CCA Glasgow, 350 Sauchiehall St, Glasgow G2 3JD
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
Centre for Contemporary Arts, 350 Sauchiehall Street, Glasgow G2 3JD
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‘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.
Tramway, 25 Albert Drive, Glasgow G41 2PE
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If Namo Āto proves anything, it’s that we need to see more work by artists with learning disabilities in mainstream contexts, whether it’s perceived as 'Outsider Art' or not. Review by Joe Turnbull
The Modern Institute, Aird’s Lane, Glasgow
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.
Koppe Astner, Glasgow
KOPPE ASTNER is pleased to present TAYLOR DAVIS, ANNNETTE LEMIEUX, ALEXANDRA LEYKAUF, VIRGINIA OVERTON, MARLO PASCUAL AND DIANE SIMPSON
SWG3 Gallery,100 Eastvale Place, Glasgow G3 8QG
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
The Modern Institute, 14—20 Osborne Street, Glasgow G1 5QN
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
Kelvin Hall, 1445 Argyle Street, Glasgow G3 8AW
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
Centre for Contemporary Arts, 350 Sauchiehall Street, Glasgow G2 3JD
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
Turner Prize 2015
Assemble's Turner Prize win is a fantastic coup for the collective, but the long-term prize for Granby Four Streets will be a community finally and deservingly restored. Text by Laura Harris
David Dale Gallery & Studios, 161 Broad Street, Glasgow G40 2QR
Despite working primarily across painting, Mcgurn and Musgrave’s practices are congruous not through their shared medium, but through a commonality in processing subject, and the translation of narratives to the viewer.
The Common Guild, 21 Woodlands Terrace, Glasgow, G3 6DF
Thomas Demand's latest solo exhibition includes new and recent works from his series ‘The Dailies’, presented in an installation devised specially for the particular nature of the spaces at The Common Guild.
David Dale Gallery & Studios, 161 Broad Street, Glasgow, G40 2QR
Hardeep Pandhal's multi-media installation at David Dale is punctuated with large scale wall drawings of Bhagat Singh, an activist who disguised himself by cutting his beard and replacing his turban with a trilby to commit violent acts of protest during the Indian independence movement.
Centre for Contemporary Arts, 350 Sauchiehall Street, Glasgow G2 3JD
There is a curious feeling of being a permitted observer, a guest who has unwittingly blundered into a study and begun to poke and pry into the collections of obscure information neatly organised in enigmatic order. Review by Alexander Storey Gordon
