Ella Kruglyankaya

I’ve been to the gallery Kendall Koppe before. I’ve always enjoyed the small, intimate space and the carefully planned shows with a small number of hand picked works. I’ve been to their shows before but not like this. An art opening in Glasgow is usually an alcohol drenched event, bohemian chic hipster crowd of students, academics, gallerists, and professionals holding on to their complementary wine like to a social safety blanket. It is great fun, and sometimes the crowd does allow to get lost and look at the paintings, however, usually, the works just serve as a backdrop or a conversation starter as people mingle and network.

Ella Kruglyankaya

For this show I decided to miss the Friday opening and instead accept an invitation to the artist talk on a Saturday afternoon. This was different, instead of wine it was tea and coffee, instead of beer – bakery goods. Instead of streetlights beaming in to the windows, the gallery light was enhanced by natural light flooding in and bouncing of the white wall. This refreshing afternoon setting proved to be the perfect setting for Ella Kruglyanskaya’s work. In three words her work is big, colourful and juicy.

Her large scale canvases are filled with voluminous ladies, usually two at a time. If there was just one figure in the canvas then the work would probably end up in the grey problematic area of the ‘female depiction’ and the ‘gaze’, since there are two – a dynamic relationship is created. The relationship between the women is usually not straight cut, the canvas usually shows one fashionably dressed lady in a small dress brushing past another fashionably dressed lady in a small dress. Just as one would see on the streets of New York, where the artist is based.

Ella Kruglyankaya

What I found very refreshing, sitting in the sun lit space gripping my tea and scone, is that the gaze and feminism were never mentioned during the discussion. Don’t get me wrong feminism is great, and both Ella and her work are feminist, however her work is not about feminism. I saw the absence of ‘the gaze’ and ‘feminism’ in the discussion as a great sign that we might be finally moving forward, after a major stagnation when an image of a woman could be discussed either from the patriarchal or a hyper feminist point of view. It seems the female figure is being freed from the bondage and chains of the read-in symbolism and stereotypes. That finally we can see the forest for the trees, and it turns out that two ladies on a canvas can provide lots of room for discussion other than on their gender and size.

Ella Kruglyankaya

The figures in every canvas are interacting with each other but at the same time they are not. They are both in the canvas, and they are both moving – some are standing, others staring, others walking out of the canvas. They are both moving, and often it takes a lot of staring to try and figure out if the moving of one is caused by the moving of the other, or they are just moving. The awkward cropping and crossed out figures add to the confusion and dynamism. Interestingly, though the crossing out looks like a spontaneous momentary impulse, it is carefully thought through and appears on countless sketches before it makes the appearance on the canvas.

What I found interesting is the presence/non-presence of men. None of Ella’s characters are male and yet there they are in the dresses and body suits. It is women literally wearing men. This juxtaposition of male female is given another dimension when politeness and aggression are considered.  If the ladies in the canvass have polite interactions, their dresses, and swim suits have a life of their own. Their expressions are contorted in rage, and to be sure that no one thinks these figures are androgynous the cartoonish moustache clearly defines the gender.

I loved the show: the dynamism of the canvases, the fresh tea and bakery at the talk, the juiciness of the canvases with so many visual nuggets, and so many points of discussion.

ELLA KRUGLYANSKAYA runs from 29/03–05/2013

Kendall Koppe
Suite 1-2
6 Dixon Street
Glasgow
G1 4AX
+44 (0) 141 248 8177
Wednesday–Saturday 11am–5pm, or by appointment

The next exhibition to be held at High House Gallery is Masquerade, a group exhibition bringing together a selection of innovative and award-winning international contemporary photographers, who push the boundaries of portraiture through a variety of techniques. Both established and emerging, these artists share a fascination with depicting the human face and body, but their works lie far outside the realms of conventional portraiture.

Jonny Briggs: Natural Inside

The subjects within the show are distorted and manipulated. The images have been cut, layered, collaged, painted or stitched over, prompting the viewer to question the perception of reality. Some of the portraits have been enhanced, or entirely faked; faces may be out of focus, overexposed, turned away or blocked from sight. For many of these artists their images are part of a more extensive conceptual whole, alluding to other meanings, questioning accepted ideas or referring to social, cultural or internal worlds.

Portraits have traditionally served a documentary purpose. The camera has acted as a window to the world, representing a personal, historical, ethnographic or cultural truth. The reality however is far more complex: rather than being a purely factual medium, artists often use the camera to disguise the truth depending upon their artistic agenda.

In Natural Inside, Jonny Briggs, winner of the 2011 Channel 4 / Saatchi New Sensations prize, represents himself painted pink and wearing a latex mask of his enlarged father’s head with a negative cast of his own head inside. Briggs typically uses these constructed sets to photograph his disguised self and family members, resulting in intensely personal work which questions the boundaries between adult and child, love and resentment, the real and the fake.

American photographer Ryan McGinley, in 2003 the youngest artist to have a solo show at The Whitney Museum of American Art, characteristically works with nudes, as reflected in Sisters Moonshine. This intriguing shot depicts three naked girls, mysteriously staring towards the moon with their backs to the viewer.

Julie Cockburn also challenges the means by which images are seen and visually digested. She playfully manipulates found photographs of portraits with her own childlike embroidered geometric patterns, generating a dialogue about ownership, modernity and art history. Alison Jackson, renowned worldwide for the manipulation of celebrities in her images, explores the cult of celebrity in Mick Jagger Ironing and the Queen at Tesco’s. These convincingly realistic portraits raise questions about whether we can believe what we see in the media.

John Stezaker, winner of the prestigious Deutsche Borse Photography Prize in 2012, appropriates original images taken from movie stills and vintage postcards, wittily adapting their original content and context to create new meanings. In Untitled (2012) the top right quarter of the photograph has been randomly sliced away, so we are left to piece together the sitter’s identity ourselves.

Other manipulated works in the exhibition include photographs by Korean artist Minhong Pyo, who examines the interface between the real and imaginary and Matt Lipps, who re-organises visual icons from our cultural history into his own composition. Portuguese artist Virgilio Ferreira experiments with focus and tonal contrasts to represent the intangible human states of being, using blur to play with perception and sight, whilst Anne Collier works with images from the mass media that surrounds us, often using stereotyped images of women to make us aware of the sexual politics of image-making.

High House Gallery, Main Street, Clanfield, OXON, OX18 2SH
T: 01367 810 12

Matt-Calderwood Untitled-2

For his solo exhibition at BALTIC 39, his first in a public gallery in the UK, Calderwood will create a series of ambitious new sculptures which explore decaying and collapsing systems and the impact of environment and process on simple everyday materials. The sculptures will comprise multiple, identical elements that stack and interlock and can be built into various sculptural forms. Made of industrial welded steel, these robust forms will be given a fragile skin of paper. The works will be installed on the gallery’s roof terrace where they will weather and decompose to varying degrees, their delicate surfaces recording their exposure and deterioration. They will then be dismantled and reassembled inside the gallery space over the course of the exhibition.

In BALTIC 39’s second gallery space, Calderwood will present a new site-specific video installation in which he will set up a co-dependency between projected video and static sculpture. A selection of short films document performances in which the artist experiments with balance, tension, instability and risk. Calderwood utilises high power projectors to illuminate large reflective sculptural screens which are positioned in the space. The installation will also include a new film work, Strips (mirror) 2013 produced specially for BALTIC 39. Developed from a previous work Strips (vertical) 2005, a large bank of exposed strip lights is systematically smashed until a single tube remains and the process of the shoot is revealed.

The exhibition will include new work co-commissioned by BALTIC and De La Warr Pavilion. Matt Calderwood is supported by The Elephant Trust.

BALTIC Centre for Contemporary Art
Gateshead Quays
South Shore Road
Gateshead NE8 3BA UK
Tel: +44 (0) 191 478 1810
Opening hours: Monday – Sunday 10.00 – 18.00 Except Tuesdays 10.30 – 18.00
Admission: FREE

Jablonowski is interested in the representation of language and how our different information technologies transmit and manipulate data. His work often incorporates found texts and video footage, combined with a wide range of industrial and organic materials including aluminium, plaster, Styrofoam, ceramic, stone, wood, carbon fibre, plants and exotic spices. He uses components from reproduction technology such as offset-printing plates, inkjet printers and flatbed scanners. Jablonowski is interested in the sculptural possibilities of these materials and objects as he overlaps, layers, grinds and cuts into different surfaces and embeds, stacks and dismantles technological devices to make intriguing assemblages made on a varying scale.

BALTIC David Jablonowski

At BALTIC, the exhibition will comprise an installation of recent sculpture and video together with specially commissioned new work. Volume 2012, consists of three large rectangular blocks which resemble slabs of stone, but on closer inspection are made of Styrofoam which have been carved, weathered and inlaid with lengths of aluminium. Smaller objects, including works from the series Future of the Document (Nastaleegh) 2012 and Imposition 2010, rest on fragments of Arabic calligraphy and imagery from the Manesse Codex (a medieval songbook), their delicate structures inspired by early writing scrolls.

Jablonowski creates a non-linear history of technology, some of it already outmoded and redundant: a Gestetner Rotary Cyclostyle stencil machine sits alongside a modern Canon inkjet printer in Multiple (Gestetner) 1.78:1 2011. Video portraits of IT pioneers associated with the invention of the Mouse and the Hyperlink explore the origins and authorship of these tools. New work in the exhibition focuses on recent forms of communication technology which function through human touch and the traces and marks we leave on our touch-screen devices. A series of wall-based reliefs, Untitled (touchpad) 2012-3, map the swipe marks and fingerprints from the artist’s phone and tablet onto aluminium and glass; a diary of his haptic explorations. By entering the installation, the viewer becomes part of this sensory world, but also part of a new information network that the artist creates, sharing and uploading data.

Exhibition Dates: 1 Feb – 2 June 2013
BALTIC Centre for Contemporary Art
Gateshead Quays
South Shore Road
Gateshead NE8 3BA UK
Tel: +44 (0) 191 478 1810
Opening hours: Monday – Sunday 10.00 – 18.00 Except Tuesdays 10.30 – 18.00
Admission: FREE

Harriet Clare – Sorbus aucuparia II, (Rowan), 2013

Harriet Clare 2 – Sorbus aucuparia II, (Rowan), 2013

Transient teams images from Harriet Clare’s “Woebegone” series with Nick Lewin’s macro floral photographs. At first glance their work may appear disparate and unconnected, yet when viewed together in context, the images show the same fascination for marking the passing of time. Both artists take a somewhat melancholic journey, attempting to mark their own transient time in the present.

Constructing images using line, texture and repetitive montaging of branch imagery, Australian-born Harriet Clare creates delicate, natural kaleidoscopic works with an illustrative effect. Shot in the winter in her adoptive home of Berlin, these images hint at a fascination with the fleeting and a desire to forever hold onto an ephemeral life.

Harriet Clare – Wisteria, 2012

Nick Lewin

Nick Lewin’s large-scale macro images of decaying floral blooms reflects the artist’s own attraction to transience. Lewin, a celebrated and award-winning film and commercial director, began his illustrious film career as an editor for Ridley Scott. During a particularly fertile creative period directing commercials in the 1970s, Lewin developed his passion for fine art photography. He has taken his cinematic approach to his stills work, utilising mirrors and reflective glass to light, capture and shoot through his images. Using macro lenses and a shallow depth of field, he creates an otherworldly aspect to his work.

GALLERY

GALLERY

GALLERY

Transient runs over two floors of Margaret Street Gallery with Harriet Clare’s work presented on the ground floor. To compliment Clare’s smaller framed pieces, a number of her images have been printed on massive oversized paper, draping down the gallery walls onto the floor. Her image “Ash”, printed on clear vinyl and mounted onto two metre square perspex, hangs in the window creating a large, three-dimensional kaleidoscope.

Further crossing over into an installation, the exhibition leads downstairs to Lewin’s work, which has been printed onto three metre wide vinyl, wallpapered in parts across the floor, wall and ceiling of the lower gallery. Several of Lewin’s stunning 1.5 meter square, aluminum mounted C Types are hung amongst the striking vinyl.

Margaret Street Gallery
63 Margaret Street
London W1W 8SW
Tel. 0207 323 0140

Helen Sear – Lure

Helen Sear’s lure is an important solo show of new sculpture, video installation, film projection and photography. Created over the past 18 months, this major body of work represents a period of intense creativity by the artist.

The exhibition sees Sear continuing to explore the act of looking and relationships between nature, space and scale to present still and moving images of remarkable power. In the video installation, Pond (2011) the viewer is presented with a double view, looking down into a frozen pond as the camera’s eye travels slowly around its perimeter. In a large-scale projection of the same pond our position shifts: instead we are placed as if standing upon the frozen water, our gaze moving around the edge of the bank. In Chameleon, (2012) a sunflower emerges slowly from the dark to reveal the flower, which becomes an eye staring back at us, spiritual and unnerving.

Wild flowers collected from a field near the artist’s studio become the subjects of Pastoral Monuments (2013) – photographic images that are monumental in scale, their vivid colour and depth of contrast recalling the richness of a Dutch still life. References to historic painting are also present in the stunning series, Sightlines (2011), in which the artist uses the traditional material of gesso to ‘paint’ the backgrounds of small portraiture photographs, her subjects’ faces obscured by small ceramic bird ornaments.

lure can also be seen as the culmination in a shift in focus by Sear, as she expands her practice to create the sculptures Plinths for Imaginary Birds – large-scale monoliths which appear as if carved from marble or alabaster; or the extraordinary bronze casts, The Tree Surgeon’s Table, (2012) in which Sear re-configures twigs as strangely sinister, shiny implements, laid out as if before an operation.

In his essay, Secret Configurations in the exhibition brochure, Neil McNally notes that ‘The original meaning of lure is something that allures or entices ..’ and ‘.. a temptation or reward may be in the offering, but with the risk of being brought to heel or even entrapped.’ The title implies risk combined with enticement, and also suggests the beauty and fascination present in this extraordinary exhibition.

The opening of lure at Oriel Davies coincides with the publication of a new book by the artist, Brisées, published by GOST books and launching at the Photographers’ Gallery, London, 31 January 2013. Brisées retails at £20 and will be on sale at Oriel Davies Gallery Shop.

One of Wales’ most important artists, Helen Sear’s practice is characterized by her exploration of the crossover between photography and fine art, her focus on the natural world and the startling beauty of her work. Helen Sear received an Arts Council of Wales Creative Wales Award 2010-11 and was joint winner of the Gold Medal at the National Eisteddfod of Wales, 2011.

Oriel Davies Gallery
The Park
Newtown
Powys
SY16 2NZ
Tel: 01686 625041
Monday – Saturday 10am-5pm

copyright David Fitzjohn

A striking installation by artist David Fitzjohn transforms Oriel Davies’ TestBed space into a spectacular and surreal environment.

David’s work explores natural forms and the landscape, especially wilderness and its fragile qualities. With the use of complex paper-cut structures David creates a mysterious forest scene in an effort to convey an imagined future. The paper forms are both simple and delicate and echo the state of the natural world.

The title Fimbulwinter is, in Norse mythology, a period of three successive harsh winters without an intervening summer, an environmental disaster that is the immediate prelude to ‘Ragnarok’ – the end of the world. David’s installation is a response to our ever-changing environment, and his envisaging of the end of things as they are.

South Wales based artist David Fitzjohn was selected as part of a call for artists responding to the idea of ‘Tall Tales’. A tall tale is one with unreliable elements expounded as if they were true. These stories can be exaggerations of particular acts or courses of events: historical, familial or personal.  Such stories are often told to intrigue and entertain, usually being traditional, mythical or fanciful. Curated by Rachel McManus.

Oriel Davies Gallery
The Park
Newtown
Powys
SY16 2NZ
Tel: 01686 625041
Monday – Saturday 10am-5pm

]]> http://www.artface.co.uk/2013/01/26/david-fitzjohn-fimbulwinter-2-feb-2013-17-april-2013-at-the-oriel-davies-gallery/feed/ 0 http://www.artface.co.uk/2012/12/15/make-a-note-in-your-diary-for-witches-and-wicked-bodies-at-the-scottish-national-gallery-of-modern-art27-jul-2013-3-nov-2013/ http://www.artface.co.uk/2012/12/15/make-a-note-in-your-diary-for-witches-and-wicked-bodies-at-the-scottish-national-gallery-of-modern-art27-jul-2013-3-nov-2013/#comments Sat, 15 Dec 2012 20:02:42 +0000 Editor http://www.artface.co.uk/?p=5472

John Raphael Smith, Three Weird Sisters from Macbeth
1785

The fascination for witches, which has gripped many Western artists from the sixteenth century to the present, will be the subject of a major new exhibition at the Scottish National Gallery of Modern Art next summer. Witches and Wicked Bodies, opening July 2013, will delve into the dark and cruel origins of the classic image of the witch, and demonstrate how the now familiar old woman on a broomstick is just one part of a rich and very diverse visual tradition.

Witches and Wicked Bodies will highlight the inventive approaches to the depiction of witches and witchcraft employed by a broad range of artists over the past 500 years, with striking examples by famous names such as Albrecht Dürer, Lucas Cranach, Salvator Rosa, Francisco de Goya, Henry Fuseli, John William Waterhouse and William Blake. The selection will also include more recent interpretations of the subject, by twentieth-century and contemporary artists including Paula Rego, Kiki Smith and Edward Burra. The exhibition has been curated by the National Galleries of Scotland with artist and writer Deanna Petherbridge and will contain major works on loan from the British Museum; the National Gallery (London); the Ashmolean Museum, Oxford; Tate; and the Victoria & Albert Museum, to be shown alongside key images from the Royal Scottish Academy and the Galleries’ own collections.

John William Waterhouse, The Magic Circle. 1886

John Leighton, Director General of the National Galleries of Scotland, said:

“We look to offer our public a world-class yet very distinctive programme of exhibitions. I believe that this is the first time that witchcraft across the ages has been the subject of a major art exhibition in the UK and we are delighted to be partners with the British Museum on this truly fascinating and compelling show.“

Europe has a long history of witchcraft and the persecution of witches was particularly widespread in the sixteenth and seventeenth centuries, accounting for thousands of deaths of women and even children. Prints and drawings dating from this period will form a key part of the exhibition, showing how the advent of the printing press gave artists as well as writers the means to share ideas, myths and fears about witches from country to country. Engravings by Albrecht Dürer will be shown alongside woodcuts by Hans Baldung Grien and many other printmakers including Bruegel and de Gheyn.

John Martin Macbeth.
about 1820

The exhibition will focus on six key themes. The centrepiece of ‘Witches’ Sabbaths and Devilish Rituals’ is one of the most famous images of witches of all time – Salvator Rosa’s Witches at their Incantations on loan from the National Gallery (London). ‘Unnatural Acts of Flying’ will include the origins of the image of the witch as an old woman riding a broomstick against a night sky, but rather than the cloaked figure wearing a pointy hat that has become so widely known to adults and children alike, this section features more sinister images of flying witches attending black masses.

In ‘Magic Circles, Incantations and Raising the Dead’, visitors will encounter glamorous witches cooking up spells as in Frans Francken’s 1606 painting Witches’ Sabbath. This powerful section also includes the luscious 1886 painting by John William Waterhouse, The Magic Circle.

‘Hideous Hags and Beautiful Witches’ will include the medusa-like witch with snakes for hair in John Hamilton Mortimer’s drawing Envy and Distraction. This introductory section will also feature unsettling works depicting old crones by Francisco de Goya ­- the exhibition contains a significant group of works by this major Spanish artist. Some of the images are genuinely frightening and disturbing, whereas others will reveal the negative attitudes towards women in periods when they were very much seen as the second sex. Due to the particular association of women with witchcraft, these works will highlight the ways in which a largely male-dominated European society has viewed female imperfections, highlighting the concerns created by women laying claim to special powers, or simply behaving in the ‘wrong’ way.

Kiki Smith Out of the
Woods. 2002 (section)

Works depicting the various appearances of the witches in Shakespeare’s Macbeth, in ‘Unholy Trinities and The Weird Sisters from Macbeth’, will range from John Martin’s theatrical large-scale painting of Banquo and Macbeth lost on the blasted heath, with the turbulent skies swirling over exaggerated mountains, through to John Runciman’s striking drawing which here is interpreted as the Three Witches conspiring over Macbeth’s fate.

This fascinating thematic survey will culminate with ‘The Persistence of Witches’. Works by Kiki Smith and Paula Rego mark a sea-change with these high-profile contemporary artists’ own take on a subject that had previously been almost exclusively male-dominated. In Smith’s study Out of the Woods, the artist herself explores the expressions and attitudes of the ‘witch,’ whereas Rego’s 1996 work Straw Burning relates to the famous Pendle Witch trials which took place in 1612 in Lancaster, 400 years ago.

The exhibition has been organised in partnership with the British Museum, whose loans will include William Blake’s magnificent drawing The Whore of Babylon which will be shown alongside the National Galleries’ own Blake drawing, once thought to depict Hecate, the classical witch of the crossroads.

Witches and Wicked Bodies will be an investigation of extremes, exploring the highly exaggerated ways in which witches have been represented, from hideous hags to beautiful seductresses who ‘bewitch’ unwary men.

Scottish National Gallery of Modern Art
75 Belford Road
Edinburgh EH4 3DR
Telephone +44 (0)131 624 6200

Here, the photographers and photographs are given new voice beyond what is now the normative media presentation; the subjects are purposely diverse and varied with a range that extends past merely politicizing pertinent local issues. The mainstay of Lebanese photo-conceptualism, Walid Raad is given his rightful place with a satirical formant of his Atlas Group’s faux narrative of Lebanese history, a fake illustrated document that outlines car-bombing during the civil war. Besides Raad, many of the artists will be unknown to most in London, they are the new bloomers, the new torch bearers who cast a new and vivid light from a distance.

Saida in Green. Digital c-print and tyre frame, 65 x 55 cm 2000 Hassan Hajjaj Copyright V&A. Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum

Light presents three bases that it then proceeds to cover with an intrepid proficiency. Recording: the photography where the subject matter is never as “straight”-forward as it would appear, where politics are skewed and the subtleties of press-imagery are re-evaluated. Reframing: the pastiche perfected, where old techniques evoke an age-past. Egyptian Youssef Nabil’s hand-coloured silver gelatin prints offer lush painterly appearance in an age of pixelated violence. Resisting: a double innuendo that refers both to the literal resistance of prevalent documentary photography through modifications such as scratching, digitized manipulation, collage and other conscious but often delicate alterations and literal depictions of defiance, protest and critiques of censorship.

The show, sadly, is cluttered as the display space for temporary exhibitions at the V&A is relatively small despite its prominent position close to the main entrance. Indeed, the curators were cramming in as much as they could with the space they had. After taking it all in apposite questions ensue: the works presented are allegedly from a single owner, who is it? Why is this the first major show of contemporary Middle Eastern photography to grace the walls of a major British Museum? Why now?

From the series Qajar
1998. Gelatin silver bromide print, 30 x 24 cm Shadi Ghadirian Copyright V&A. Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum

Perhaps we now have more questions than answers. But these questions need to be asked. Ultimately, in the authors view, Light illustrates not only the indelible talent from the Middle East but also the growing mainstream acceptance from the Occident of the region’s contemporary photographic production. Now, curators working in major museums, in this case Marta Weiss at the V&A, have the opportunity to overlook giants in the field such as Shirin Neshat for newcomers like Shadi Ghadirian. The output is often witty and the references are deeper than Ingres’ Odalisques or the textured Matisse-like arabesques that, nonetheless, are wallpapered in several surfaces throughout.

The Victoria & Albert Museum, lest we forget, was founded based on a pedagogical mandate. Its purpose was, and to an extent still is, to educate the (British) masses on production practices from its colonies. With shows like Light from the Middle East, such an education runs deeper. Yes, we are taught new names, histories, materials and wide-ranging methods of production. Equally, we learn that a once schismatic cultural divide and/or technological hierarchy has now been delimited in our age of globalism. Finally, we question what is at stake when a Western metropolis compounds Middle-Eastern photography with a newfound accessibility. We are indeed offered repose from the sensationalized imagery from the region that so often reminds us of its torments. While this escape will teach, let’s hope it inspires us to question its appearance in the here-and-now. Maybe this is the best education that can be gleaned from Light.

The Victoria and Albert Museum
Cromwell Road
London
SW7 2RL
Tel: 020 7942 2000
Opening times:
10.00 to 17.45 daily
10.00 to 22.00 Fridays (selected galleries remain open after 18.00 )
Closing commences 10 minutes before time stated

Ernesto Neto, It happens when the body is anatomy of time, 2000 © The Artist, courtesy Tania Bonakdar Gallery and Galeria Fortes Vilaça

The Scottish National Gallery of Modern Art is delighted to announce a major exhibition bringing together works from the D.Daskalopoulos Collection, one of the most important collections of contemporary art with major works from the Scottish national collection. This innovative exhibition, curated by Keith Hartley, Chief Curator at the Scottish National Gallery of Modern Art, comprises over 120 works and will create a new and dynamic context for both collections.

The exhibition will be displayed in pairings or as groups with works from the Scottish National Gallery of Modern Art to draw out commonalities and differences between both collections. Some 60 works of contemporary art by over twenty artists have been selected from the D.Daskalopoulos Collection including pieces by internationally renowned artists such as Marina Abramovic, Matthew Barney, Joseph Beuys, Louise Bourgeois, Helen Chadwick, Marcel Duchamp, Robert Gober, Mike Kelley, Paul McCarthy and Sarah Lucas. The exhibition will highlight the significance of the body as a theme in twentieth and twenty-first century art practice and will enable audiences to view many world-class artworks that have never before been seen in Scotland.

Scottish National Gallery of Modern Art
75 Belford Road
Edinburgh EH4 3DR
Telephone +44 (0)131 624 6200