Skip to main content

Jacob’s Ladder

Ingleby Gallery until October
Four stars

The blood moon eclipse may have beamed out of sight, but, fifty years after Stanley Kubrick’s A Space Odyssey transformed an Arthur C Clarke short story into an audacious widescreen epic, and just a year shy of half a century since man walked on the moon for real, space is still very much the place. With this in mind, Ingleby’s Edinburgh Art Festival group show of fifteen artists seen in tandem with the University of Edinburgh’s Astronomy Victorious exhibition aims for the stars. This is perfectly evoked by Colour Field (2016), Katie Paterson’s reimagining of the night sky with the dancing neon of Los Angeles after dark.

One can orbit from Marine Hugonnier’s redacted American and Russian newspaper front pages of the moon landings in Art For Modern Architecture (2018) past Katie Paterson’s moulded meteorite in Campo del Cielo, Field of the Sky (2014) and the half-ton boulder of Alicja Kwade’s Stellar Day (2013) revolving in painfully anti-clockwise fashion. Both David Austen’s waggish film, Smoking Moon (2007), in which a crescent moon sucks on a tab, and George Melies’ vintage moving picture, Le Voyage dans la Lune (1902), that inspired it provide lightness amongst the weightiness, though it is left to From home (2018), Peter Liversidge’s seemingly free-standing tape measure and Jonny Lyons’ ladder in High Bias (2018) to really defy gravity.  

For all the supersonic trip-scapes on show, there is nothing on this planet that can compete with images taken by NASA and the crews of Apollo 8 and 9. Astronaut Bill Anders’ seminal Earthrise encapsulates a new dawn, and astonishes still.

The List, August 2018


ends

Comments

Popular posts from this blog

The Maids

Dundee Rep

Two sisters sit in glass cases either side of the stage at the start of Eve Jamieson's production of Jean Genet's nasty little study of warped aspiration and abuse of power. Bathed in red light, the women look like artefacts in some cheap thrill waxworks horror-show, or else exhibits in a human zoo. Either way, they are both trapped, immortalised in a freak-show possibly of their own making.

Once the sisters come to life and drape themselves in the sumptuous bedroom of their absent mistress, they raid her bulging wardrobe to try on otherwise untouchable glad-rags and jewellery. As they do, the grotesque parody of the high-life they aspire to turns uglier by the second. When the Mistress returns, as played with daring abandon by Emily Winter as a glamour-chasing narcissist who gets her kicks from drooling over the criminal classes, you can't really blame the sisters for their fantasy of killing her.

Slabs of sound slice the air to punctuate each scene of Mart…

Phoebe Waller-Bridge - Fleabag

Phoebe Waller-Bridge is a busy woman. The thirty-two year old actress who burst onto our TV screens as writer and star of Fleabag, the tragi-comic sort of sit-com about a supposedly independent woman on the verge is currently overseeing Killing Eve, her new TV drama which she's written for BBC America. As an actress, Waller-Bridge is also filming a big screen project which we can't talk about, but which has already been outed as being part of the ongoing Star Wars franchise.

These are both pretty good reasons why Waller-Bridge won't be appearing in the brief Edinburgh Festival Fringe revival of the original stage play of Fleabag, when it opens next week at the Underbelly, where it was first unleashed to the world in 2013. In her place, Maddie Rice will take on the role of the potty-mouthed anti-heroine after touring Vickie Jones' production for Waller-Bridge and Jones' DryWrite company in association with Soho Theatre. This doesn't mean Waller-Bridge has turned…

Futureproof 2017

Street Level Photoworks, Glasgow until February 4th 2018
Four stars

Now in its ninth year, Futureproof's showcase of recent graduate photographers from seven Scottish art schools and universities returns to its spiritual home at Street Level, with nineteen artists embracing photo essays, abstraction and constructed narratives. It is Karlyn Marshall's Willies, Beuys and Me that grabs you first. Tucked in a corner, this depiction of a woman impersonating iconic artist Joseph Beuys says much about gender stereotyping, and recalls Manfred Karge's play, Man to Man, in which a German woman took on her dead husband's identity.

The personal and the political converge throughout. Ben Soedera's Foreign Sands contrasts natural resources and the constructed world. Gareth and Gavin Bragdon's The Bragdon Brothers moves onto the carnivalesque streets of Edinburgh. Kieran Delaney's Moments also looks at the apparently ordinary. Matthew Buick goes further afield, as tourists…