BETWEEN THE OPENING OF THE EDINBURGH FRINGE FESTIVAL AND THE EDINBURGH INTERNATIONAL FESTIVAL, ALONG WITH THE EDINBURGH ART FESTIVAL KICKING UP DUST OF ITS OWN, traffic of both the foot and the vehicular variety converged spiritedly on the efforts of a wide range of art institutions. When the opening of the Art Festival came around on Thursday, July 27, many of the affiliated exhibitions had already been open for days or weeks. Two days prior to kickoff, between bursts of sunshine and rain, I made my way through the street performers and commercial hurrah of the city center to see Jac Leirner’s
The city––its development, the facts of its habitation, its destruction, and its potential to be reimagined––encapsulates many of the themes of the Anthropocene. The works in this exhibition touch on issues of industry, capital, ecology, the displacement of people, war, and racism in a metropolitan context. The sense of entropy or collapse implied by the exhibition’s apocalyptic title is an important link between the individual pieces here.
Clara Ianni’s video Free Form, 2013, centers on two separate interviews from the late 1950s with Brasília’s planners, Oscar Niemeyer and Lúcio Costa, in which
Andrew Kerr’s exhibition is situated in the Modern Institute’s new Bricks Space, a single-room venue on Aird’s Lane which, unlike the gallery’s other white spaces, exists in a semi-dilapidated state, made up of a patchwork of painted walls, wooden flooring, exposed concrete, and tiling.
The atmosphere of the show is sober and scholastic, with the room’s contents resembling the trappings of an art-school classroom or a studio past its prime. Each of Kerr’s five installations is composed of a variety of recycled materials and often hosts the artist’s paintings in muted hues. The works play on and
After reading a blog post from curator Daniel Baumann titled “Who Is Hisachika Takahashi?,” Yuki Okumura set out to find the answer. The multimedia artist, born 1978 in Aomori, Japan, now based between cities in Western Europe, researched and eventually met with Takahashi, born in 1940, a former technician to Lucio Fontana and Robert Rauschenberg. The meeting led to Okumura and Takahashi working together. Both artists’ practices often employ collaboration to develop ideas concerning identity and memory. This exhibition constantly approaches but never quite answers the question of Baumann’s post.
Douglas Gordon and Jonathan Monk’s exhibition “Paris Bar” is a collaborative installation comprising colored neon signs of text culled from the menu of the Berlin restaurant. The signs are hung above eye level around the white walls of the basement gallery, and different dishes and drinks flash on and off corresponding to the order and duration in which Gordon and Monk consumed them when they dined at the establishment sometime in 2015. Witnessing the total display, therefore, is no quick thing.
The room is at times lit by a pink “Escargots de Bourgogne,” others by a green “Badoit,” and then a