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Discussion Group: Speed

Wed 16 Jan, 5–6pm, Free. Book via Eventbrite

Join a discussion of speed in the context of Emma Hart’s new work at The Frutimarket Gallery. There’s a small amount of reading to do in advance, provided when you book.

About the exhibition
London based artist Emma hart (b.1974, London) makes sculpture, photography, film and installation. Her work is often badly-behaved and messy, challenging assumptions and stereotypes in its quest to be something to which everyone can relate. We are delighted that Hart accepted our invitation to make this, her first exhibition in scotland, and responded with a body of entirely new work, which we are showing alongside the major recent installation Mamma Mia!, made as part of the Max Mara art Prize for Women which she won in 2016.

The exhibition highlights Hart’s work with ceramics, a material she turned to in order to find the ‘real’ in art: ‘clay can be an exciting way to talk about chaos … what is immediately important is how personal it is. There’s a very raw direct relationship between the clay and my hands’.

Mamma Mia! is an immersive, beguiling, engulfing installation. You look at it by walking through and around it, looking up into a sequence of large ceramic heads/jugs/lamps which hang from the ceiling, projecting light in speech bubbles onto the floor. The work takes the family as a familiar context: the heads/jugs/lamps hang in family groups, disrupted by slowly moving fans whose blades are metal knives, forks and spoons. The new works use the similarly common ground of the car and urban landscape to look at how we navigate the world and understand ourselves within it, with sculptures that place us and our families in relation to windscreens, road signs, car bonnets and steering wheels.

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Discussion Group: Time

Wed 22 Aug, 5–6pm. Free. 10 places. Book via Eventbrite

Join the Fruitmarket’s Research and Interpretation Curator Ruth Bretherick to discuss time in the context of Tacita Dean’s work. There will be a small amount of reading to do in advance, provided when you book.

About the exhibition

Tacita Dean is one of Britain’s most respected and successful international artists. This year has been a busy one for her, with exhibitions at London’s Royal Academy of Arts, National Portrait Gallery and National Gallery focusing on the genres of landscape,portraiture and still life. Taking theatre and performance as its theme, our exhibition complements these showings, and is presented in the context of the Edinburgh International Festival, the world’s pre-eminent celebration of the performing arts.

The exhibition is built around Dean’s film Event for a Stage (2015), in which actor Stephen Dillane delivers a virtuoso solo performance: it is a performance about performing, given by an actor playing the part of an actor. As the film moves swiftly backwards and forwards between ‘reality’ and ‘illusion’, the audience never quite knows how much of what we are seeing to believe – much of the script concerns the role of text, actor and audience in creating and preserving the ‘magic of suspended disbelief that is the theatre’.

Event for a Stage is joined in the exhibition by a selection of works brought together for the first time that focus on ideas related to acting and the theatre, including her recent film miniature His Picture in Little of three actors who all played Hamlet on the London stage and her early installation Foley Artist that uses the fiction of sound in cinema to portray the actions of a theatre usherette. The exhibition also includes a blackboard drawing and photogravures that together examine performance and its relationship to fiction, the imagination and the collective effort of artist and audience. Turning truth into fiction and unspooling the threads of narrative even as they seem to be weaving them into a convincing tale, these beguiling, entrancing works offer another window into the imagination of this most complex of artists.

 

Image: Tacita Dean, A Muse, 2017. 35mm colour anamorphic film, optical sound, reduced to spherical 16mm for exhibition, 2 1/2 minutes. Film still Courtesy the artist; Frith Street Gallery, London and Marian Goodman Gallery, New York/Paris

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Discussion Group: Refusal

Thu 17 May, 5–6pm. Free. 10 places. Book via Eventbrite
Join the Fruitmarket’s Ruth Bretherick to discuss refusal in the context of Lozano’s work. There will be a small amount of reading to do in advance, which will be provided when you book.

Lee Lozano Slip Slide Splice
Exhibition 10 March – 3 June 2018
Lee Lozano was a major figure in the New York art scene of the 1960s and early 1970s, making furiously inventive, irreverent and often tiny paintings and drawings; vast, abstracted paintings that sometimes used tools as their starting point; and conceptual works which took the form of instructions: ‘investment piece: be the recipient of a grant. Invest half the money on the stock exchange and hold purchase for a minimum time period of six months’.
These works, called ‘language pieces’ by Lozano, culminated in General Strike Piece (‘gradually but determinedly avoid being present at official or public ‘uptown’ functions or gatherings related to the ‘artworld’’…) and then Dropout Piece which saw Lozano leave New York and the art scene entirely. Her radical approach to art and life, in particular her systematic refusal to engage with the institutions and support structures of the art world, led somewhat inevitably to her work being neglected and becoming much less well known over time. Recently, this has begun to change, and we are proud to make this contribution to the reassessment of Lozano’s work.
This exhibition brings together work from across Lozano’s career. A selection of small paintings from 1962 will be shown alongside a selection of drawings from the same time – metamorphic and mostly frankly rude. Four vast, abstracted paintings will be contextualised both by related drawings and previously unseen notes, instructions and lists. A restaging of Infofictions, the exhibition of language pieces she made in Halifax, Nova Scotia in 1971, a few months before her exit from the artworld, completes the exhibition, drawing visitors into the world of Lozano’s innovative and uncompromising artistic imagination; the world of a supremely talented painter who in the end prioritised thinking over doing.

Image credit: Lee Lozano, No title (detail), c 1962. © The Estate of Lee Lozano. Courtesy Hauser & Wirth

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