‘AMOS’ WORLD’ is a highly staged, three-part, telepathic and narcissistic TV soap opera, strewn with the vernacular of a therapy session and the persuasive mantras of the executive suite, the property developer and the city planner. Review by Alex Hetherington
In a discussion about his work the late Chilean experimental filmmaker, Raúl Ruíz, said that his ‘films would have to be seen many times, like objects in the house, like a painting…’, that ‘landscape is used as a story’ and that he sought to draw upon ‘connections between film, installation, writing, theatre’ that in his extensive body of works, including the theoretical text ‘Poetics of Cinema’, made between 1963 and 2010, could be described as a nesting of stories, residing within each other, and of stories co-existing; of narratives, often fragmented and elliptical, and their layering together. Review by Alex Hetherington
American Glasgow-based artist Margaret Salmon’s filmic, atmospheric and carefully rendered installation, sensitive to the nuances of people, the subtleties of places and objects (and her relationships to them) is housed in Tramway’s immense principal space. It renders the space quieter than normal, in half-light – a place for a rare, esoteric experience. Review by Alex Hetherington
American artist Tshabalala Self's work is concerned with the iconographic significance of the black female body in contemporary culture, its fantasies and misrepresentations and their concurrent emotional, physical and psychological impacts. Review by Alex Hetherington
The Sky is Falling is concerned with city spaces as the site for utopias, dreams and social visions. Meanwhile, it documents the abrasive and contradictory experiences of citizens as the potential that urban utopias offer declines and fails. Review by Alexander Hetherington
‘Forms of Action’ presents the work of seven artists whose actions in society are the core of their practice. Each with rich cultural, historical and political backdrops, this assembly of artists is, in itself, a timely form of action. Review by Kate Self.
For his second solo exhibition at The Modern Institute, Nicolas Party has transformed the Aird’s Lane space into an interior populated with temporary walls and murals meticulously rendered to resemble marble and malachite in the manner of trompe l’oeil. This scenery creates a faux-classical setting to present Party’s new body of pastels on canvas.
The construction of this awkward environment is by no means accidental, Rose is intentionally creating a heightened sense of self-awareness so as to encourage thoughts around how we relate to ecosystems, to ourselves and to other people. Review by Rosie Aspinall Priest
Artist collaborators Joanne Tatham & Tom O’Sullivan produce works that interrogate the roles and behaviours of contemporary art. At The Modern Institute, this is presented as a series of uneven, re-staged and re-positioned installations of past works that employ a palette of forms, motifs, patterns, titles, comic faces and images. Review by Alexander Hetherington
In ‘Bright Bodies’, a new installation for Glasgow International, Barclay’s sensitive and highly physical choreography is engaged in a course of action through the history, archives and social spaces of Kelvin Hall. Review by Alexander Hetherington
Although without the immediate dialogue of shared sight-lines, Bailey and Day’s pairing creates a multi-layered, sometimes contradicting, but always lively discourse, drawing out new meanings, and deciphering in each other’s those that are less clear. Review by Cicely Farrer