glasgow

Aleksandra Domanović, Things to Come, 2014, UV prints on transparent polyester foil. Installation view. From the 2014 Glasgow International.

2014 Glasgow International

Various Venues

Aleksandra Domanović, Things to Come, 2014, UV prints on transparent polyester foil. Installation view. From the 2014 Glasgow International.

Although officially themeless, this year’s Glasgow International was nevertheless woven together by some common threads. It was the sixth edition of the festival and the first under the artistic direction of Sarah McCrory; as one has come to expect from such biennial undertakings, exhibitions and installations were spread throughout the city, occupying spaces ranging from major public institutions to such quirky, out-of-the-way venues as an underground parking garage, a vendor’s stall in a dilapidated shopping center, and a crumbling Edwardian community bathhouse.

In many ways, Glasgow itself emerged as the star of the show. Temporarily reopened (albeit sans heat or running water) for this year’s festival, the McLellan Galleries—a grand, Victorian-era museum building that has largely sat empty for many years—housed four of the ten exhibitions that made up the Director’s

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