Skip to main content

Counterpoint

Talbot Rice Gallery until October 18th
Three stars
Waiting plays a big part in the Talbot Rice's compendium of eight
relatively off-piste artists for their EAF show. Nowhere is this more
evident than in Ellie Harrison's 'After The Revolution, Who Will clean
Up The Mess?' an installation of four confetti cannons which may or may
not be detonated on September 18th this year at a post-referendum party
ONLY if there is a Yes vote.  This is something Ross Birrell's
uncertainty-based works also point too in their pointers to Heisenberg
and Mallarme's poem, A Dice Throw.

If Harrison's specially commissioned piece in search of an audience for
a once in a lifetime event isn't enough motivation for the accompanying
all-night party to go with a bang, one might turn to
Michelle Hannah's ongoing fantasy-wish-fulfilment fascination with
retro-futuristic electronic torch ballads and the vogue for ice-cool
dystopian iconography that defined the accompanying rise of the pop
video. In 'Statue', Hannah looks to the Talbot Rice's own surroundings
to give her work the image of classicist gravitas.

Shona Macnaughton's quest for narrative looks to Jean Genet's play, The
Maids, for a self-reflexive video performance flanked by boardroom
tables that hint of brainstorms past. Craig Mulholland's bowling
alley-styled 'Potemkin Funktion' is a similarly unpopulated, with the
accompanying vocal samples giving off the air of an end of the world
amusement arcade. Alec Finlay's wicker bee-hive constructions and the
accompanying recording of him reading his 'Global Oracle (Navstar
satellites' is a more rural retreat than Keith Farquhar's aluminium and
corrugated iron constructions below.

If Andrew Miller's photographs look even more barren, his wooden
construction, 'Refraction' looks imported from an adventure playground,
and is as good a place as any to sprawl over and use as a viewing post
for forthcoming performances by Jeans & MacDonald, Alexa Hare and
Ortonandon. Whatever happens next, fireworks are inevitable.

The List, August 2014




ends

Comments

Popular posts from this blog

Michael Rother - Sterntaler at 40

"There's so much to do," says an uncharacteristically flustered Michael Rother. The normally unflappably beatific German guitarist, composer and former member of Neu! and Harmonia, who also had a stint in a nascent Kraftwerk, is packing for live dates in Russia and the UK, including this weekend's show at the Queen Margaret Union in Glasgow.
"It has always been my choice to take care of these things myself and not have a manager," he says. "Somehow for me the independent aspect of doing things is really important, but it has its disadvantages."
As well as playing selections from Neu! and Harmonia, the trio he formed with Dieter Moebius and Hans Joachim Roedelius of Cluster, Rother's Glasgow date will see him play a fortieth anniversary rendering of his second solo album, Sterntaler, in full. Rother will be accompanied by guitarist Franz Bargmann and drummer Hans Lampe, the latter of whose musical involvement with Rother dates back to Neu! days, …

Kieran Hurley – Mouthpiece

Things have changed since Kieran Hurley first began writing the play that would become Mouthpiece, which opens at the Traverse Theatre in Edinburgh this weekend. At the time, Hurley was, in his own words, “quite new on the scene.” As a writer and performer, he had already scored hits with Beats and Chalk Farm, two pieces that put him on the map with a new generation of theatre-makers steeped in an equally new wave of grassroots opposition that drew from the iconography of revolutions past. Where Beats looked at the politicisation of 1990s club culture, Chalk Farm, co-written with AJ Taudevin, focused on a teenage boy caught up in the 2011 London riots.
More plays followed. Some, like Heads Up used the same solo story-telling aesthetic to look at an everyday apocalypse. More recently, Square Go, written with Gary McNair, dissected toxic masculinity through a school playground fight.
All the while as Hurley developed as a writer, from new kid on the block to established provocateur, this…

Clybourne Park

Adam Smith Theatre, Kirkcaldy Four Stars
It’s a case of whoops, there goes the neighbourhood twice over in Rapture Theatre’s revival of Bruce Norris’ Pulitzer Prize-winning play, which opens in 1959 in the same Chicago suburb where Lorraine Hansberry’s drama, A Raisin in the Sun, which appeared that year, is set. Here, Robin Kingsland’s Russ and his wife Bev, played by Jackie Morrison, are preparing to move out of their now almost empty des-res following a family tragedy.
Unknown to them, the bargain basement price tag has enabled a black family to move in, with Jack Lord’s uptight Karl a self-appointed spokesperson for the entire ‘hood. Russ and Bev’s black maid Francine (Adelaide Obeng) and her husband Albert (Vinta Morgan), meanwhile, bear witness to a barrage of everyday racism. Fast forward half a century, and a white family are trying to buy the same house, albeit with a heap of proposed changes which the black couple representing the block’s now much more diverse community aren’t…