photo: Jenny Brownrigg

'NOW SING', Michael Stumpf (2014). View from Sauchiehall Street, Glasgow Photo: James Dean

‘NOW SING’, Michael Stumpf (2014). View from Sauchiehall Street, Glasgow Photo: James Dean

 

'Ring', cast acrylic resin, 2014. Michael Stumpf. Mackintosh building Director's Balcony.

‘Ring’, cast acrylic resin, 2014. Michael Stumpf. Mackintosh building Director’s Balcony.

'This Song Belongs to Those who Sing It', Michael Stumpf, Mackintosh Museum, GSA. Photo: Janet Wilson

‘This Song Belongs to Those who Sing It’, Michael Stumpf, Mackintosh Museum, GSA. Photo: Janet Wilson

2013

Convocation, Colm Cille’s Spiral [Residency, exhibition and event] Emma Balkind, Susan Brind, Caroline Dear, Hardeep Pandhal, Edwin Pickstone, Thomas Joshua Cooper, Francis McKee, Michail Mersinis, Jessica Ramm, Johnny Rodger, Augustus Veinoglou

'Convocation' Residency, Isle of Raasay, Scotland

‘Convocation’ Residency, Isle of Raasay, Scotland

Group visit to Hallaig, 'Convocation: Colm Cille's Spiral Residency' (2013)

Group visit to Hallaig, ‘Convocation: Colm Cille’s Spiral Residency’ (2013)

 In August 2013 a group of seventeen scholars, artists and organisers made their way to Raasay, a small island off Skye, for a short residency, responding to the legacy of 6th Century Irish monk Colm Cille. A month later the group re-gathered in Glasgow, to give their creative responses over an event at CCA, and in an exhibition at the Mackintosh Museum. ‘Convocation’ was part of the Derry~ Londonderry City of Culture project ‘Colm Cille’s Spiral’. It was one of 6 projects across UK and EIRE. Colm Cille’s Spiral was a Difference Exchange project in partnership with The Centre for Late Antique and Medieval Studies, at Kings College London. The Scottish ‘knot’ was led by Jenny Brownrigg (The Glasgow School of Art) in partnership with ATLAS Arts, CCA and University of Glasgow. My Blog on this project.

Hardeep Pandhal (2013)

‘In Praise of Conjecture’, Hardeep Pandhal (2013)

'Map of a Convocation: Raasay', Edwin Pickstone (2013). Letterpress print (gold) on Ordnance Survey map

‘Map of a Convocation: Raasay’, Edwin Pickstone (2013). Letterpress print (gold) on Ordnance Survey map

A Conspiracy of Detail [exhibition, Mackintosh Museum]  Pio Abad, Jonathan Baldock,  Josh Blackwell, Jim Lambie, Hew Locke, Alex Pollard, Eva Rothschild, Karin Ruggaber, Renee So This group exhibition looks at the ideas contemporary practice has around adornment, exploring cultural, social and material aspects. It looks at the status that detail and embellishment has now in contemporary practice. The highly detailed Mackintosh Museum welcomes this examination also, with the building itself influenced by the Arts & Crafts Movement that Charles Rennie Mackintosh and his peer group were part of.

A Conspiracy of Detail, The Mackintosh Museum, Glasgow School of Art. Photo: Janet Wilson

A Conspiracy of Detail, The Mackintosh Museum, The Glasgow School of Art. Photo: Janet Wilson

Jonathan Baldock, 'A Conspiracy of Detail', Mackintosh Museum, GSA Photo: Janet Wilson

Jonathan Baldock, ‘A Conspiracy of Detail’, Mackintosh Museum, GSA Photo: Janet Wilson

Pio Abad, 'A Conspiracy of Detail', Mackintosh Museum, GSA (2013) Photo: Janet Wilson

Pio Abad, ‘A Conspiracy of Detail’, Mackintosh Museum, GSA (2013) Photo: Janet Wilson

Anticipating the Future [exhibition, Mackintosh Museum] Mariusz Tarkawian. This was Tarkawian’s first solo exhibition in UK. The show included ‘Anticipation of Art’, his ongoing series of over 600 drawings which anticipate what kind of work that well known contemporary artists will be making in the future.

'Probably Banksy's artwork in 2013', Mariusz Tarkawian (2012)

‘Probably Banksy’s artwork in 2013’, Mariusz Tarkawian (2012)

'Anticipating the Future', Mariusz Tarkawian, Mackintosh Museum, The Glasgow School of art Photo: Janet Wilson

‘Anticipating the Future’, Mariusz Tarkawian, Mackintosh Museum, The Glasgow School of art Photo: Janet Wilson

'Anticipating the Future', Mariusz Tarkawian, Mackintosh Museum, GSA (2013) Photo: Janet Wilson

‘Anticipating the Future’, Mariusz Tarkawian, Mackintosh Museum, GSA (2013) Photo: Janet Wilson

'Tribute to the history of art', Mariusz Tarkawian, 'Anticipating the Future', Mackintosh Museum, GSA (2013)

‘Tribute to the history of art’, Mariusz Tarkawian, ‘Anticipating the Future’, Mackintosh Museum, GSA (2013)

2012

 Three Points of Contact Residency (CO-CURATED WITH JUDIT BODOR AND BLAIR TODD) [Artist Residency, exhibition] A new roving residency and evolving network that creates the opportunity for curators to work together, bringing international artists into contact with UK artists at contrasting locations.The residency set up as an experimental space in each participating gallery, where the artists researched and developed ideas through collaborative experiments, dialogue and public interaction. In the pilot year, the 3 month residency started in York (13–23 Nov 2012, New School House Gallery), moved to Glasgow (3–14 December 2012, Mackintosh Museum) and finished in Penzance (15–26 January 2013, Exchange Gallery). Supported by Calouste Gulbenkian Foundation. Artists in residence in Glasgow: Hrafnhildur Halldórsdóttir (Gla), Michelle Hannah (Gla), Stuart Gurden (Gla),  Rachel MacLean (Gla), von Calhau! (Po), TAap (Cornwall), Mark Vernon (Gla), Megan Wellington (York). 

Three Points of Contact Residency (2012), Mackintosh Museum, the Glasgow School of Art

Three Points of Contact Residency (2012), Mackintosh Museum, the Glasgow School of Art

von Calhau! Glasgow, Three Points of Contact Residency (2012)

von Calhau! Glasgow, Three Points of Contact Residency (2012)

Three Points of Contact, studio in Mackintosh Museum, Glasgow (2012)

Three Points of Contact, studio in Mackintosh Museum, Glasgow (2012)

'Last Buff Aye', TAap, final meal, Three Points of Contact Residency,GSA, Glasgow (2012). Photo: Richard Ballinger

‘Last Buff Aye’, TAap, final meal, Three Points of Contact Residency,GSA, Glasgow (2012). Photo: Richard Ballinger

‘The Immortals’, Folkert de Jong, (NL), Mackintosh Museum, GSA. Supported by Glasgow International Festival of Visual Art and the Mondriaan Fund. De Jong made a new installation of figurative sculptures for the Mackintosh Museum, inspired by the figures of Charles Rennie Mackintosh and his wife Margaret MacDonald Mackintosh. The exhibition title ‘The Immortals’ refers to the name they gave to their peer group that included Herbert McNair and Margaret’s sister Frances.

'The Immortals' by Folkert de Jong, GSA 2012 Photo: Janet Wilson

‘The Immortals’ by Folkert de Jong, GSA 2012 Photo: Janet Wilson

'The Immortals', Folkert de Jong, Mackintosh Museum, GSA (2012). Photo: Janet Wilson

‘The Immortals’, Folkert de Jong, Mackintosh Museum, GSA (2012). Photo: Janet Wilson

'The Immortals', Folkert de Jong (2012) Mackintosh Museum, GSA Photo: Janet Wilson

‘The Immortals’, Folkert de Jong (2012) Mackintosh Museum, GSA Photo: Janet Wilson

‘The New Easterhouse Mosaic’, Alex Frost (UK), [public art work] co-commissioned by Glasgow East Arts Company (Platform) and The Glasgow School of Art. Permanent public artwork in Easterhouse, Glasgow. Supported programme, Glasgow International Festival of Visual Art. Inspired by the iconic world famous Easterhouse Mosaic that was created in the 1980s by the local community and located in Lochend, The New Easterhouse Mosaic was commissioned to welcome visitors to Platform and The Bridge.

'The New Easterhouse Mosaic' (2012), Alex Frost, Easterhouse

‘The New Easterhouse Mosaic’ (2012), Alex Frost, Easterhouse

'The New Easterhouse Mosaic', Alex Frost. Platform, Easterhouse, Glasgow (2012)

‘The New Easterhouse Mosaic’, Alex Frost. Platform, Easterhouse, Glasgow (2012)

‘To Have A Voice’, Hernan Bas (USA), Kaye Donachie (UK), Moyna Flannigan (UK), Chantal Joffe (UK), Bruno Pacheco (PT), Gideon Rubin (IL) and Lynette Yiadom-Boakye (UK) Exhibition exploring contemporary figurative painting. Mackintosh Museum, GSA.

1. Lynette Yiadom-Boakye 'Confidences', 2010 2. Lynette Yiadom-Boakye, 11 p.m. Tuesday, 2012 3. Lynette Yiadom-Boakye, A Head for Poison, 2011

1. Lynette Yiadom-Boakye ‘Confidences’, 2010 2. Lynette Yiadom-Boakye, 11 p.m. Tuesday, 2012 3. Lynette Yiadom-Boakye, A Head for Poison, 2011

[l] Lynette Yiadom-Boakye, A Head for Poison, 2011 [r] Hernan Bas, This gaudy fellow might easily have been mistaken for a wanderer from the tropics, 2011. 'To Have A Voice', Mackintosh Museum, GSA (2012) Photo: Janet Wilson

[l] Lynette Yiadom-Boakye, A Head for Poison, 2011 [r] Hernan Bas, This gaudy fellow might easily have been mistaken for a wanderer from the tropics, 2011. ‘To Have A Voice’, Mackintosh Museum, GSA (2012) Photo: Janet Wilson

'To Have a Voice', Mackintosh Museum, GSA (2012) Photo: Janet Wilson

‘To Have a Voice’, Mackintosh Museum, GSA (2012) Photo: Janet Wilson

2011

‘The Erratics’, Lotte Glob (UK), with work by Nick Evans and performance by Ruth Barker. An erratic rock is a large boulder which has been transported by a glacier, coming to rest on rock of a different nature. Lotte Glob (b.1944) is a Danish ceramicist, living in the north of Scotland. We moved Glob’s work from its outdoor location in her ‘sculpture croft’ in Sutherland, to the Mackintosh Museum, where it came to rest on works made by Glasgow artist Nick Evans. A performance by Glasgow artist Ruth Barker drew the exhibition to a conclusion.

'The Erratics', invite card. Design: Sarah Tripp

‘The Erratics’, invite card. Design: Sarah Tripp

'The Erratics', Mackintosh Museum, GSA (2011) Photo: Janet Wilson

‘The Erratics’, Mackintosh Museum, GSA (2011) Photo: Janet Wilson

'The Erratics', Lotte Glob. With Nick Evans and Ruth Barker, Mackintosh Museum, GSA (2011)

‘The Erratics’, Lotte Glob. With Nick Evans and Ruth Barker, Mackintosh Museum, GSA (2011)

'The Erratics', Lotte Glob. With Nick Evans and Ruth Barker, Mackintosh Museum, GSA (2011)

‘The Erratics’, Lotte Glob. With Nick Evans and Ruth Barker, Mackintosh Museum, GSA (2011)

'The Erratics', Lotte Glob with Nick Evans. Mackintosh Museum, GSA (2011)

‘The Erratics’, Lotte Glob with Nick Evans. Mackintosh Museum, GSA (2011)

 'And The Three Mothers Ask: Don't You Know Me?' performance by Ruth Barker as part of 'The Erratics', Glasgow School of Art, (2011).

‘And The Three Mothers Ask: Don’t You Know Me?’ performance by Ruth Barker as part of ‘The Erratics’, Glasgow School of Art, (2011).

‘Live Your Questions Now’, Sam Ainsley (UK), Helena Almeida (PT), Alasdair Gray (UK), Joan Jonas (USA), Ana Jotta (PT), Michael Kidner (UK), Běla Kolářová (CZ) and Lygia Pape (BR), Mackintosh Museum, GSA. ‘Live Your Questions Now’ was a survey exhibition of Scottish, UK and international contemporary artists over 60 years old which ran concurrent with the British Art Show in Glasgow. The exhibition title was inspired by a quote from Rainer Maria Rilke’s ‘Letters to a young poet’ (1934): “Live the questions now. Perhaps you will then gradually, without noticing it, live along some distant day into the answer.” With the focus of survey shows predominantly on emergent artists, the show looked at contemporary practices sustained across decades of enquiry.

Invitation, 'Live Your Questions Now', GSA (2011) design: Sarah Tripp

Invitation, ‘Live Your Questions Now’, GSA (2011) design: Sarah Tripp

'Bañada en Lágrimas #14 & #15,' Helena Almeida, (2009). 'Live Your Questions Now', GSA, Glasgow (2011)

‘Bañada en Lágrimas #14 & #15,’ Helena Almeida, (2009). ‘Live Your Questions Now’, GSA, Glasgow (2011)

'Japonka/Japanese Woman,' Běla Kolářová, (1981). 'Usmíenřá/Placated,' Běla Kolářová, (1981). 'Live Your Questions Now', (2011), GSA, Glasgow

‘Japonka/Japanese Woman,’ Běla Kolářová, (1981). ‘Usmíenřá/Placated,’ Běla Kolářová, (1981). ‘Live Your Questions Now’, (2011), GSA, Glasgow

‘Living Today: with information from George Orwell Archive’, Matei Bejenaru (RO), Francis Cape (USA), Ross Birrell and David Harding (UK), Jens Haaning (DK), Ângela Ferreira (PT), Eva Merz (DK). Artists’whose work explores aspects of the society they live in – politics, culture, economy, living conditions and social structures. Including digital prints of George Orwell’s original typescript of ‘The Road to Wigan Pier’. Mackintosh Museum, GSA.

Invitation, 'Living Today', GSA Design: Sarah Tripp

Invitation, ‘Living Today’, GSA Design: Sarah Tripp

'Living Today' (2011), Mackintosh Museum, GSA, Glasgow

‘Living Today’ (2011), Mackintosh Museum, GSA, Glasgow

Facsimile of pages from George Orwell's 'The Road to Wigan Pier' (detail), 'Living Today' (2011), Mackintosh Museum, The Glasgow School of Art, Glasgow

Facsimile of pages from George Orwell’s ‘The Road to Wigan Pier’ (detail), ‘Living Today’ (2011), Mackintosh Museum, The Glasgow School of Art, Glasgow

12 photographs of first generation refugees living in Copenhagen,' light jet prints on photographic paper, Jens Haaning, 2000, 'Living Today' (2011), GSA Glasgow

12 photographs of first generation refugees living in Copenhagen,’ light jet prints on photographic paper, Jens Haaning, 2000, ‘Living Today’ (2011), GSA Glasgow

Installation view of the publication 'You Me Us and Them,' by Eva Merz, publication. The Glasgow School of Art

Installation view of the publication ‘You Me Us and Them,’ by Eva Merz, publication. The Glasgow School of Art

2010

‘Inhale, Exhale’, Alice Channer (UK), as part of Glasgow International. Mackintosh Museum, GSA

'Inhale Exhale', (2010), Alice Channer

‘Inhale Exhale’, (2010), Alice Channer

'Inhale Exhale' detail, Alice Channer, Mackintosh Museum (2010), GSA

‘Inhale Exhale’ detail, Alice Channer, Mackintosh Museum (2010), GSA

'Inhale Exhale', Alice Channer, detail (2010), Mackintosh Museum, GSA

‘Inhale Exhale’, Alice Channer, detail (2010), Mackintosh Museum, GSA

‘Restore and Regain’, Tommy Grace (UK), Ged Quinn (UK), Tony Swain. Mackintosh Museum, GSA. This exhibition looked at the ways in which artists utilise archaic landscape, the monument, the ruin, the fortress and other architectural references within their work. The show title is from Book 1, John Milton, ‘Paradise Lost’.

'Restore Us and Regain', Mackintosh Museum, GSA, Glasgow (2010)

‘Restore Us and Regain’, Mackintosh Museum, GSA, Glasgow (2010)

'Restore Us and Regain', Mackinotsh Museum, GSA (2010), 'The Exiled Coming into Land' (2010), Ged Quinn

‘Restore Us and Regain’, Mackinotsh Museum, GSA (2010), ‘The Exiled Coming into Land’ (2010), Ged Quinn

‘Magic towards your face’, Henry Coombes (UK). Mackintosh Museum, GSA. A solo exhibition and new work made in the Mackintosh Museum. The film provides a fictional account of an exhibition within  this real show in the Mackintosh Museum.

Filming of 'Magic Towards Your Face', Henry Coombes, Mackintosh Museum, GSA (2010) Photo: Janet Wilson

Filming of ‘Magic Towards Your Face’, Henry Coombes, Mackintosh Museum, GSA (2010) Photo: Janet Wilson

'Magic towards your face', Henry Coombes, costume, Mackintosh Museum, GSA (2010) Photo: Janet Wilson

‘Magic towards your face’, Henry Coombes, costume, Mackintosh Museum, GSA (2010) Photo: Janet Wilson

Mackintosh Museum, The Glasgow School of Art 

2. DUNCAN OF JORDANSTONE COLLEGE OF ART AND DESIGN, DUNDEE, SCOTLAND

I was curator at Exhibitions Dept, DJCAD, from 2002-2009. Exhibitions Department worked with DJCAD staff and students as well as invited local, national and international practitioners. Gallery spaces included Cooper Gallery, Lower Foyer Gallery [student projects], Matthew Gallery and Lamb Gallery, for projects linking to University Depts and Museums & Archives  [University of Dundee]. As well as the gallery programme it was important to develop other kinds of projects to involve the art school community, with festivals, residencies and an audio label called ‘discparc’.

Marketing materials, Exhibitions Dept, DJCAD University of Dundee design: Sarah Tripp

Marketing materials, Exhibitions Dept, DJCAD University of Dundee design: Sarah Tripp

2009

‘Nine Trades of Dundee’  www.ninetrades.com  devised and gained funding for year-long project engaging those who would not normally participate in the arts by bringing trade and art together. ‘Nine Trades of Dundee’ commissioned nine artists to work with trades people in their work places across the city to collaborate on new work. Each selected artist shared the same trade skills as the group they work with.

Nine Trades of Dundee logo: Simon Manfield / Sarah Tripp

Nine Trades of Dundee logo: Simon Manfield / Sarah Tripp

 ‘Counter Logic’ – Maciej Kurak, Olaf Brzeski, Aneta Grzeszykowska, Tomasz Kozak, Anna Molska, and Janek Simon (All Poland) with Anthony Schrag (UK). Co-curated with Stach Szablowski of the Centre for Contemporary Art in Warsaw as part of POLSKA! YEAR. Cooper Gallery, DJCAD.

'Tanagrama' Anna Molska (2006-7), video, 4 mins. Image courtesy the artist / Foksal Gallery Foundation

‘Tanagrama’ Anna Molska (2006-7), video, 4 mins. Image courtesy the artist / Foksal Gallery Foundation

'Counter Logic', (2009), Cooper Gallery, DJCAD, University of Dundee, UK

‘Counter Logic’, (2009), Cooper Gallery, DJCAD, University of Dundee, UK

‘Back of the Head: Some Alternative Approaches to Portraiture’  (CO-CURATED WITH LAURA SIMPSON) Nina Lola Bachhuber (USA), Wojciech Bakowski (PL), Ruth Claxton (UK), Peter Haining (UK), Siniša Labrovic (HR), Magnus Larsson, Joanne Tatham and Tom O’Sullivan (UK)

Magnus Larsson, 'Untitled (Portrait)', 2006

Magnus Larsson, ‘Untitled (Portrait)’, (2006)

2008

‘Straylight Cavern’, Jonathan Baldock, Michael Bell-Smith, Rick Buckley, Aisling Hedgecock, Ian Munroe, Takeshi Murata, Milika Muritu, Angelo Plessas, Richard Priestley, Rafael Rozendaal,  Cooper Gallery, DJCAD. In a unique collaboration with Cell Project Space, London, the Cooper Gallery was transformed into a cavern, with the artists’ work becoming part of a cave therefore a cave dweller in the gallery space. The title of the show was based on ‘the Villa Straylight’, a dwelling in William Gibson’s novel ‘Neuromancer’ (1984). Cell Project Space is run by artists Milika Muritu & Richard Priestley, who designed and built the installation and curated the ‘cave’ .

'Straylight Cavern', Cell Project Space, at Cooper Gallery, DJCAD, Dundee, UK (2008)

‘Straylight Cavern’, Cell Project Space (Richard Priestley), at Cooper Gallery, DJCAD, Dundee, UK (2008)

'Straylight Cavern', Cell Project Space (Milika Muritu) at Cooper Gallery, DJCAD, Dundee, UK (2008)

‘Straylight Cavern’, Cell Project Space (Milika Muritu) at Cooper Gallery, DJCAD, Dundee, UK (2008)

2007

‘The Autonomy of the Object’, Torsten Laushmann (UK), Tim Knowles (UK), Cooper Gallery, DJCAD. Bringing together two artists’ work that explores the self-possession of ready-made objects from nature to the manmade.

'The Autonomy of the Object' Torsten Lauschman, Tim Knowles, Cooper Gallery DJCAD, Dundee

‘The Autonomy of the Object’ Torsten Lauschman, Tim Knowles, Cooper Gallery DJCAD, Dundee (2007)

‘I Gave You Life’, Nathalie Djurberg (SE), Erica Eyres (Canada), Eri Itoi (JP), Kirsty Whiten (UK), Cooper Gallery, DJCAD. I Gave You Life’ brought together four women artists who explored society’s inhibitions or the lack of them, through the series of characters they create. In all works this is manifested through uncompromising studies of awkward characters caught up in dark narratives.

'Vampiros (Hareem Series)', Kirsty Whiten (2007)

‘Vampiros (Hareem Series)’, Kirsty Whiten (2007)

Natalie Djurberg, Cooper Gallery, DJCAD, Dundee, UK

Natalie Djurberg, Cooper Gallery, DJCAD, Dundee, UK (2007)

‘Reading, Riding and other Recent Works’, Rainer Ganahl (USA), Cooper Gallery, DJCAD. This was Rainer Ganahl’s first solo show in UK. It included works from his ‘Bicycle works’ series where he cycled the wrong way up streets across the world; and works from his ‘Reading Lenin’ series.

'Reading, Riding and Other Works', Rainer Ganahl, Cooper Gallery, DJCAD, dundee (2007)

‘Reading, Riding and Other Recent Works’, Rainer Ganahl, Cooper Gallery, DJCAD, dundee (2007)

'Bicycling Damascus', Rainer Ganahl (2004) -90 mins video, video still

‘Bicycling Damascus’, Rainer Ganahl (2004) -90 mins video, video still

‘Your Words in My Mouth’, Hospitalfield, Arbroath, Scotland A 2-day festival, exhibition and live events at this historic artist residency. Co-curated with DCA, Hospitalfield, GeneratorProjects and Bad Bad Boys Club. The house and grounds became the site for performance, gigs and installations. DJCAD Exhibitions Dept worked with Jon Adams, Catherine Street, Claire Todd and Sir Leonard Hatred Devotional Ensemble.

Jon Adams, performance, The Picture Room, Hospitalfield House, Arbroath. YWAMM, (2007)

Jon Adams, performance, The Picture Room, Hospitalfield House, Arbroath. YWAMM, (2007)

Performance, Dining Room, Catherine Street. YWAMM, Hospitalfield House, Arbroath (2007) Photo: Steven Cairns

Performance, Dining Room, Catherine Street. YWAMM, Hospitalfield House, Arbroath (2007) Photo: Steven Cairns

2006

‘Re-animating the City’, Will Duke (UK), Mona Vatamanu & Florin Tudor (Ro / Switzerland), Cooper Gallery. Explored ways of re-animating open space in the city.

'Vacaresti' installation, Florin Tudor & Mona Vatamanu, Cooper Gallery, DJCAD, Dundee UK

‘Vacaresti’ (2006) installation, Florin Tudor & Mona Vatamanu, Cooper Gallery, DJCAD, Dundee UK

'Vacaresti', Florin Tudor & Mona Vatamanu, detail

‘Vacaresti’, Florin Tudor & Mona Vatamanu, detail

2005

‘Dance of the Seven Veils’, Cooper Gallery, DJCAD. Pablo Bronstein, Lali Chetwynd, Adam Chodzko, Olivia Plender. Four artists inspired by the films of Ken Russell were invited to exhibit. The exhibition was accompanied by photo-journalist Michael Peto’s images of the Ken Russell film shoot for ‘The Dance on the Seven Veils’, from Michael Peto Photographic Collection at the University of Dundee Archives.

Poster, Olivia Plender (2005)

Poster, Olivia Plender (2005)

‘Collage party’, Paul Butler (Canada), 4 day event, Cooper Gallery, DJCAD

'Collage Party,' Paul Butler (2006). Cooper Gallery, DJCAD, Dundee, UK

‘Collage Party,’ Paul Butler (2005). Cooper Gallery, DJCAD, Dundee, UK

‘Another other’, Jason Botkin / Paul Butler / DearRainDrop (US) / Mark Delong / Dean Drever / Daniel Dueck / Erica Eyres / Simon Hughes / Jeff Ladouceur / Peter Lejewski / Patrick Lundeen / Keith Jones / Krisjanis Kaktins-Gorsline / Sylvia Matas / Jason McLean / Bonnie Marin / Kim Ouellette / Brad Phillips / Mélanie Rocan / slomotion / Adrian Williams, (all Canada), Cooper Gallery, DJCAD

‘Function Form Follows’,  Emmanuelle Lainé (Fr), Mixko (UK/Japan), Kate Owens & Tommy Grace (UK), Cooper Gallery, DJCAD

'The Ill-Tempered Waters' [performance], Tommy Grace & Kate Owens (2005), Cooper Gallery, DJCAD, Dundee, UK

‘The Ill-Tempered Waters’ [performance], Tommy Grace & Kate Owens (2005), Cooper Gallery, DJCAD, Dundee, UK

‘Jerusalem Syndrome’, Nathan Coley, (UK) (commission for artist to travel to Jerusalem and make new film work), Cooper Gallery, DJCAD

'Jerusalem Syndrome' Nathan Coley

‘Jerusalem Syndrome’ Nathan Coley (2005)

'Jerusalem Syndrome', Nathan Coley, installation, Cooper Gallery, DJCAD, Dundee (2005)

‘Jerusalem Syndrome’, Nathan Coley, installation, Cooper Gallery, DJCAD, Dundee (2005)

2004

‘Life of A Commercial Gallery’, IBID Projects (UK/Lithuania) Janis Avotins, Carey Young,  Christopher Orr,  Milena Dragicevic,  Arturas Raila,  Vicky Wright, Anj Smith,  Jaan Toomik,  Swetlana Heger. 

Often art college students can have high expectations that future success is measured on being ‘discovered’ and represented by a commercial gallery. Exhibitions Department  invited a commercial gallery IBID Projects to ‘set up shop’ in our gallery space and begin to unravel the realities of the life of a commercial gallery.  IBID Projects, had a gallery in London and a parallel gallery in Vilnius, Lithuania.

'Life of A Commercial Gallery', IBID Projects. (2004). Cooper Gallery, DJCAD, Dundee, UK

‘Life of A Commercial Gallery’, IBID Projects. (2004). Cooper Gallery, DJCAD, Dundee, UK

'The Life of a Commecrial Gallery', IBID Projects, Cooper Gallery, DJCAD, Dundee, UK

‘The Life of a Commercial Gallery’, (2004) IBID Projects, Cooper Gallery, DJCAD, Dundee, UK

discparc [label, festival, exhibition]

‘discparc’ was created to disseminate original recordings by dedicated audio artists at any stage of their career. Presenting releases of schizophonic art, Electro-acoustic, Noise, Experimental Music and Sound Art on all audio distribution forms including vinyl, CD, cassette and on-line. ‘discparc’ was a resource and support for emerging to established audio artists. We looked for artists who present unique and challenging work and who will actively persevere with us in the development and production of the project as they envision it. Ideas, materials, and an actual hand in packaging and production were all strongly encouraged. Developed in collaboration with Donna Holford-Lovell.

discparc, first release. Photo: Eddie Summerton

discparc, first release. Photo: Eddie Summerton

'discparc' festival, Son of Kong [performance], (2004), Cooper Gallery, DJCAD, Dundee

‘discparc’ festival, Son of Kong [performance], (2004), Cooper Gallery, DJCAD, Dundee

2003

‘A Sketch of the Universe’, Sally Osborn (UK) [Residency and exhibition, researching Sir D’Arcy Thompson Archives, University of Dundee]  This residency was a response to University of Dundee’s zoology and herbarium collections, which were started by Sir D’Arcy Thompson in 1885.

'A Sketch of the Universe', Sally Osborn, (2003-4), Cooper Gallery, DJCAD, Dundee, UK

‘A Sketch of the Universe’, Sally Osborn, (2003-4), Cooper Gallery, DJCAD, Dundee, UK

'Note on The Artist and The Collector' (2004) Text by Jenny Brownrigg for 'A Sketch of the Universe', Sally Osborn, Cooper Gallery, DJCAD, Dundee

‘Note on The Artist and The Collector’ (2004) Text by Jenny Brownrigg for ‘A Sketch of the Universe’, Sally Osborn, Cooper Gallery, DJCAD, Dundee

‘Sonology of a Mute Spectacle’, Mark Vernon (UK)  [Lamb Gallery, University of Dundee] Mark worked with the zoology collection at University of Dundee, to create a sonic installation for display cases, filled with objects from the collection, including taxidermy that did not make the grade.

'Sonology of a Mute Spectacle', Mark Vernon, (2003), Lamb Gallery, University of Dundee

‘Sonology of a Mute Spectacle’, Mark Vernon, (2003), Lamb Gallery, University of Dundee

‘An American Conversation’, Alex Frost (UK) and Karla Black (UK) [exhibition]  Cooper Gallery, DJCAD, Dundee, UK. Karla Black and Alex Frost exhibited together for the first time. Their exhibition is a conversation around suggestion and game-play.The work shown came out of a relationship between sculpture and performance. It referenced certain elements of American cultural history: the teaching practices of Black Mountain College; Max Factor; Happenings; Popular Psychology.The artists made all work in situ in the Cooper Gallery over a ten day period in the run up to the opening.

'Untitled', Alex Frost. 'An American Conversation', Alex Frost and Karla Black, Cooper Gallery, DJCAD, Dundee

‘Untitled’, Alex Frost. ‘An American Conversation’, Alex Frost and Karla Black, Cooper Gallery, DJCAD, Dundee (2003)

Detail, 'an American Conversation', Alex Frost and Karla Black, Cooper Gallery, DJCAD, Dundee

Detail, ‘An American Conversation’, Alex Frost and Karla Black, Cooper Gallery, DJCAD, Dundee (2003)

'An American Conversation', Alex Frost and Karla Black (2003), Cooper Gallery, DJCAD, Dundee

‘An American Conversation’, Alex Frost and Karla Black (2003), Cooper Gallery, DJCAD, Dundee

2002

‘EF103 603’, Jordan Baseman (UK) [exhibition] Cooper Gallery, DJCAD , University of Dundee. This solo exhibition comprised of three video works: ‘Luv is Gonna Get You Someday’ (2001/2002), a documentary focusing on the philosophies of disfigured and middle-aged pop wannabe Dave; ‘Thriller’ (2002), a role play consisting of excerpts from interviews with Michael Jackson; and ‘July Twelfth 1984’ (2001), a real-life recorded commentary of the last moments of inmate EF103 603.

Jordan Baseman 'EF103 603' poster publication Design: Sarah Tripp

Jordan Baseman ‘EF103 603’ poster publication Design: Sarah Tripp

3. OTHER CURATORIAL PROJECTS

2010

Timespan, Helmsdale, Sutherland, Scotland: curatorial research report (with Claudia Zeiske) for Timespan’s visual arts programme 2011-13, including curating 3 month residency with Jo Roberts (UK), looking at advocacy of contemporary art. For Field Studies, Jo worked with four communities across Sutherland (Kinlochbervie, Kinbrace, Skerray and Helmsdale. She also worked closely with all members of the Timespan to explore the ‘creative geology’ of the organisation.

'Field Studies', Jo Roberts, (2010)

‘Field Studies’, Jo Roberts, (2010)

Jo Roberts, 'Field Studies' visit, Skerray, Sutherland (2010)

Jo Roberts, ‘Field Studies’ visit, Skerray, Sutherland (2010)

2008

Fifeman, [exhibition] Alan Grieve, Peter Haining, Jason Nelson, Kevin Reid, Cupar Arts Festival, Fife. An unconventional exploration of the psyche of ‘Fifeman’ by four male artists all hailing from towns in Fife.

Alan Grieve, 'Fifeman', Cupar Arts Festival (2008)

Alan Grieve, ‘Fifeman’, Cupar Arts Festival (2008)

2006

Co-curator of 2nd International Biennial of Young Artists / Art is Always Somewhere Else, Bucharest, Romania, organised by META Cultural Foundation and Goethe Institute Bucharest

Bratianu Palace, Bucharest, Romania

Bratianu Palace, Bucharest, Romania

Co-curated with Irina Grabovan, curator, Aorta Gallery (Moldova); Branko Franceschi, Executive Director, Museum of Modern and Contemporary Art, Rijeka (HR); Oana Tanase, curator and journalist (RO); Simona Nastac, (Romanian Cultural Institute, London)

My projects: Stuart Murray (UK) hosted by Bucharest artist community; Anca Benera (Ro) with Miranda Blennerhassett (UK) and Louisa Preston (UK); Tobias Sternberg (UK/ Sweden) with ‘add’ (Ro); Marcus Coates (UK), Will Duke (UK) with Mona Vatamanu & Florin Tudor (Ro / Switzerland); Olivia Plender (UK) with Ciprian Muresan (Ro)

Stuart Murray

Stuart Murray (2006)

Stuart Murray (2006), detail, AWOL, Young Artists Biennial Bucharest (2006)

Stuart Murray (2006), detail, AWOL, Young Artists Biennial Bucharest (2006)

Tobias Sternberg with ADD, 'Non in Musaeo Fit Ars' (2006), AWOL, Young Artists Biennial Bucharest (2006)

Tobias Sternberg with ADD, ‘Non in Musaeo Fit Ars’ (2006), AWOL, Young Artists Biennial Bucharest (2006)

Tobias Sternberg / ADD, 'Non in Musaeo Fit Ars' (2006) AWOL Young Artists Biennial Bucharest (2006)

Tobias Sternberg / ADD, ‘Non in Musaeo Fit Ars’ (2006) AWOL Young Artists Biennial Bucharest (2006)

Interior, 'Non in Musaeo fit Ars' for one-to-one meetings, programmed by ADD, (2006), AWOL Young Artists Biennial Bucharest (2006)

Interior, ‘Non in Musaeo fit Ars’ for one-to-one meetings, programmed by ADD, (2006), AWOL Young Artists Biennial Bucharest (2006)

Olivia Plender, Ciprian Muresan, AWOL Young Artists Biennial Bucharest (2006)

Olivia Plender, Ciprian Muresan, AWOL Young Artists Biennial Bucharest (2006)

Olivia Plender (2006), AWOL Young Artists Biennial Bucharest (2006), detail

Olivia Plender (2006), AWOL Young Artists Biennial Bucharest (2006), detail

Ciprian Muresan (2006), detail, AWOL Young Artists Biennial Bucharest

Ciprian Muresan (2006), detail, AWOL Young Artists Biennial Bucharest

'Archive 1, 2, 3', Anca Benera (Ro) with Miranda Blennerhassett (UK) and Louisa Preston (UK), (2006), AWOL Young Artists Biennial Bucharest (2006)

‘Archive 1, 2, 3’, Anca Benera (Ro) with Miranda Blennerhassett (UK) and Louisa Preston (UK), (2006), AWOL Young Artists Biennial Bucharest (2006)

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