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Director’s Talk

Tue 25 Sep, 6–7pm. Free. Book via Eventbrite

Join the Fruitmarket’s Director Fiona Bradley as she reflects on how her understanding of Tacita Dean’s art has developed in the course of making and living with the exhibition.

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 ½ minutes. Film still. Courtesy the artist; Frith Street Gallery, London and Marian Goodman Gallery, New York/Paris.

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Artist’s Talk: Tacita Dean

Fri 6 Jul, 5–6pm. Free. Book via Eventbrite

On the evening of her exhibition Woman with a Red Hat opening at The Fruitmarket Gallery, Tacita Dean RA will be in conversation with our Director Fiona Bradley about the exhibition, introduced by Tim Marlow, Artistic Director of the Royal Academy of Arts. This event, with Art Fund support, forms part of RA250 UK: exhibitions and events around the UK to celebrate 250 years of the Royal Academy of Arts.

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.

RA_Art Fund

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Director’s Talk

Tue 29 May, 6-7pm, Free. Book via Eventbrite

The Fruitmarket’s Director Fiona Bradley reflects on how her understanding of Lozano’s art has developed in the course of making and living with the exhibition.

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. 1961. © The Estate of Lee Lozano. Courtesy Hauser & Wirth

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Self-Sabotage: Spark and Lozano

Fri 27 Apr, 6–7.30pm. Free. Book via Eventbrite

Author Andrew O’Hagan and Director of The Fruitmarket Gallery Fiona Bradley explore the parallels between the self-destructive tendencies of Muriel Spark’s protagonist in The Driver’s Seat (1970) and artist Lee Lozano’s rejection of the art world and boycott of women in the early 1970s, which threw her into semi-obscurity. O’Hagan has written the introduction to a new edition of The Driver’s Seat, published by Polygon.
This event accompanies The Fruitmarket Gallery’s exhibition Lee Lozano: Slip Slide Splice (10 March – 3 June 2018).

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