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Amazing memories of ‘Roots’ as part of Glasgow Open House Arts Festival last April, exploring community and connections. A ‘sensory journey’ of visual art, live music, an ‘interactive wall’ and workshops in Permaculture and sowing seeds, in collaboration with visual artist Sorcha Fitzgerald, photographer/filmmaker Sam Mwiraguzu, poet and MC Zenga the Titan and lovely musicians Martina Alberi, Fnuf and Joanna Foster. Thank you to everyone. It was magical :) And big thanks to Sebastian Akehurst at #JollyBeardedPhotography for these lovely photos!
Glasgow Open House 2017: Using Private Space - A Review
Artists and non-artists opened up their living rooms, bathrooms, bedrooms, kitchens and/or stairways over a weekend across Glasgow for Glasgow Open House (GoH) festival from April 28th - May 1st. Filling these domestic spaces were installations, performances, film screenings and art in all its manifestations. I took a leisurely walk around some of the venues in the West End.
The first thing I have to say is that the use of private space for the display of work is incredibly compelling. Working outside of the structures imposed by galleries and institutions, adopting a DIY approach to curation, viewing unused, domestic or unusual spaces… <3 <3
I was struck, particularly, by the warmth of the welcome I received at the venues. Entering someone else’s private space is initially quite daunting. The festival seems to foster an authenticity and genuine desire to share and create stronger community neighbourhood links. I was surprised at just how many exciting creatives there were living within a mile of my flat.
I find the festival’s selection process, or seeming lack of critical selection, an interesting approach or method. Participants included art students, established artists (Marvin Gaye-Chetwynd was back again this year), musicians and local organisations and groups (Glasgow Tool Library were on the programme, and I was excited to see this opening!). GoH’s strength lies in providing these participants with a platform that encourages an audience for their work, and a critical response (GoH, on their website, do, however, frame this as getting some ‘positive feedback’…).
While I understand this selection method allows for GoH’s use as an opportunity for experimentation and not, necessarily, fully honed artistic practice, I did find the standard of the work mixed, and, in a couple of cases, a wasted climb of the stairs. However, at each venue, I was continually surprised at the innovative ways in which space had been appropriated from its domestic functional purpose to become a setting for art. It re-enforced, for me, the irrelevance of using a white cube space.
My favourites in the West End were Venue 12, Archipelago and Venue 17, Carillon.
Archipelago was an exhibition of works by an all-female collective (Pippa Lobban; Rachel Hoodfine; Lucy Mullican; Alison Johnston; Ellene Mash; Lizzie Urquart; Tamara MacArthur) in response to a joint trip to the Isle of Islay. The work on show was diverse - printmaking, film, photography and a participatory project.
I spent most of my time in the space (their living room?) looking at one particular piece. Two flip books were placed side by side. One was displaying photographs of rural settings on Islay (a cottage kitchen, the beach, a polytunnel, a washing line), the other featured recent newspaper headlines such as: ‘North Korea threatens new missile tests’ or ‘Thousands of Migrants denied NHS treatment’. The audience could flip the two, matching and contrasting the image and text. It felt, to me, like a visual manifestation of my own desire for an alternative way of life, and to isolate myself from current economic and political systems and events. I liked it a lot.
I always find collective working a fascinating approach to art making and production. In Archipelago, although they took the trip to Islay together, each artist seems only concerned by the production of their own work. I would have liked to have seen more co-authorship and a combining of their contrasting disciplines.
Carillon was a sound-sculpture by Bryony Rose and Max Syed-Tollan. A ‘carillon’, as wikipedia defines it, ‘consists of at least 23 cast bronze, cup-shaped bells, which are played serially to produce a melody, or sounded together to play a chord’. For Carillon, the artists had converted their living room into a bell tower - the sculpture was a wooden construction with hanging ceramic bells and ceramic bird whistles that could be ‘played’ by the audience. I particularly enjoyed this combination of materials, and the performative element that allowed the audience to become a participant, shaping the artwork.
Finally, I was a big big fan of the way-finder flags created to guide the audience to each venue - made by The Coach House Trust, Project Ability and the Women’s Art Group at Milk Cafe. All amazing groups that use art as therapy, art aiding social inclusion, art as a community activity (!!!) :) :) :)
Today is the last day of Glasgow Open House Arts Festival 2017 Please come to 420 Sauchiehall 1-8pm venue 26 to see my new project, Tomato Soup film screening, pet my bunny, eat biscuits and see other 5 rooms full of drawings, photographs, music and sculpture! Thank you, everyone, who came the last two days. You're amazing! @glasgow_open_house #glasgowopenhouse #glasgowopenhouseartfestival #openhouse #gsofa #glasgowart #exhibitionglasgow #glasgow #glasgowevents #artevent #filmscreening #movingimage #videoart #videoprojection #room (at Sauchiehall Street)
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Freebies! I made 72 prints from my new project for the @glasgow_open_house | The exhibition and film screening in my flat starts on Saturday and it's on till Monday evening | venue 26 | 420 Sauchiehall Street | @cm_glasgow @glasgow_city_arts @glasgowliving #glasgowopenhouse #glasgowopenhouseartfestival #openhouse #openhouseartfestival #artfestivalglasgow #artfestival #artglasgow #gsofa #gsa #fineartphotography #artistsfilm #print #freebies #printsforsale #artproject #exhibitionglasgow #exhibition #filmscreening #artistsfilm #artfilm (at Sauchiehall Street)
