07 Dec 2017
Glasgow’s Centre for Contemporary Arts’ 2018 exhibitions programme includes shows from Rehana Zaman, Ross Birrell, Jonas Staal and Ester Krumbachová.
Sarah Rose, Susannah Stark & Hanna Tuulikki // Lilt, Twang, Tremor
Until Sun 14 January 2018
For Lilt, Twang, Tremor, CCA has invited three Scottish-based artists – Sarah Rose, Susannah Stark and Hanna Tuulikki – whose work examines the politics and production of voice. Looking at how the voice takes shape in different places and environments, this exhibition explores the contexts in which voices are made audible. Examining the mouth, the mouthless voice, the embodied and disembodied voice, the voice as a tool, and as an instrument, the artists question the manner in which vocals affect the environment around us.
Rehana Zaman // Speaking Nearby
Saturday 10 February – Sunday 25 March 2018
Zaman’s moving image practice explores the ways in which social expectations and identities are produced and performed. Often humorous in her use of tropes from cinema and television, from forms of documentary to the soap opera, her works are generated through careful collaboration and discussion with groups and individuals. The resulting films take up the entanglement of social life and individual experience, where intimacy is set against the hostility of state legislation, surveillance and control.
Tell me the story Of all of these things attends to the social conditioning that affects how we analyse bodies, identities and relationships. It brings together a staged cooking demonstration, a nebulous animated body, screenshots from Prevent’s ‘anti-radicalisation’ e-learning website and an intimate interview with Zaman’s sister Farah. As Farah relates the roles she has performed throughout her life as mother, wife, worker, single woman, and skier, the narrative is interposed by an amorphous simulation of a female figure. Moving through a pixelated camouflage background the figure executes a series of banal and embodied movements – speaking on the phone, dancing and walking with a particular set of purposes. Exploring the social structures of identity in modern society, the film also poses questions on the acceptable face, shape and body of women.
Lourdes is a new work developed from a residency in Tepito, Mexico, centring upon a discussion with a market trader called Lourdes. Interviewed about her experience of running the stall and the politics of the barrio, Lourdes’ dry and humorous responses elucidate her influence and situation as a woman in the marketplace and within wider society, describing the strategies the female community use in their attempts to destabilise power. Discussing covert dialects of the oppressed, she explains how a clandestine and sexually intoned language is used to share knowledge, and recalls the tactical resistance of the Seven Bitches, who fight femicide and the subversion of women in the city.
Some Women, Other Women and all the Bittermen is a six-part soap opera set in the Tetley Brewery, incorporating footage from meetings of Justice for Domestic Workers Leeds, who were founded in response to changes to UK immigration law in 2014. An amalgamation of fact and fiction, the soap opera script and the urgencies of the J4DW group sees Zaman explore the many contexts where working class identity is produced through issues of gender, class and race.
Ross Birrell // The Transit of Hermes
Thursday 19 April – Sunday 3 June 2018
CCA presents Scottish artist Ross Birrell’s 2017 Documenta projects, The Athens-Kassel Ride and Criollo, as well as a selection of expanded sculptural installations and other works.
This exhibition brings together major projects by Ross Birrell originally commissioned for Documenta 14. In Criollo, an Argentine horse stands at the gateway to Central Park. What is the agency of this solitary animal? Is it liberated, lost or abandoned? Is it angel, apparition or gift? Or envoy of a revolution to come? Photographs trace the Criollo’s journey from an estancia in Argentina to the streets of Manhattan, as it is transported via air and passing the White House, and appearing at three identical equestrian statues in Buenos Aires, Washington D.C., and New York. Criollo was inspired by Tschiffely’s Ride, an equestrian journey from Buenos Aires to New York (1925-1928) also the inspiration for the Athens-Kassel Ride - the documentation of which is exhibited for the first time. Integral to this work is The Transit of Hermes, the journey of a Greek Arravani horse named after the God of border crossings.
The Athens-Kassel Ride 2017 was a participatory public event featuring a documented 1,850 mile ride from Athens to Kassel (the two sites of Documenta 14) by experienced Long Riders from Hungary, Switzerland and Germany. The Long Ride traversed Schengen and Non-Schengen zone countries and was performed over 100 days. The Ride included Karabach, Argentine Criollo and Greek Arravani horses, renowned for feats of endurance. The Greek Arravani horse is now in decline with the two remaining herds in Greece and Germany. The Ride took a diagonal route across Europe traveling through Greece, Macedonia, Serbia, Croatia, Slovenia, Austria and German, parallel to the route of contemporary migrants and refugees.
Jonas Staal // New Unions
Saturday 16 June – Sunday 29 July 2018
Jonas Staal founded New World Summit in 2012, and the subsequent artistic campaign, New Unions, in 2016. The New World Summit aims to develop alternative parliaments for stateless and blacklisted political organisations all over the world, taking the shape of large scale architectural constructions in theatres, art institutions and public spaces, which the artist initiated in Berlin (2012), Kochi (2013), Brussels (2014) and Utrecht (2016) amongst others. These 'stateless parliaments' housed more than fifty organisations, ranging from representatives of Scotland, Catalunya, the Basque Country, Kurdistan, Baluchistan, Somaliland, Azawad, East Turkestan and West Papua – challenging structures of exclusion on a geopolitical scale through the domain of art. Since August 2015, the New World Summit has been building its first permanent parliament commissioned by the Kurdish autonomous region Rojava in northern Syria, where a new model of democracy has emerged in the period of the civil war based on communal economy, gender equality and local self-governance.
Taking lessons from a variety of autonomist practices discussed and explored within the New World Summit, Staal's New Unions campaign attempts to introduce alternative forms of unionising in response to the current European political, economic and humanitarian crisis.
Saturday 11 August – Sunday 16 September 2018
Centred on the recently completed archive of Czech new wave filmmaker Ester Krumbachová, the exhibition will examine the broad spectrum of her interests and achievements. Involved on various levels in many of the key films of the Czech New Wave movement in the 1960s, Krumbachová found herself effectively blacklisted after the ‘normalisation’ that followed the Soviet invasion of Prague in 1968. From 1970 to 1992 she had to work, when possible, under the names of friends and survived through the making of jewellery and amulets.
Drawing on Krumbachová’s personal archive we will be displaying original drawings, scripts, films and a selection of the amulets she made during her years of enforced artistic silence.