Published in The Herald arts supplement, 30/7/11
|Anish Kapoor, Untitled, 2010|
ANISH KAPOOR: FLASHBACK
ECA Sculpture Court
Edinburgh College of Art
74 Lauriston Place, Edinburgh
0131 221 6000
August 4 - October 9, 2011
Following on from the first Flashback touring exhibition of work by Bridget Riley, the second artist in the series of monographic exhibitions from the Arts Council’s Collection, is renowned artist and Turner Prize winner, Anish Kapoor.
Staged as part of the Edinburgh Art Festival 2011 programme and supported by Creative Scotland and the University of Edinburgh, the exhibition evolves at each tour venue and the works are selected by the artist in close dialogue with the Arts Council Collection, one of Britain’s foremost national collections of post-war British Art.
The exhibition at Edinburgh College of Art comprises an early pigment work and a major new sculpture completed last year and exhibited here in the UK for the first time. White Sand, Red Millet, Many Flowers (1982) demonstrates Kapoor’s early interest in applying raw pigment to a range of organic forms.
The sculpture was acquired by the Arts Council Collection the same year and has been lent to many major institutions as a key example of his early work. Alongside this, Untitled (2010), on loan from the artist and specially selected by Kapoor for the spectacular space of Edinburgh College of Art’s Sculpture Court, is a monumental blood-red wax bell form standing over five metres tall.
Kapoor’s sensual and beguiling sculptures are created using a range of materials including pigment, stone, polished stainless steel and wax. Following on from the critical acclaim of his show at the Royal Academy of Arts in 2009, this Flashback exhibition gives an opportunity to explore Kapoor’s earlier works alongside recent pieces lent directly by the artist.
It opened at Manchester Art Gallery in March 2011 and adapted versions will tour to Nottingham Castle Museum & Art Gallery (19 November 2011 – 11 March 2012) and Longside Gallery, Yorkshire Sculpture Park (16 June – 4 November 2012).
IN JAPAN: Highlights of Academicians' projects in contemporary Japan
Finlay Room & RSA Projects Room
The Royal Scottish Academy
The Mound, Edinburgh
0131 225 6671
From today until Sep 18
Elspeth Lamb, RSA, is one of Scotland’s foremost printmakers and anyone who comes to her work with fresh eyes will appreciate the simple beauty which lies at the heart of every single artwork which passes through her capable, magic-making hands.
Like many artists before her, Lamb has been heavily influenced by Japanese art and culture. She has travelled to Japan on four occasions. On three of these extended trips, she has studied with master carver/printers and papermakers. Her book, Papermaking for Printmakers, arose out of this research and is a seminal text on the subject.
In June this year, she presented a paper at the First International Conference of Mokuhanga Print in Kyoto and during that trip, she worked on collecting a body of work by Moku hanga artists, which will be on show from today.
Lamb is the curator of an international show of contemporary Mokuhanga (Japanese woodblock printing) prints at the Royal Scottish Academy in Edinburgh, held as part of a Japan-themed presentation over the course of the Edinburgh Art Festival.
Featuring work by Lamb, Elizabeth Blackadder, Paul Furneaux, Jake Harvey, Jacki Parry, Ian McKenzie Smith, Ian Fleming and George Donald, as well as artists from Denmark, USA, Germany and Bulgaria, this two-room exhibition will present academicians’ ‘Japanese’ practice, often in collaboration with Japanese artists.
In addition to a large and varied selection of works by RSA members, there will be a significant collection of work by Moku hanga artists, curated by Lamb during her recent trip to Japan. Other exhibition highlights will include a series of paperwork pieces, produced collaboratively by RSA members Arthur Watson and Ian Howard with Japanese artists in Kyoto.
This exhibition is a must-see for anyone interested in printmaking techniques. Also on show will be supporting woodblocks. printing equipment and historic Japanese prints.
Remains of the Day: Hans Schabus
22-28 Cockburn Street, Edinburgh
0131 220 1260
August 5 - October 2, 2011
This new exhibition at the Collective Gallery, which comprises a new Collective commission and previous film work by the Austrian artist Hans Schabus, is brought to you by the Edinburgh Art Festival.
Anyone who has ever proffered the opinion that contemporary art is rubbish, should make their way there pronto because by the time this exhibition opens on Friday, Schabus will have transformed the gallery with a formal presentation of the rubbish accumulated by the him and his family during one calendar year.
Renowned for disrupting and reconfiguring space in unexpected ways, Schabus has installed, cleaned, categorised and displayed the detritus of his life in a linear fashion along the white cube gallery spaces and through the reception area.
The work can be viewed from inside and outside of the gallery through the street level picture windows as an unbroken wall.
Schabus takes his lead from the renowned 20th century American archeologist William Rathje, who famously opined: “What people have owned and thrown away can speak more eloquently, informatively and truthfully about the lives they lead than they themselves may.”
This work also brings attention to the idea of Sigmund Freud’s Rückstände des Tages, a term the father of modern psychoanalysis coined to draw attention to experiences that are made but cannot be actively processed by one’s consciousness.
In a world where things derive all or most of their value from their scarcity and cultural capital, Schabus is asking us to consider our relationship with what remains, from trade, labour and our human existence.
Collective are also showing Hans Schabus’ Western, 2002. This will be screened at selected times on the BBC Big Screen in the city’s Festival Square. The 11-minute film Western shows Schabus rowing and sailing his way through the tunnels of Vienna’s underground sewage system in a boat he built himself. His unending voyage through sewage, darkness and water dredges up the universal quests of escape both literal and metaphysical.