Transmission Annual Member's Show

Every year Transmission Gallery offers its membership the opportunity to participate in the Annual Members Show. With no limits to the size of work and all media accepted, the members show promises a whole range of contributions, from that of students to work by more established artists.

The resource room is new space in Transmission, making the gallery's unique 28-year archive permanently available to its membership and the public.

On Sunday 20th June we celebrate this with an afternoon and evening of events: Romana Schmalisch's performative work Mobile Cinema, an installation by Sarah Tripp, limited edition bookmarks designed by Oliver Pitt, Lucy McKenzie and Giles Bailey, a publication launch of The Curse of Bigness by Dexter Sinister, Jayne Taylor and Malcom Dickson in conversation and screenings from the Transmission Archive.

During the afternoon of 20th (3pm-5pm), we will celelbrate the launch of Laura Aldridge's publication, which was made alongside her Solo show at Transmission Cats Are Not Important, and contains an essay by Leslie Dick.

Kristina Bengtsson, Jim Colquhoun, Samuel Dowd, Stuart Gurden, Catherine Street

The Gloaming

DARK LIGHT

And yet, at least for a moment in these pages, these lives shine blindingly with a dark light.
Giorgio Agamben: The Author as Gesture

In its current production the Faculty of Invisibility engages itself with processes of institutionalisation. Exposing the mechanisms of these processes by means of quotation, the Faculty of Invisibility tries to put them at play. As speech, gesture or image, the examples assembled draw attention to a place inherent to any institution, one that concerns its foundation.

At Transmission Gallery the Faculty of Invisibility is concerned with the concept of a ‘dark light’: a light that occurs along the lines of bureaucratic acts and texts. With this dark light the doubling of any bureaucratic gesture – at once expressive and inexpressive – is illuminated. Through a rhythm of setting in and out – of being in and out of force - the Faculty of Invisibility strives for a manifestation, which like a dark light, no longer merely exposes or exhibits.

The Faculty of Invisibility was founded in 2006 with The Speech. Guests were invited to open departments within the Faculty of Invisibility relating to their own individual practices, such as the Department of Uncertainty, the Department of Haunting and the Department of Doubt. Two years later in The Invitation, the Faculty of Invisibility explicitly took up the question of its own becoming public: Over the course of three months, a series of letters and postcards sent to 550 addressees known personally to the authors formed a gesture of insistence. The series aimed to create an encounter, which suggested a place situated in the realm of memory rather than offering an attendable exhibition. Also in 2008, the authors of these letters announced the resignation of the Faculty of Invisibility. This act indicated the Faculty of Invisibility’s modality of always being carried out anew. Since then, the Faculty of Invisibility has been less an institution that establishes itself in terms of chronology, continuity and a definite place or position of speech, than a gesture of constituting and withdrawing itself at once. Since its resignation the Faculty of Invisibility has dedicated its work to a practice of instituting that attempts to assemble, quote and execute moments of institutionalisation without giving in to them.

Throughout 2010, the Faculty of Invisibility will pursue this practice in a series of productions at Transmission, Künstlerhaus Büchsenhausen (Innsbruck), Shedhalle (Zürich) and Flutgraben e.V. (Berlin). Public assemblies addressing questions of institutionalisation will be accompanied by a series of letters.
 
www.faculty.cc
 

DARK LIGHT

see gallery 1 for further information

Cats Are Not Important

Aldridge's current body of work is an attempt to draw out relationships of the form of thought and feeling as she recognises them in external sources and processes of making. Loosely composed hanging fabric works, repeated arrangements of tied knot sculptures and a collection of images and objects sit in a field of layers, parts and fragments.

A shift in feeling, attitude and approach to thought may be experienced through a softness, a precarious faith in allowing oneself. The production of this experience attests to a double bind between self and thought, instances of which may be seen in the relations of objects produced. Small bits of dried fruit and pot pouri form a figure against a ground of hanging fabric, or are held inbetween semi transparent sheets of organza. Lengths of string become reminiscent of simple clear gesture, repeated. The fabric ground is sewn in a loop so it may be pulled around its metal hanging bracket, like hand towels in a bathroom dispenser, seen anew, both sides payed attention to. Quickly and calmly tying knots with tubes of fabric filled with plaster, letting them take their own casual form, as an activity to do again and again. When grouped on a wall they become like phrases or tenses.

In an arrangement of images on a low plinth the round opening of a cave is seen from above looking down into it and from within looking out of it. Where previous works have presented a hole cut into large curtains the size of gallery walls presenting a tension between perceptual and bodily penetration, the hole is here re-addressed in a perceptual plane of images looked down on to. Another image shows a woman placing her fingers in her mouth, feeling the point between inside and out, the image also figuring the scene of a thing (finger) put in a hole or place for it (mouth). Slightly above the plane of the table round fruits placed in round jars of water float just at hand's reach, a thing fitted into a container.

Engraved metal cutouts of cats being cradled and petted hung on the gallery walls, show a similar moment of an object other to oneself being touched. Only the arms are shown, the bit part of the body doing the touching, seen as fragment. But also the cat as fragment, literally cut out, as figure with no ground. As moment of apprehension the cat becomes thing which is the object of affection but also thing as extension of the hand. A thing reached out to, needed but not important, the viewing of a surrogate activity.

Aldridge's installation created in Transmission Gallery re-presents the scene of this relationship to making, opens it out in its differing moments and re-approaches.


Laura Aldridge lives and works in Glasgow
 

Join us at 7pm to hear artists Anna Tanner and Conor Kelly talk about their practice. All welcome.

Transmission Gallery presents new work by Falke Pisano.

Falke Pisano’s practice centres upon an exploration of the structural possibilities of language. From written accounts of transformations that take place between concrete object and qualifying language, she develops performance-lectures, printed matter, audio recordings and video works. These elements animate icily elegant sculptural installations.

In her new work for Transmission, Pisano will examine the idea of ‘critique’: What does it mean to be critical as an artist? How does a critical practice relate to notions of production and performativity? Pisano proposes criticality as a continuous, precarious activity that can accumulate at certain moments, in a specific statement, connected to a specific position, about a specific subject, towards a specific recipient.

Falke Pisano lives and works in Berlin. After studying Fine Art at London Guildhall University and Sculpture at the Hogeschool voor de Kunsten, Utrecht, she took up a two-year research fellowship at the Jan van Eyck Academie in Maastricht. Since then, Pisano has participated in a number of international exhibitions including Talkshow, ICA, London, Making Worlds curated by Daniel Birnbaum for the 53rd Venice Biennale, Manifesta 7 and the Yokohama Triennale. She is represented by Ellen de Bruijne Projects, Amsterdam, Balice Hertling, Paris and Hollybush Gardens, London.

Falke Pisano will perform a lecture entitled Figures of Speech as part of the CCA’s Critical Applause series on Wednesday 27th January, 7.30pm.

The artist will launch a new publication produced in collaboration with Will Holder at the preview of the exhibition.

 

A Project Show by Carolyn Barrett and Harriet Tritton

Transmission gallery presents Guest, a one-week project show with Carolyn Barrett and Harriet Tritton.

Transmission gallery’s project shows were conceived as a forum for artists to test out new ideas in public, a space for experimentation.

Carolyn Barrett has produced new video and sculpture for this exhibition. Barrett explores her relationship with her surroundings through improvised gestures, using the body and voice to test ‘potentials’ within her environment. Triggering the unconscious is crucial to the development of unsteady narratives and journeys within Barrett’s practice.

Harriet Tritton works mainly with drawing and video. The work Tritton has produced for Guest uses glass and paper-layering techniques in an exploration of the sculptural aspect of drawing. She has also produced a new video work involving her immediate surroundings and close relations.

Carolyn Barrett (b. 1984) graduated from Glasgow School of Art in 2008, she now lives and works in London. Her recent exhibitions include Now I know my ABC’s at Studio Warehouse and Gorge Yourself at 111 Argyle Street.

Harriet Tritton (b. 1980) lives and works in Glasgow. Tritton graduated from Glasgow School of Art in 2003. She has exhibited both locally and internationally; exhibitions include the group show Flounder in Amsterdam and a Transmission group show in Cologne. She co-founded Mary Mary Project Space in 2005.



Transmission is supported by Culture and Sport Glasgow and The Scottish Arts Council
 

The two artists Carrie Skinner and Helen de Main will discuss their practice, and their current projects.

All welcome.

WE WISH YOU ALL A HAPPY NEW YEAR!

LOTS OF LOVES.

THE COMMITTEE.