Skip to main content

Sarah Rose, Susannah Stark, Hanna Tuulikki – Lilt, Twang, Tremor

CCA, Glasgow until January 14th 2018
Four stars

The female voice is at the centre of this exhibition by three artists who go beyond words to construct a series of town and country landscapes. These veer between communal chorales, silent environments and public proclamations. The sounds of Hanna Tuulikki's cloud-cuckoo-island (2016) and Away with the Birds (2014) overlap in a way that leaves space enough for both to breathe. Filmed on Eigg, the former finds Tuulikki taking on the mantle of Irish king, 'Mad Sweeney', whose call of the wild communes with a real life cuckoo. Away with the Birds is a group vocal composition heard on headphones that evokes a poetic impression of flight in formation.

Susannah Stark's Agora of Cynics (2017) is a series of Greek style foam columns which house a stage for public discourse. This comes through Searchlights (2017), a sound-work produced with musician Donald Hayden, which sets Berlin Wall graffiti and words from a World War Two internment camp to reggae. On a flat-screen TV, suburban idylls are overlaid with porn iconography in the animated collage of Unnatural Wealth (2017).

Four pieces by Sarah Rose offer up sculptural critiques of existing structures. In Rumours (2017), images of birds are cut out and given a fresh dimension. Elsewhere, bedding and blankets hang down. Cushions on the wall look like they're waiting to eavesdrop on someone. Oscar Marzaroli's groovy 1980 documentary on Glasgow's rebuilding is shown on a loop. Finally, SING SIGN (2015) sees Tuulikki and fellow composer Daniel Padden square up to each other with vocal exchanges that incorporate British Sign Language into the mix. While the expansive nature of all three artists sees them creating worlds to call their own, trouble in paradise remains even as voices are reclaimed.

The List, December 2017

ends

Comments

Popular posts from this blog

Big Gold Dreams – A Story of Scottish Independent Music 1977-1989

Disc 1 1. THE REZILLOS (My Baby Does) Good Sculptures (12/77)  2. THE EXILE Hooked On You (8/77) 3. DRIVE Jerkin’ (8/77) 4. VALVES Robot Love (9/77) 5. P.V.C. 2 Put You In The Picture (10/77) 6. JOHNNY & THE SELF ABUSERS Dead Vandals (11/77) 7. BEE BEE CEE You Gotta Know Girl (11/77) 8. SUBS Gimme Your Heart (2/78) 9. SKIDS Reasons (No Bad NB 1, 4/78) 10. FINGERPRINTZ Dancing With Myself (1/79)  11. THE ZIPS Take Me Down (4/79) 12. ANOTHER PRETTY FACE All The Boys Love Carrie (5/79)  13. VISITORS Electric Heat (5/79) 14. JOLT See Saw (6/79) 15. SIMPLE MINDS Chelsea Girl (6/79) 16. SHAKE Culture Shock (7/79) 17. HEADBOYS The Shape Of Things To Come (7/79) 18. FIRE EXIT Time Wall (8/79) 19. FREEZE Paranoia (9/79) 20. FAKES Sylvia Clarke (9/79) 21. TPI She’s Too Clever For Me (10/79) 22. FUN 4 Singing In The Showers (11/79) 23. FLOWERS Confessions (12/79) 24. TV21 Playing With Fire (4/80) 25. ALEX FERGUSSON Stay With Me Tonight (1980) 1. THE REZILL

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) 1. THE STONE ROSES    Don’t Stop ( Silvertone   ORE   1989) The trip didn’t quite start here for what sounds like Waterfall played backwards on The Stone Roses’ era-defining eponymous debut album, but it sounds

Carla Lane – The Liver Birds, Mersey Beat and Counter Cultural Performance Poetry

Last week's sad passing of TV sit-com writer Carla Lane aged 87 marks another nail in the coffin of what many regard as a golden era of TV comedy. It was an era rooted in overly-bright living room sets where everyday plays for today were acted out in front of a live audience in a way that happens differently today. If Lane had been starting out now, chances are that the middlebrow melancholy of Butterflies, in which over four series between 1978 and 1983, Wendy Craig's suburban housewife Ria flirted with the idea of committing adultery with successful businessman Leonard, would have been filmed without a laughter track and billed as a dramady. Lane's finest half-hour highlighted a confused, quietly desperate and utterly British response to the new freedoms afforded women over the previous decade as they trickled down the class system in the most genteel of ways. This may have been drawn from Lane's own not-quite free-spirited quest for adventure as she moved through h