Revolve:R, edition three

Revolve:R, edition three

ISBN 9781783209545
Hardback 370 pages
220×220
Published November 2018
Imprint: Intellect

Works by: Portia Winters, Alastair Whitton, Emmanuelle Waeckerle, Sipke Visser, Ricarda Vidal, Sam Treadaway, The Travelling Band, Shireen Taylor, Rebecca Tantony, Kate Street, Glen Stoker, Alexander Stevenson, Emmanuel Spinelli, Daniel Smedley, Seán Slemon, David Shillinglaw, Solveig Settemsdal, Laura Santamaria, Natasha Rosling, Juneau Projects, Pietro Reviglio, Alexandros Pissourios, Heather McClelland, Julie McCalden, Chris McCabe, Harry Man, Anna Mace, Sharon Kivland, Will Kendrick, Hayden Kays, Tom Jenks, Peter Hoiß, Debora Hirsch, Katrin Hanusch, Georgie Grace, Steven J Fowler, Stephanie Douet, Amy Dickson, Holly Corfield Carr, Anna Cady, Sophie Bullock, The Bookshop Band, Kelly Best, Emilie Atkinson, Tabatha Andrews, Maria Anastassiou.

Limited edition /200

Revolve:R is a unique multidisciplinary artistic collaboration, initiated in 2011 by Sam Treadaway and Ricarda Vidal, in which contemporary artists produce completely original artworks, poetry, film, soundscapes and music in response to a series of visual prompts. In this project, an artwork is sent to artists across the world with an invitation to respond with a work of their own. After each artist has submitted a response, a second image is produced and returned to all participating artists as a remix, edit and synthesis of the collected artwork material. The process is repeated six times, producing the six chapters (or Revolves) of this lavishly produced, limited-edition bookwork. Focusing on experimentation and exchange, the project models communication between international arts communities and transcends geographic and linguistic boundaries. It is a beautiful example of the power of collaborative practice, a vehicle for new artistic dialogue, and an artwork in its own right.

In this edition, the images produced through each Revolve are also sent to artists working outside visual media, creating a ripple effect as musicians, sound artists, and filmmakers respond with their own pieces. These films, musical compositions and soundscapes will be available in a disc accompanying each book and online.

The Revolve:R, edition three bookwork is a brand new collaboration between Intellect Books and Arrow Bookworks. It follows Revolve:R, edition one and Revolve:R, edition two (Arrow Bookworks 2013, 2015), which are available through www.revolve-r.com.

Art Auction for Cure Claire’s Cancer

20th December 2018. Centre for Contemporary Art, 350 Sauchiehall Street, Glasgow.

Suzy Houston, Jackie Anderson, Jo Sinclair and myself organised a VERY special and eclectic auction of art in order to raise funds for Cure Claire’s Cancer, a cause very close to our hearts. We received over 80 incredible and diverse donations from artists at every stage of their careers and all over Scotland and the UK, including celebrated artists, such as Rachel MacleanAndy GoldsworthyJack Vettriano and Peter Howson.

We managed to raise almost £22,000 towards pioneering treatment for our friend Claire Bothwell and had a wonderful evening to boot. More information can be found here.

Image:

Rachel MACLEAN, Big Yin, (2017). Giclée print, framed.

ALFAST Sarah Ruck, Red Spotted Purple. Drawing on paper, 22x27cm (unframed).

Daisy RICHARDSON, Three Legged Table, (2017). Oil on board, 25x25cm.

Jackie ANDERSON, Temple Road 2. Oil and cotton on board, 28x31cm. (Framed)

Catherine IMHOF-CARDINAL , Mélèzes (Larches). Oil, 54x55cm (framed).

Maeve DIXON, Partick Burgh Halls, Monoprint on paper, 40x60cm (unframed)

Marga SCHNELL, Gleaming for Light. Woodcut and silk paint on paper, 55x52cm (unframed)

 

Time Management

Kari Stewart and Shireen Taylor

Intermedia Gallery, 26 October – 18 November 2018

The Receiver of Wreck is currently on annual leave.

The Receiver of Wreck or ‘Coroner of The Seas’ reminds us that all wreck consisting of flotsam jetsam and lagan must be reported to the Receiver of Wreck.

Wreck law, as it is known, tells us that all things found at sea or on the beach, including the beach itself, all belong to someone.

In fact, it is not clear whether or not we wreckers have the right to be on the beach at all.

The good-and-honest-wrecker, or ‘beachcomber’ as he is referred to by the uninitiated, does his duty and reports all his sea-washed and sun-dried findings directly to the Receiver of Wreck.

The Receiver of Wreck’s office hours are 10am – 4pm Saturdays through Thursdays and 10am to 3pm on Fridays.

Upon the Receiver of Wreck’s desk can be found

i. broken bits of lobster pots,

ii. choice pieces of gribbled planking and travel floats,

iii. ginger beer bottles from the middle of the 18th century,

iv. some kind of He-Man action figure covered in goose barnacles,

v. balls of tangled nylon fishing line,

vi. small lumps of jet and ambergris,

vii. the rotting corpse of a pilot whale,

viii. tropical cowrie shells,

ix. a jar of pickled sea beet,

x. beach pebbles,

xi. raisins,

xii. tobacco,

xiii. coal,

xiv. rags,

xv. flippers,

xvi. snorkels,

xvii. underwear

and

xviii. trainers

amongst thick swathes of kelp.

When the Moon is at perigee and tides are particularly high or low, The Receiver of Wreck secretly wishes the good-and-honest-wrecker could, just once, draw a line between what ought to be reported and what is perhaps better quietly tidied away. Perhaps explore the thrilling underworld of ‘Amazing DIY Hacks for Driftwood’ or ‘34 Seashell Crafts to Make Your Summer Memories Last a Lifetime’. Soon enough however, she lets the thought wash away as she reminds herself that an endless procession of good-and-honest-wreckers will always mean job security.

The Receiver of Wreck has just stepped into a meeting that should last all morning.

Occasionally, The Receiver of Wreck’s keyboard and unclaimed property forms become so buried beneath the great quantity of flotsam, jetsam, and lagan that she finds herself spending entire days staring down at the motley spread before her, turning over sun-bleached cuttlebones and empty spiny spider-crab shells in her hands. How curious that there is nothing macabre about them. They are so perfect and clean that instead of the sort of reaction one expects in touching mortal remains, there is a pleasure in their ever so delicate colouring and structure.

The Receiver of Wreck has just popped out for a flat white and ham croissant but will respond to your enquiries as soon as possible.

In the Receiver of Wreck’s pigeonhole, we find

i. grapefruit and oranges that have been washed ashore,

ii. a pint tin of Emergency drinking water tinned in America,

iii. 100lb bales of rubber,

iv. wreckfish,

v. acorn barnacles,

vi. goose barnacles,

vii. egg cases of dogfish and skate,

viii. an undrinkable cask of Algerian wine,

ix. a tin of sherbet,

x. a consignment of bicycle seats (some clean some barnacled),

xi. beech nuts,

xii. hazelnuts,

xiii. a plum stone,

xiv. two peach stones

and

xv. a 4” x 1” piece of parquet flooring inscribed with a message to The Receiver of Wreck.

It reads:

I built a fence entirely of wreck recently and it runs along the path which leads to the beach. I received a few adverse comments, but I consider it natural to build a wall on a beach out of wreck. We are told that we live on a ‘Heritage Coast’. I don’t have a clue what ‘heritage’ is supposed to mean in the context of a coast but the dictionary gives the definition of heritage as ‘that which is or may be inherited’. My grandmother was a wrecker, so was my mother, and I’ve always suspected that wrecking is genetically controlled, so if there’s wreck on a beach I am programmed to pick it up. I can’t help it. It’s in the blood.

Signed A. Wrecker.Work, clockwise from entry:

The Receiver of Wreck is taken from a longer text by Kari Stewart, originally written to be performed.

Kari Stewart (b.1981, United States) is a visual artist, curator and teacher based in Glasgow. Recent solo and group exhibitions include: Glasshouse, 2018 Glasgow Botanic Gardens, Glasgow International; Tongue Fest, 2017, So Soft Collective, Laurieston Arches, Glasgow; Soft Formalities, 2017, Studio 3 Gallery, University of Kent Canterbury, Kent; #instagood, 2016 (solo), The Chalet, Glasgow; Culte Cargo, (with Conor Kelly), 2016, VoidoidARCHIVE, Glasgow; Not Titled, 2016 with Conor Kelly and Dan Monks, IN PLACE, Dublin, Ireland; Bluffs and other drawings, 2016, Confined Spaces, The Old Gaol, Campbeltown, Argyll; Bruce [sic], 2015 (solo), Govanhill Baths, Glasgow; Queens Park Music Club Vol 2, 2015, (interactive publication), Queens Park Railway Club, Glasgow; and We’ll Make Art of Fragments, 2013 (solo), Armenian Centre for Contemporary and Experimental Art, Yerevan, Armenia.

Shireen Taylor (b.1978, United Kingdom) is a visual artist, curator and arts producer based in Glasgow. She is the co-founder of The Hidden Noise curatorial project. Recent projects include: For Matthew 2018, with Douglas Morland for GI2018, Mitchell Library, Glasgow; The United Kingdom of Earth – A Brexit Apocalypse 2017, performance with DW Robertson, CCA, Glasgow; The Queen and King of the Beach, 2017 (Solo) 24hr Window, Glasgow; New Work, 2017 with Alistair Dearie and Sally Wright, Project Room, Glasgow; The Decline of Western Civilisation 2016, with Baldvin Ringsted, Otto Piene, for GI2016, The Hidden Noise, Glasgow.

New work by Alistair Dearie, Shireen Taylor and Sally Wright

Glasgow Project Room

5th – 13th February 2017, 12-5pm Tuesday – Sunday

Opening: Saturday 4th February 7-9pm

The three artists present new work developed through a number of conversations. On the one hand, a fascination with the traditionalisms of still life and it’s associated craft, on the other, an embodiment of personal narrative that can be revealed or obscured at will.

Notions of decorative styles and psychological states inform the work in the exhibition, drawing inspiration from spiritualist practices, textile design and the activities of the Bloomsbury Set at Charleston House.

Alistair Dearie is a potter and sculptor, engaging a range of interests including fashion, ornamental gardening, queer history and ecology.

Sally Wright is a painter based in Devon, England.  Working across traditional and digital mediums, her works allude to hidden narratives through the use of traditional forms, song lyrics and alter ego.

Shireen Taylor is a visual artist who works primarily in drawing. Her work is concerned with depictions of the ephemeral through a stylised approach to drawing and surface.