Coffee-Table Notes

Gallery of Modern Art, Glasgow until 28 April 2024   In the GOMA shop, just beside the loading bay style entrance to Beagles & Ramsay’s new exhibition, limited edition t-shirts, tote bags, lanyards and postcards based on the show are nestled next to assorted art stars’ merch. While not usual to advertise within the confines of a review, given the Glasgow based double act of John Beagles and Graham Ramsay’s long-standing dissection of consumer capital, in this context, it seems appropriate.   This year’s model sees the pair in their occasional guise of New Heads on the Block and Rope-a-Dope transform the gallery space into a department store. Here, off the peg items and bespoke couture are modelled by eighty-one life-size flatpack showroom dummies that wear their brand with pride.    Constructed from cheap office furniture and resembling Viz comic characters or more regular mannequins after a crash diet and a makeover, the models sport ostentatious uber-moderne outfits for the desig

Tron Theatre, Glasgow Four stars The Scots negative in the title of Gary McNair’s audacious new version of Charles Dickens’ rites of passage epic Great Expectations says it all in Andy Arnold’s slow burning production. Here, after all, is a story about how a smart working class boy with ideas above his station is groomed for the success that sees him corrupted before he eventually finds his way home.   By rewriting Dickens’ boy hero Pip as a gallus Glasgow patter merchant, McNair, Arnold and co gives him even more of a common touch. As embodied by a brilliantly rambunctious Gavin Jon Wright, Pip tells his own story in what begins as a motor mouthed stand-up routine full of scurrilous asides and one-line gags. These are brought to life by everyone else on stage who haunt Pip’s imposter syndrome nightmares. Only when he learns to talk proper and acquire the airs and graces of a gentleman does he lose sight of himself.   Karen Dunbar’s increasingly creepy Miss Havisham leads a roll call o

One imagines taking a walk with Claire M Singer to be a magical experience. You can hear hints of such magic on   Saor , the Aberdeenshire born composer’s forthcoming album of pipe organ based works released on the Touch   1 label, home to such environmentally inclined experimentalists as Chris Watson   2 and the late Philip Jeck   3 .     Pronounced ‘Sieur’, as in ‘monsieur’,   Sao r is inspired by wide-open space, with tracks such as ‘Càrn’, ‘Forrig’, and 'Braeriach' all named after Munros Singer has climbed during her wanderings in the Cairngorms. The album’s closing title track, meanwhile, sums up Singer’s worldview in an epic twenty-four and a half minute piece that translates from Scottish Gaelic as ‘Free’.     This feeling is confirmed at the end of the track, recorded in one take using five different organs in Orgelpark   4 , the Amsterdam based concert hall for organists containing numerous organs that span the centuries. With Singer racing between instruments to crea