Around the 2018 Edinburgh Art Festival – 2018届爱丁堡艺术节

City Report - 02 Aug 2018

Around the 2018 Edinburgh Art Festival

Jostling with its loud festival neighbours, the UK’s best attended annual visual art festival conducts a polyphonic debate with art of the past

By Tom Jeffreys

Edinburgh is a city whose historic architecture has long played host every August – more or less willingly – to a plethora of different festivities: the flagship Edinburgh International Festival, the Fringe, but also the Book Festival, and even the Book Fringe (a collaboration between indie bookstores Lighthouse and the Golden Hare). It feels appropriate, then, that this summer, artists are engaged in a polyphonic debate with the art of the past: critiquing, augmenting, reframing, reinterpreting.

Since its founding in 2004, Edinburgh Art Festival (26 July—26 August) has sought to stake a claim for the visual arts alongside the theatre, comedy and performance for which the city is best known. In 2017 it attracted 315,000 visitors making it the best attended annual visual art festival in the UK, according to director Sorcha Carey. 2018 sees just four new commissions plus the Platform exhibition, launched in 2015 to offer opportunities for emerging artists. Meanwhile, the city’s established institutions often pull out their strongest shows to coincide with the influx of visitors: as well as partner exhibitions, such as Jenny Saville at Scottish National Gallery of Modern Art, Rembrandt at Scottish National Gallery, Tacita Dean at Fruitmarket, Canaletto at Queen’s Gallery, outside of the official programme ‘Free the Pussy!’ sees a riotous feminist take-over of Summerhall curated by artist Tamsyn Challenger.


Around the 2018 Edinburgh Art Festival - 2018届爱丁堡艺术节

Ruth Ewan, Sympathetic Magick, 2018, performance documentation. Courtesy: Edinburgh Art Festival 2018

Although there is no overarching curatorial agenda for the festival this year (‘strong themes emerge naturally and organically,’ says Carey), an engagement with the past feels widespread. Sometimes this is simply a matter of location, as with Ross Birrell and David Harding’s film installation (Triptych, 2018) beneath the gothic vaulting of Trinity Apse, or Bill Viola’s video (Three Women, 2008) within the ornate parish church of St Cuthbert’s. In the secluded Johnstone Terrace wildlife reserve is Bobby Niven’s Palm House, a timber-framed glass house (with mud oven), a permanent installation commissioned by Edinburgh Art Festival in 2017. This year it hosts pop-up performances as part of Ruth Ewan’s 2018 festival commission, Sympathetic Magick, a subtly subversive collaboration with socialist magician Ian Saville and other magicians and performers. With card tricks, music and other performances also taking place prominently in West Parliament Square, and tackling issues such as land ownership and tax evasion, Ewan’s project is the best example this year of Carey’s desire to ‘bring art out of galleries, into public spaces and into conversation with the history of our city’.


Around the 2018 Edinburgh Art Festival - 2018届爱丁堡艺术节

‘Jacob’s Ladder’, 2018, installation view, Ingleby Gallery, Edinburgh. Courtesy: Ingleby Gallery, Edinburgh

But it is in the galleries where you’ll find some of the strongest work in town. At Ingleby Gallery, an exhibition entitled ‘Jacob’s Ladder’, which, in partnership with ‘Astronomy Victorious’ at the University of Edinburgh, explores humanity’s changing conceptions of the universe. In the recently exquisitely refurbished former religious meeting house that now houses Ingleby, work by contemporary artists like Peter Liversidge, Cornelia Parker and Katie Paterson is presented alongside diverse historical pieces: hand-coloured engravings from 1639, 19th century woodcuts, Georges Melies’ 1902 film, Le Voyage dans la Lune, and vintage NASA photographs taken by the crews of Apollo 8 and 9 (1968–69).

Marine Hugonnier addresses the legacy of NASA directly in recent work from her series ‘Art for Modern Architecture’ (2004–ongoing). Side by side hang the front pages of two newspapers from opposite sides of the iron curtain (The New York Times from the US and Izvestiya from the USSR), both published the day after the historic 1969 moon landing. Hugonnier has screen-printed over the images so only text remains: The New York Times devotes the entire page to the subject, while Izvestiya’s editors relegated it to the foot under the headline первые шаги (‘First Steps’).


Around the 2018 Edinburgh Art Festival - 2018届爱丁堡艺术节

Marine Hugonnier, from the series ‘Art for Modern Architecture’, 2004–ongoing, installation view, Ingleby Gallery, Edinburgh. Courtesy: Ingleby Gallery, Edinburgh

If Hugonnier’s work emphasizes the close ties between science and the political ideologies of nation states, a series of undated oil paintings by Frank Walter (an artist and writer whose life was marked, notes the biography on Ingleby’s website, by ‘delusions of aristocratic grandeur’) imagine space exploration as something altogether more personal, whimsical, and unsurprisingly less successful. For a commercial gallery with a reputation for pared-back elegance, Ingleby’s inclusion of explanatory wall text is a judicious decision: this is an exhibition full of fascinating stories.

So too is Lucy Skaer’s take-over of the University of Edinburgh’s Talbot Rice gallery for her exhibition ‘The Green Man’, which has developed from extensive engagement with the university’s collections. In an expansive gesture, Skaer has invited contributions from artists Fiona Connor, Will Holder, and Hanneline Visnes. There is also a film that Skaer made in collaboration with Rosalind Nashashibi (Why Are You Angry?, 2017) which revisits Tahiti, in the footsteps of Gauguin, ironically mimicking the compositions of his paintings to overturn their highly-gendered and exoticizing power relations. Elsewhere, Skaer continues to bring together and challenge the arts of the past. On the walls are exquisite contact prints of seaweed and algae, while vitrines contain hunting horns, a 1908 book about blood coagulation, and a hand-scrawled note by James VI demanding a bloodhound.


Around the 2018 Edinburgh Art Festival - 2018届爱丁堡艺术节

Lucy Skaer, ‘The Green Man’, 2018, installation view, Talbot Rice Gallery, Edinburgh. Courtesy: Talbot Rice Gallery, Edinburgh

At the heart of Skaer’s exhibition are multiple series of floor-based sculptures produced in response to a 14th century illuminated hunting manual, Le Livre de Chasse, by Gaston Phébus. Each series translates found phrases (‘Morning Dew, the Hare Rests by Marsh’s Pool’) into militaristic formations of semi-abstracted objects in bronze, yew, copper, glass, or unfired terracotta. Some are pristine modernism; others are more obviously hand-crafted.

Connor’s architectural interventions (All the doors in all the walls, 2018) help to set the tone. At first you see doors embedded at impossible heights in the gallery’s walls, and the effect is alluringly surreal. Then you realize that the doors have been taken from elsewhere in the building to reveal aspects of the institution that would ordinarily remain concealed: a storage space full of toolboxes and wires, or an under-the-stairs cupboard containing artist monographs from previous exhibitions. In clear plastic sleeves on the cupboard door, now inserted in a nearby wall, is the itemized list of all those books but now reprinted (imperceptibly) onto aluminium foil. It’s hard to miss how male the list is (and how misspelt): Criag Aitchison, Alex Finlay, Donald Urquart…

Further exhibitions will continue to open throughout August, with 41 different venues in total involved in Edinburgh Art Festival. This is down from 50 in 2017, but there remains plenty to see – even if the strongest moments are only indirectly related ‘partner’ or ‘pop-up’ exhibitions. Skaer’s surprisingly exuberant show at Talbot Rice is the festival highlight. By foregrounding medievally-inflected linguistic riddles, ‘The Green Man’ makes a joyful game out of a visitor’s faltering attempts to decipher meaning. The exhibition is ideal for August in Edinburgh: not only cerebral but celebratory too, its own festival within the festival.

Edinburgh Art Festival 2018 runs in various venues from 26 July—26 August.

Main image: Katie Paterson, Colour Field, 2016, lambda c-type print mounted on aluminium 1.1 x 2.6 m. Courtesy: the artist and Ingleby, Edinburgh

Tom Jeffreys

Tom Jeffreys is a writer based in Edinburgh, Scotland. His first book, Signal Failure: London to Birmingham, HS2 on Foot, was published by Influx Press in April 2017.

City Report
Edinburgh Arts Festival
Tom Jeffreys
Lucy Skaer
Katie Paterson
Marine Hugonnier
Ruth Ewan
Ingleby Gallery
Talbot Rice Gallery

城市报告- 02八月2018日围绕2018届爱丁堡艺术节与喧嚣的节日邻居挤在一起,英国最好的出席年度视觉艺术节进行复调辩论与过去的艺术Tom Jeffrey爱丁堡是一座历史悠久的建筑,每到8月,它就或多或少地自愿地举办一场盛大的国际盛会:旗舰爱丁堡国际节,边缘区,还有图书节,甚至还有Book Fringe。独立书店灯塔和金色野兔之间的平衡。因此,今年夏天,艺术家们正与过去的艺术进行复调辩论:批评、增强、重塑、重新解读。自2004成立以来,爱丁堡艺术节(8月7日至26日)一直寻求与剧院、喜剧和表演并举的视觉艺术的主张。在2017,它吸引了315000名游客,使它成为英国年度最佳视觉艺术节,根据导演Sorcha Carey。2018只看到了四个新的佣金加上平台展,在2015推出,为新兴艺术家提供机会。同时,这个城市所建立的机构往往会拿出最有力的表演来配合游客的涌入:还有合作伙伴的展览,比如苏格兰国家现代艺术馆的珍妮·萨维尔,苏格兰国家画廊的伦勃朗,Canale水果市场的Tacita Dean。TTO在皇后画廊,在官方节目之外“免费的猫咪!”“看到一个疯狂的女权主义者接管夏威夷的艺术家Tamsyn Challenger。1uRuth-EWAN SalpActhix-Migk.JPG Around the 2018 Edinburgh Art Festival - 2018届爱丁堡艺术节 Ruth Ewan,同情Maigk,2018,性能文档。礼貌:爱丁堡艺术节2018,虽然今年没有节日的策展议程(“强烈的主题自然地和有机地出现”,卡蕾说),与过去的接触感觉广泛。有时这仅仅是一个地点的问题,就像Ross Birrell和David Harding的电影安装(TrrTyCH,2018)在三位一体的拱形拱顶下,或者比尔·维奥拉的视频(三个女人,2008)在圣詹姆斯的华丽教区教堂里。野生动物保护区是Bobby Niven的棕榈屋,一个木框玻璃屋(带有泥炉),2017爱丁堡艺术节委托的永久设施。今年,它举办了弹出表演作为Ruth Ewan的2018届节日委员会,同情Maigk,一个微妙的颠覆性合作与社会主义魔术师Ian Saville和其他魔术师和表演者。随着卡片戏法、音乐和其他表演也在西方议会广场显露无遗,并解决诸如土地所有权和逃税等问题,Ewan的项目是今年卡蕾将艺术从画廊、进入公共空间、进入康沃尔的最好例子。与我们城市的历史息息相关。09iGielBay-GaleRy-JACBOS-LADDER 201-26JPG WPA6022602IMG“雅各伯的梯子”,2018,安装视图,英格比画廊,爱丁堡。礼貌:“英格比画廊,爱丁堡,但它是在画廊,你会发现一些最强的工作在城里。在英格利画廊,一个名为“雅各伯的梯子”的展览,它与爱丁堡大学的“天文学胜利”合作,探索了人类对宇宙变化的观念。在最近精心翻新的前宗教会议馆,现在居住的英格比,当代艺术家,如Peter Liversidge,Cornelia Parker和Katie Paterson的作品,提出了不同的历史作品:手工彩色雕刻从1639,十九世纪木刻,乔治斯。梅利斯的1902部电影,Le航程DAN La Lune,以及美国宇航局8和9号(1968—69)的宇航员拍摄的美国宇航局年份照片。海洋HugnnIe在最近的工作中直接从美国宇航局的遗产,她的系列“现代建筑艺术”(2004 -正在进行中)。两张报纸的头版并排悬挂在铁幕的两面(来自美国的纽约时报和来自USSR的Izvestiya),这两张报纸都是在历史性的1969次登月后发表的。HugnnIe在图像上有丝网印刷,所以只有文本保留:纽约时报把整个页面投向主题,而伊斯维斯提亚的编辑把它放在标题下,即“第一步”。1818MaRiang-HuangnielyJuBuixLaDrdulyStudioSkys201201GeLeBay-GaleRy-JACBOS-LADDER 201-24.JPG WPAP6023 602IMG海洋HugnnIe,从“现代建筑艺术”系列,2004 -正在进行,安装视图,英格比画廊,爱丁堡。礼貌:爱丁堡的英格利画廊,如果Hugonnier的作品强调科学和国家民族政治意识形态的密切联系,Frank Walter的一系列未注明日期的油画(一个艺术家和作家的生活被标记),记下了英格利的《我们》的传记。BSITE通过“贵族气概的妄想”想象太空探索完全是个人的、异想天开的,而且毫不意外地不那么成功。对于一个以回放优雅著称的商业画廊,英格比的解释性墙文本是一个明智的决定:这是一个充满迷人故事的展览。Lucy Skaer的爱丁堡大学Talbot Rice画廊也参加了她的展览“绿色人”,这是从与大学收藏的广泛接触发展而来的。在一个广阔的姿态,斯卡尔邀请了艺术家Fiona Connor,Will Holder和汉内琳维斯纳的贡献。还有一部电影是Skaer和Rosalind Nashashibi合作制作的(你为什么生气?)(2017)以高更的足迹重新审视塔希提,讽刺地模仿了他的绘画作品,颠覆了他们高度的性别化和放荡的权力关系。在其他地方,SkaER继续汇集和挑战过去的艺术。墙壁上是海藻和海藻的精美接触图案,而玻璃则包含猎狗角,一本关于凝血的1908本书,还有James VI的一张手写潦草的便条,要求猎犬。Luy-Skal-The Green Men展示-礼貌- TalbT-Rig-Galay3.3.JPG Around the 2018 Edinburgh Art Festival - 2018届爱丁堡艺术节 Lucy Skaer,“绿色人”,2018,安装视图,Talbot Rice画廊,爱丁堡。礼貌:爱丁堡塔尔博特米尔画廊,在Skaer展览的核心是多个系列的地板为基础的雕塑响应十四世纪照明狩猎手册,Le LIFRE de SACSE,由加斯东Ph总线。每一个系列将发现的短语(‘晨露,野兔靠沼泽的池塘’)翻译成军国主义的半抽象物体,用青铜、紫杉、铜、玻璃或未烧的陶土制成。有些是原始的现代主义,有些则更明显是手工制作的。康纳的建筑干预(所有墙壁上的所有门,2018)有助于确定基调。起初,你看到门廊的墙壁上嵌入了不可能的高度,其效果是令人难以置信的超现实主义。然后你意识到门是从建筑的其他地方拿走的,以揭示那些通常会被隐藏的机构的一个方面:一个满是工具箱和电线的存储空间,或者一个包含先前展览中的艺术家专著的楼梯下的橱柜。在橱柜门上的透明塑料袖子,现在插入附近的墙上,是所有这些书的明细表,但现在转印(不知不觉)到铝箔上。这是很难错过的男性名单(以及如何拼写):Criag Aitchison,Alex Finlay,Donald Urquart…更多的展览将继续开放在整个8月,与41个不同的场馆参与爱丁堡艺术节。这一比例从2017的50下降,但仍有很多值得看到的——即使最强大的时刻只是间接相关的“合作伙伴”或“弹出式”展览。SkaER令人惊讶的精彩表演在Talbot Rice是节日的亮点。通过对语言中的谜语进行“前景化”,“绿色人”从一个访问者试图破译意义的蹒跚尝试中创造出一个快乐的游戏。这个展览在爱丁堡的八月是理想的:不仅是大脑,而且是庆典,在节日里它自己的节日。爱丁堡艺术节2018于8月26日至26日在各场馆举行。主图像:Katie Paterson,彩色场,2016,LAMBDA C型印刷安装在铝1.1×2.6米礼貌:艺术家和英格比,爱丁堡汤姆杰弗里斯汤姆杰弗里斯是一个作家在爱丁堡,苏格兰。他的第一本书《信号失败:伦敦到伯明翰,HS2徒步》于2017年4月出版。城市报道爱丁堡爱丁堡艺术节汤姆杰弗里斯露西斯卡尔凯蒂帕特森海洋霍格尼尔鲁思E万英格比画廊塔尔博特大米画廊


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