Category: Exhibitions
hubCAP Presents: What Is This Space For?
25.03.26 – 31.03.26
Open weekdays, 11am–4pm
The Gatehouse, Edinburgh College – Granton Campus (350 W Granton Rd, EH5 1QE)
Opening Event:
24.03.26 | 5pm–8pm | The Gatehouse
This is an exhibition about art, craft and community exploring the potential of a gallery as a creative space when it is opened up to participation.
What Is This Space For? transforms the Gatehouse into a community living room – a welcoming, participatory space for making, gathering and belonging. Rather than presenting a conventional exhibition where visitors are passive viewers, this project invites you to spend time, take part and help shape the space as it unfolds.
There is often a perceived tension between art and craft. In some circles, the distinction between the two can feel pronounced, shaped by questions of status, individual authorship and value. This exhibition gently sets aside that hierarchy, bringing both practices into conversation and using them as shared tools for connection. Rather than reinforcing division, the space asks how art and craft might come together to foster community.
The exhibition begins with work created by members of the Knitting and Crocheting Society, forming a starting point for conversation and connection. Over the course of the week, the space will continue to evolve through a programme of workshops and shared activities.
As part of the same programme, hubCAP has partnered with Edinburgh College’s Student Association to deliver a community quilt workshop — a closed event for Edinburgh College students. The collaboration reflects a shared commitment to student community building, using craft as a way to bring people together across the college and strengthen the connections that make it a place people feel they belong.
Programme of Events
Tuesday 24 March
Opening Event | 5.00pm – 8.00pm
Join us to celebrate the launch of What Is This Space For? at the Gatehouse.
Wednesday 25 March
Knitting and Crocheting Society Workshop | 11.00am – 2.00pm
(Closed event – for enrolled Edinburgh College student only)
Edinburgh College Student Association Community Quilt Workshop | 2.00pm – 4.00pm A collaborative quilt-making session for Edinburgh College students, delivered in partnership with the Student Association.
(Closed event – for enrolled Edinburgh College student only)
Thursday 26 March | 1.30pm – 3.30pm
Zine Workshop with Jen Ouson
A relaxed, hands-on afternoon of stitch, print, collage and bookmaking led by the artist Jen Ouson. Create your own small artist’s book!
(OPEN TO ALL)
Monday 30 March
Creating a Future Fossil – Workshop with Annette Bruton | 2.00pm – 4.00pm
Using textile waste, participants are invited to imagine what a fossil from our time might look like in millennia to come. Contributions can form part of Annette’s ongoing project, though participants are welcome to keep their work.
(OPEN TO ALL)
Tuesday 31 March
Visible Mending Workshop | 1.00pm – 3.30pm
Learn how to patch or darn damaged clothes and knitwear, transforming repair into a badge of honour — a quiet rejection of fast fashion.
(OPEN TO ALL)
hubCAP Gallery Presents: ‘FIRMAMENT’ an exhibition by Edward Cawood.
Firmament: Exploring the Industrial Echoes of Prestongrange.
SETT Studios will soon host Firmament, a striking new exhibition by artist Edward Cawood presented by HubCAP Gallery.
Opening at SETT Studios on Thursday, 16th October 2025 Cawood’s latest presentation draws on several years of research and creative experimentation to produce work that delves into the layered industrial history of Prestongrange — once one of Scotland’s most significant brick and tile works, and home to early coal mining operations dating back to the 12th century.
The exhibition takes its title from the Latin firmamentum, meaning “a firm object” or “celestial barrier.” This dual sense of strength and mystery resonates through Cawood’s practice, which merges meticulous, archival study with deeply material processes. His works — ranging from “textual objects” to experimental photographic pieces on tile — embody a physical and conceptual dialogue with the site’s past. Each piece is the result of labour-intensive techniques that mirror the endurance and transformation embedded in the landscape itself.
Firmament represents the culmination of Cawood’s investigations into site, value, and industrial heritage, revealing a body of work that is both contemplative and tactile. Visitors will encounter a collection of pieces that evoke the textures of history, reimagined through the lens of contemporary art. Notably, the exhibition also introduces new, never-before-seen works, offering a first glimpse into the artist’s latest explorations.
The opening event takes place on Thursday, 16th October, with two sessions: a bookable Quiet Opening from 3pm to 5.30pm, designed to provide a relaxed, accessible experience, and the Main Opening from 6pm to 8pm.
Following the launch, the exhibition will be open for public viewing on:
- 17th October: 3pm – 8pm
- 18th – 20th October: 12pm – 5pm
A special event on 19th October (2.30pm – 4pm) will feature a bookable Writing Workshop with Beth Cockerline, inviting participants to creatively respond to the themes and atmosphere of Firmament.
Through Firmament, Edward Cawood transforms the remnants of Scotland’s industrial past into meditative reflections on endurance, decay, and the stories embedded in place — bridging history, art, and material memory in one evocative exhibition.
hubCAP Gallery is an Artist Run Exhibitions and Events organisation run by a rotating committee of participants of the HND Contemporary Art Practice (CAP) course at Edinburgh College Granton Campus. ‘Frimament’ is the first off campus exhibition by hubCAP.
SETT Studios is an artist-run studio with dedicated gallery space in Leith, Edinburgh.
Further information including accessibility information is available via the hubCAP Gallery website:
https://hubcapgallery.com/2025/09/11/hubcap-presents-firmament/
Mike Nelson Constructs A Eulogy to Entropy
By Beth Cockerline CAPetc YR2. 1st publised by FAD magazine 14th Aug 2025
Entropy
/ˈɛntrəpi/
Noun
1. a measurement of the energy in a system or process that is not available to do work 1
2. lack of order or predictability; gradual decline into disorder.
“The crucial thing about entropy- it always increases over time. It is the natural tendency of things to lose order. Left to its own devices, life will always become less structured. Sandcastles get washed away. Weeds overtake gardens” 2
In this unprecedented time of change and turmoil perhaps we need to embrace entropy? Perhaps we need to pause and let things be washed away, slow down and let the weeds take over? Synonymous with immersive installations, Mike Nelson recently spent two months in homage to this decay; in an act of service and love to the entropy of a block of South London flats. In a “reverse DIY”3 feat, Nelson has created a hauntingly familiar work, Humpty Dumpty, a transient history of Mardin earthworks, low rise, at Fruitmarket gallery in Edinburgh. The exhibit, which coincides with Edinburgh Arts Festival, then comes full circle and counters with the inquisitive exploration of the rebirth of a South-Eastern Turkish city, Mardin.
If you grew up in the 70s-90s, in a British council house, Low Tide is akin to attending the funeral of a former life. I’d suggest you start your journey here, in the upper gallery and Warehouse, where Nelson sensitively captures the gritty detail with nostalgic reminiscence, of the now extinct, Heygate Estate, through photography, sculpture and installation.
Life-size documentation, come sculptures, dominate the upper gallery. Interior and exterior scenes ubiquitous to run-down, concrete housing estates around the country are showcased and transformed into 3D works with Nelson’s scavenged and reused materials- providing a rich textural language of his own work alongside patinaed architectural features. Incongruous 80s arcade machines also form parts of these sculptures, the technology and aesthetic of these pieces not quite matching the decaying beauty of the wooden beams or the flaking deterioration of salvaged metal but a genre marker of an era none-the-less.
The scale of these works (printed on a machine, specifically sourced from the same era as the building) give them transportive powers. I feel like I could walk up the well-worn stairs, I almost feel the threadbare carpet underfoot, the invasive presence of beige- the tiles, the carpets, the wallpaper, the curtains- feels so recognisable I can almost hear the hiss of the open grill in my mum’s kitchen. I smell and could reach out to her infamous chip pan entombed in grease. Stepping into Nelson’s work is like inhabiting a memory and I am flooded with flashbacks of pink velour pyjamas and anaglypta wallpaper.
There is also a distinct evocation of wistfulness in this work. Stairs are embellished with festoons of work lights and torn lanterns from bygone celebrations. They are littered with evidence of lives lived: crisp packets, frayed t-shirts, chipped paintwork, fag-ends and mould. The guts have been ripped out and homes have been left to slowly die.
Continuing this mournful trip through Nelson’s exterior photos, the audience are invited to trespass through scrapyards of rusting hubcaps and abandoned garages. Ironic graffiti claiming this failed utopia as ‘Home Sweet Home’ jostles with the palpable coldness of the giant textured slabs used to hastily construct the tower blocks. We see behind the scenes of the concrete- in excavations of pipes and clipped electrical cables and the monstrous claw of a digger making way for ‘progress’.
If these photos don’t help you inhabit council houses of the 70s, just make your way down to the warehouse where you can physically enter a scale replica of one of the flats Nelson visited. Despite it being a replica in shape and size Nelson has cobbled together this building and it’s contents from all corners of the earth. Suggesting perhaps that decay and entropy are a universal experience? Or just embracing the beauty and texture of found materials?
Apprehensively, I enter through an ominous metal security door (from New York), scrawled with graffiti tags, which creaks and then slams behind me. Instantly, I leave the gallery, and I am consumed by contrary feelings of both home and anxiety. The bones of the place creak as I explore the crumbling façade and damp innards of this building steeped in an melancholic fragility- it feels as if it could disintegrate at any moment. An unfettered harsh light from a bare-bulb and the flicker of a strip light highlight the Matrix-type glitch of this construction, of a construction, within a construction and expose a bookshelf cleared of life but layered in grime.
The shuffle of my feet on barren floorboards is the only sound in this seemingly deserted place which only serves to underline the feeling that I shouldn’t be here. I am witnessing something I shouldn’t, and it is both thrilling and terrifying.
The chipboard walls and chipped doors are laced with roses of mould, and the proverbial stench of damp concrete is pervasive as I try to readjust my vision to the darkness lingering through the kitchen window (from Nelson’s own house I’m told). An expansive building site of rubble and abandoned builder’s buckets surrounds the
About the author: Beth Cockerline is about to start the 2nd year of the HND Contemporary Art Practice at Edinburgh College. Edinburgh based writer, artist and teacher with a penchant for gender equality, feminism and promoting the rights of marginalised groups. Beth is also a member of the amazing hubCAP gallery in Granton.
Joan Snyder: Body & Soul at Thaddaeus Ropac
The following review was first published by CAPetc… Year 1 student Beth Cockerline on her personal blog on 15th February 2025. We are delighted to re publish the post on the CAPetc… website.
Joan Snyder, exhibits her first retrospective in the UK with Theddeus Ropac. Covering Snyder’s 60 year career, a vicissitude of work explores abstract expressionism with a unique and spirited amalgamation of the autobiographical.
Facing the sweeping staircase, of the floodlit gallery, I was instantly drawn in by the light and ephemeral abstraction of Fresh Flock Painting with Strokes and Stripes 1969. On first appearance a delicate depiction of the female figure, Snyder’s joy of the flesh is palpable in a subtle blending of the paint to create form and structure. The flame hot pink of a wound reminds us of the vulnerability of the body and as the eye travels down the composition the hourglass figure appears emptied out: sharing every trauma and horror on the canvas. The flocking, a tactile, oozing wound or growth? A pulsating organ? A centrepiece reaching out to us from the violet blue background which floats the body in space celebrating all the agonies and beauty of the flesh.
Flanking this piece are two similarly sensitive works, recalling Frankenthalerian soak-staining (Veiled Strokes 1969) and an exciting, but economical use of impasto against glowing areas of pastel. Despite invoking elements of colour field from the likes of Rothko, Snyder highlights the singularity of her work in the intertwining of the autobiographical in her work: “It’s an undecipherable abstract language. It’s my language that is speaking and my soul that is being bared. It is my pleasure and pain…”
A Letter to My Female Friends, 1972, and other work of this period speak in a very distinctive language of truncated, heavy marks, cut off before they’ve had the chance to convey their full story; a stumble of stuttered utterances recounting an incomprehensible tale. In other works, Wild Strokes, Hope 1971, given more room to breathe and converse, the marks tell a more intriguing story: a marbled universe of dark blue enrobed in wax; a diversity of tone; a stain here, a splatter there; a lightness of pigment lifting the darker tones.
When Snyder experiments with more representational imagery, the work wanes. In, To Transcend/ The Moon 1985 fat glutenous ripples of pure black, white and peacock blue suffocate one half of the canvas while incongruous sweeps of astral gold and vertical graphic slices of cracked, deep purple, blue and green eclipse the other half.
However, exploring her later work Snyder returns to abstraction and a playfulness which is both joyful and experimental. It’s hard not to grin at the space age knobs and naivety of Summer Painter 1994 and in other works, Theddeus Ropac’s use of the architectural features, fully embrace and highlight the nuance of Snyder’s work.
The final room of the exhibition, and presentation of Snyder’s most recent work, is crammed with joyful abandon- a celebration of nature, experience and life! The recurring motif of the organic ‘pond’ is a dark abyss (Roses for Souls), a portal into another realm and a mystical lagoon luring unsuspecting viewers to a world inhabiting sirens (Come to the Pearl Pond). The energy and confidence of Snyder’s work is palpable and the use of collaged, 3D elements speaks to her earlier sculptural work. While the work can drift into the quaint and sentimental at times, it bounces back with gusto in Man Leaping- a rapturous and flamboyant triumph of freedom.
Body and Soul is an exquisite journey through Snyder’s oeuvre highlighting an energy and passion for the materiality and infinite possibilities of paint that is unequivocal.
Rythmic Structures: #AIRetc at Modern 1
“New works by Julie Duffy developed during her Residency in the HND Contemporary Art Practice #AIRetc studio.
Julie’s new work for Pig Rock Bothy at the Scottish National Gallery of Modern Art is the result of a 5 month residency at Edinburgh College, Granton Campus. Julie spent this time researching the collaborative work of Merce Cunningham, John Cage, Jasper Johns and Robert Rauschenberg alongside Oskar Schlemmer’s ‘Das Triadische Ballett’. The work explores the formal qualities of dance, with the purity and severity in the movements of Cunningham’s choreography, juxtaposed with the extreme colour palette and costumes of Schlemmer’s ballet. The Bothy will be home to a screen-printed floor, hanging drapes and delicate sculptures made from felt, card and expanding foam. The final phase of the work will see dancers from Edinburgh College’s BA Hons Dance take-up residency in the Bothy. This residency will give the dancers the opportunity to choreograph a piece in response to Julie’s work. Speaking about the installation SNGMA Curator Julie-Ann Delaney said:
“The Scottish National Gallery of Modern Art is delighted to be working with Julie Duffy on the presentation of her ambitious new installation within Pig Rock Bothy at Modern One. Julie’s work has transformed the internal of the bothy, and the culmination of the project – which will see a newly choreographed dance work made by Edinburgh College students – will further this by bringing the space to life in a manner unlike ever before.” Julie-Ann Delaney. Curator, Scottish National Gallery of Modern Art
The AIRetc… programme was launched in 2010 and is an innovative scheme which provides recently graduated / professional artists with a dedicated studio space within Edinburgh College as well as access to specialist resources and facilities. The programme is open to practicing Artists who have previously studied Contemporary / Fine Art at Edinburgh College Granton and who wish to develop their practice and gain experience in learning and teaching in Further Education.
Talking about the AIRetc experience Julie said:
“Working with the lecturers and students on the Contemporary Art Practice HND has been really stimulating. The AIR residency at Edinburgh College has been a wonderful opportunity to develop a new body of work in a creative and supportive environment. Showing my new work in such an internationally significant institution wouldn’t have been possible without the AIRetc programme.”
AIRetc coordinator and Contemporary Art Lecturer Alan Holligan added:
“Julie’s show at in the Bothy is a mark of the quality of the artists graduating from the HND Contemporary Art Practice Course who then return as Artist In Residence. Julie’s contribution to the course has been excellent and her influence on students is clear. I’d like to thank the Scottish National Gallery of Modern art for their support.”
AIRetc Coordinator and Contemporary Art Lecturer at Edinburgh College Alan Holligan went on to say:
Julie Duffy graduated from the HND at the former Telford College in 2008 and went on to gain a 1st class BA Hons Degree in Fine Art at Duncan of Jordanstone College of Art & Design (DJCAD). She is our eighth resident in the AIR studio with previous AIR’s having exhibited at Edinburgh Sculpture Workshop and Creative Exchange.
Since graduating from DJCAD in 2011 Julie has developed new work and has exhibited regularly throughout Edinburgh including solo exhibitions at Summerhall and group shows at Edinburgh Sculpture Workshop. As well as developing her solo practice in sculpture Julie has more recently been developing collaborative practices with Hayley Mathers who, as well as being a former AIRetc…. is also a graduate from DJCAD.
Julie is also an active member and former studio holder at Edinburgh Sculpture Workshop where she has developed a curatorial role as a member of the 2 person TANK committee which is responsible for the programming of the TANK project and exhibition space at ESW.
Julie has already made a fantastic contribution to the HND CAP course by getting involved with studio / project crits and we are all really looking forward to the working closely with her over the next few months.
In August 2015 Julie will move to Glasgow to begin the Masters course at Glasgow School of Art.
Thanks:
Julie-Ann Delaney, Curator, Scottish National Gallery of Modern Art
Staff and students HND Contemporary Art Practice Edinburgh College
Au revoir Julie Duffy AIRetc
Goodbye is so very hard to say so as its au revoir to artist in residence Julie Duffy whose tenure in the AIRetc studio came to an end last friday. It has been a fabulous 5 months working alongside Julie and we are all extremely grateful for the contribution she has made to the CAP course so far. Although Julie will be around the college now and again as we prepare for her exhibition at the Bothy at the National Gallery of Modern Art next month it seemed appropriate to mark the end of her residency on Friday when she moved out of the studio. So it was juice & custard creams all-round courtesy of the students.
Further info on Julie’s exhibition will be posted soon but in the meantime you can take a look at her blog postings made during the residency here: https://airetc.wordpress.com/tag/julie-duffy/
“For Reasons Unknown to Me”
The images below are from the opening of “For Reasons Unknown to Me” a group exhibition at Edinburgh’s Whitespace Gallery that featured new paintings by Beth Carey of CAP1 and sculpture & performance video by ex Foundation student Michael Kay.
Changes: Settlement Projects
In yet another foray into the community CAP2 recently embarked on a project in collaboration with the Settlement Projects community shop in Leith Walk. Participants in the project were tasked with selecting an object or objects from the shop and through a process of research and development effect a change in relation to their chosen object.
The intention of the project was to bring a new, alternate or enhanced understanding to the selected object. The change could be physical, conceptual or contextual.
At the end of the project the transformed objects were represented in an exhibition organized by the participants.
We would like to thank the Settlement Projects Shop for their assistance, patience and continued support for the Change Project and we look forward to working with them again in the future.
The Edinburgh Settlement is a multipurpose organization with a rich history spanning more than 100 years of active local involvement. They are part of the international settlement movement; a global network of social action centres which aim to work closely with communities, representing and responding to their different needs and aspirations to promote social and environmental welfare and help bring about effective and lasting community development.
Find out more: https://www.facebook.com/settlementprojectsedinburgh/info?tab=page_info
CAP1 ESW Residency
A few weeks ago it was the turn of CAP1 to take up residence at Edinburgh Sculpture Workshop. Although an annual event for 7 years this was only our 3rd year in the new Bill Scott Sculpture Centre as part of our formal partnership with ESW. Since the new premises opened in June 2012 ESW and the college have had a formal partnership which has ESW designated as an Edinburgh College Employability Centre. The partnership allows students to undertake their Introduction to Sculpture course in a purpose built professional studio & workshop environment for the research, development and production of sculptural practice.
As well as the formal sculptural practice developed during the residency a number of Professional Practice events took place including wood workshop induction and a talk by ESW Curator of Research Dan Brown who spoke to the residency participants about the facilities, history & philosophy of ESW as well as the education, exhibition and residency programmes. Other events included a studio visit with studio holder Kate Ive and a talk by RSA/ESW International Residency winner Norbert Delman whose exhibition Sweat / Suffer / Success was open in the gallery space. All the talks took place in the new multi function research space at ESW which is flexile enough to have round table talks and discussions as well as presentations. Having access to the space and resources meant we were able to have our annual Moving Image event curated by #exCAPer and regular guest lecturer Benjamin Fallon which was held over two evenings at ESW.
Next May we will return to ESW with CAP2 for their Diploma Exhibition by which time the second phase of the multi £million capital project ‘Creative Laboratories’ will have been open for 6 months and we are looking forward to spending a week working and exhibiting in the new spaces.
Click on the links below to see blog posts by CAP1 ESW Residents:
Szabolcs Fricska: http://sfricskacap.tumblr.com/post/101630305745/the-week-that-we-spent-at-the-edinburgh-sculpture
Yulia Vitten: http://iuliiavittencap.tumblr.com/post/101836631621/my-final-sculpture-from-the-week-at-esw-and-small
Magdealen Gunkowska: http://mgunkowskacap.tumblr.com/post/101166933302/my-experiments-with-plaster-and-construction
http://mgunkowskacap.tumblr.com/post/101171457022
Elena Cheltsova: http://echeltsovacap.tumblr.com/post/101429925954/esw-day-3-modelling-with-plaster-thought-of
Freya Taylor: http://freyataylorcap.tumblr.com/post/100831352454/collaborative-installation-lots-of-fun-i-was
Bothy Residency at SNGMA
In late September #CAPetcY2 undertook a 5 day residency in the Pig Rock Bothy at the Scottish National Gallery of Modern Art. Located within the grounds of the gallery Pig Rock Bothy is the 3rd of 3 residency spaces developed and produced as part of the ongoing Bothy Project. Having the opportunity to develop and produce work in such a prestigious location was daunting for all of us but despite what felt like significant pressure to make productive use of the space a decision was made to take creative risks and adopt a fluid and responsive approach to the residency.
A loose skeletal plan was developed by staff for each of the 5 days with each day beginning and ending with a group discussion around the table in the bothy. This allowed for the days activities to be developed collaboratively and for reflection of the days events. It was quickly established that the source for the weeks work would be the location, context and content of the gallery. The resources provided were purposely limited and basic in order to reflect the residency experience the bothy will offer when relocated thus stretching the participants to produce innovative and creative responses. Throughout the week a variety of group and individual responses were made to exhibits in the gallery including, sculpture, drawing, photographs, creative writing, installation and performance.
On day 5 the residency culminated with a full day of installations, performances and presentations developed over the week all of which were open to the public. The particular highlight for all the participants was the performances made in response to the works in the galleries by Charles Avery, Graham Fagen, Roderick Buchanan, Lucy McKenzie and Ross Sinclair which were performed live in an around the works often to the delighted surprise of the public who believing they were in a particularly busy room of fellow contemporary art enthusiasts found themselves in the middle of a live performances examining the nature of art and our relationships with it.
The entire week was thoroughly documented, some of which is shown on this post but much, much more including sound recordings and video documentation can be found on the tumblr blog created by the CAP2: http://etccapbothy.tumblr.com
We would like to thank the Scottish National Galleries, The Bothy Project and in particular Julie-Ann Delaney Curator at SNGMA for supporting and facilitating the project.
Surveillance Gallery at NEA
Film by Electric Lime Productions
The Surveillance Gallery is a project conceived and developed by local artist, film maker and #CAPetc graduate, Bob Winton in collaboration with North Edinburgh Art Centre. Just a few hundred yards from us at Edinburgh College the gallery project provides an exciting new public exhibition space the heart of the Muirhouse community of North Edinburgh. Nestling neatly in the public walkthrough space between the Pennywell shopping arcade and North Edinburgh Arts Centre Surveillance Gallery launched with an exhibition featuring a range of work from artists at varying stages of their careers including Erin Colquhoun, Mariola Albinowska & Georgia Thornton all #CAPers past and present.
All the works were pasted or painted directly onto the exterior walls of both the Art an shopping centres enlivening an otherwise blank seldom considered space with a variety of 2D artworks. In mid september we took a walk round the gallery with Bob and Kate Wimpress, Director of North Edinburgh Art Centre, both of whom gave really informative and enthusiastic talks about the centre and the Surveillance Gallery project.
The Surveillance Gallery is an ongoing and we are really delighted to have been asked to continue with out participation and support for the project.
Skinny Review CAP @ESW
PUBLISHED 04 JULY 2014
“The Contemporary Art Practice course has a fine art focus, offering students the environment to experiment, to investigate processes and challenge themselves. Says lecturer Alan Holligan, “We offer a very broad range of contemporary practices so people can specialise in sculpture, 2D practices, 3D practices or mixed practice. Usually they make decisions based on the courses they specifically want to go to, wherever that might be. They’re encouraged to work into areas that we as lecturers don’t necessarily have expertise in. I think in some courses they’re supposed to stay within the knowledge of their lecturer, which is why there’s often an emphasis on painting, an emphasis on sculpture, whereas we’re very clear that the students’ ambition shouldn’t be set by our skillset. They need to outreach that and often we have to keep up with them, which is good for everybody concerned.”
This year’s class first exhibited in the working professional environment that is the Edinburgh Sculpture Workshop, before transferring a pared-down version of the show to Summerhall. They’re a mixed bunch, exploring a wide variety of disciplines with varying degrees of success. Still at an experimental stage in their practice, this is to be expected. However, some students display a striking level of ambition, notably Jay Easton, who delves into the realms of technology to present work which aims to pose challenging questions. In ESW, two iPhones communicate with one another, displaying the mundane chatter between a couple. With the human protagonists removed from the equation, the relationship is reduced to two screens interacting eerily.
In Summerhall, Easton displays two QR codes, one on a slate (redolent of history, sculpture, early man) and one on a box afixed to the wall. A hasty download of a QR scanner (the technology seems a bit retro already, ironically) reveals the works to link to texts on his blog meditating on the dangers of an unconsidered embrace of technology, and the parallels of Pandora’s box, respectively.
He’s now off to GSA to delve further into his research. Like many in the Let’s Glow showcase, Easton is at an interesting point in his development. The bright prospects each has before them suggests this will not be the last we hear of them.”
Read the full article here: http://www.theskinny.co.uk/art/features/308272-edinburgh_college_lets_glow
Anjila’s Glasses: 2014 Diploma Show ESW
It has been a while but finally we’re getting round to some blog updates. Although there have been a few updates over and since the summer there are a few gaps that need filling so we’ll start with some images from the 2014 Diploma Exhibition Anjila’s Glasses which took place at Edinburgh Sculpture Workshop in late May. The exhibition was fantastic of course and extremely well attended on the opening night and the following days is was open to the public. This year the exhibition was shorter than usual, open only 2 days for public viewing but that was due to the need to relocate much of the work to Summerhall as the students were taking part in the general Edinburgh College Creative Industries HND Diploma Exhibition at the city centre arts venue.
A week into the Summerhall show an additional room became available which allowed our CAP1 colleagues to show a work each from their recent projects and you can see them installing in their work in the image below.
You can see more of the CAP end of year exhibitions and the openings in this slide show:
Site-Seeing Exhibition
Click on the link below to see the final post by last terms AIRetc Lauren McLaughlin. Lauren has posted images of her excellent exhibition at Creative Exchange in Leith, Edinburgh.
Everyone on HND CAP would like to thank Lauren for her wonderful contribution to the course over the course of 5 months. Her contribution to crits and discussions was invaluable as were her talks and the fantastic collage workshops she led.
Lauren McLaughlin new post, AIRetc…
Our current AIR and former student Lauren is preparing for her solo show ‘Site-Seeing’ at Creative Exchange Gallery in Leith on June 20th!
See how Lauren’s preparations for the show are going in her latest post on the AIRetc website
2|1|4|1 Call for submissions for drawing exhibition:
Scottish artist collective 2|1|4|1 presents Draw In, an exhibition exploring the role of drawing in emerging contemporary art practice.
Read more…
Venue – St Margarets House Edinburgh
Deadline – May 31st
Exhibition dates – 8 – 31st July 2014
Deadline – May 31st
Exhibition dates – 8 – 31st July 2014
Taking inspiration from and responding to such sources as The Fruitmarket Gallery’s 2009 Exhibition “The end of the line: Attitudes in Drawing”, publications such as “Vitamin D : New Perspectives in Drawing” and David Shrigley’s 2013 Turner Prize installation, 2|1|4|1 invites participants to consider the role of drawing in their own contemporary art practice.
We wish to explore the transformation of the medium of drawing within the quotidian workings of early career artists today. In a time when numerous artists are subverting the traditional concept of drawing and/or its role to serve their practices, we wish to conduct a critical examination of the expanded medium of drawing in its widest sense. The programme will showcase a diverse range of early career artists’ practice-based productions and specific reactions to this theme.
For more details go to the 2|1|4|1 website: http://2-1-4-1.com/Draw-In-Call-For-Submissions
To the reader.
New exhibition curated by CAP guest lecturer Benjamin Fallon opens at IMPAKT Festival in Utrecht.
To the reader is a new exhibition curated by #CAPetc guest lecturer and ex-student Benjamin Fallon. Forming part of the 2013 IMPAKT Festival the exhibition deals with issues around capital and the lack of cohesive responses since the crisis that emerged in 2008. IMPAKT is a major European media art festival, which has taken place annually in Utrect, Netherlands since 1988. Each year IMPAKT deals with a single theme, which is examined through various media, including an extensive film programme, talks, events and exhibition. The theme of this year’s festival is CAPITALISM CATCH-22 posing the question of how to solve the dilemma, which exists between capitalisms place as the dominant and seemingly most workable economic system and its failures and the apparent inevitability of it being a dead end.
“The work in the show understands the limits of a moral critique that suggests that capital should just act nicely. Curator Benjamin Fallon points out that asking an inhuman system that is fundamentally interested in its own progress and growth, to behave in the interest of humans, is ultimately futile.”
To The Reader emerges from the understanding that capitalism is, first and foremost, a social relation that defines our behaviour. The exhibition is grounded in our current historical period. The basis for capitalism as a mode of organization has never been weaker, but paradoxically has seen almost no credible articulations of dissent. Perhaps there have been some fairly weak moral pleas for it to behave more pleasantly, and vague ideas that a return to Fordism and Keynesianism might be a good idea.
The exhibition itself is a tightly packed constellation of existing, newly commissioned and extended works, thinking through some of the contradictions we find ourselves entangled within. Whilst some of the information and ideas dealt with are necessarily complex, the exhibition will maintains a level of humour, understanding the importance for a certain lightness of touch when dealing with complexity.
The exhibition includes works by: Daniel Andújar; Bureau d’études; Liam Gillick; Goldin+Senneby; Hiwa K; Mierle Laderman Ukeles; Learning Site; Huw Lemmey and Ben Vickers; The Bureau of Melodramatic Research; Capital Drawing Group (Andrew Cooper, Enda Deburka, Dean Kenning, and John Russell); Paul Sullivan; and Marika Troili.
http://impakt.nl/headquarters/news/festival-exhibition-to-the-reader/
Opening on Friday 18 October from 17.00 to 20.00 hrs at BAK, with a performance by The Bureau of Melodramatic Research titled Lovegold – Contemporary Alchemy at 18.30 hrs.
On Saturday 2 November 2013 at 15.00 hrs, Fallon and participating artists will introduce the project through a guided tour.
The Impakt Festival takes place from 30 October to 3 November 2013 at various locations throughout Utrecht. For more information on the Impakt Festival exhibition To The Reader, please visit www.impakt.nl.
Benjamin Fallon is an independent curator, writer and designer currently based in Brussels. Since leaving the HND Public Art (now Contemporary Art Practice) at Edinburgh College Granton (formally Edinburgh’s Telford College) he has participated in Curatorlab, Konstfack Stockholm 2012/13, served as co-director of Embassy Gallery between 2008 and 2010 and prior to this he worked in various capacities at Edinburgh Sculpture Workshop and ONEZERO. Benjamin is visiting lecturer at both Edinburgh College of Art and Edinburgh College.
Recent projects include You are just in the middle of the beginning various locations around Stockholm, 2013-ongoing; The Exhibition and its Histories the University of Edinburgh, 2013; Banal Inferno CCA Glasgow, 2010; Hello World Embassy Gallery, 2010; Warehouse of Horrors +44 141/ Studio Warehouse, Glasgow, 2009.
Benjamin is instigator of the working group Let’s get together and call ourselves an institute. researching the possibilities for new forms of institutional practice.
AH 18-10-13
PARADISE: Found.
‘PARADISE’ is an exhibition of new work by #exCAPer Sofie Fischer-Rasmussen. The exhibition is a presentation of bold, botanically themed, photographic works, fragile sculptures and intricate instillations. These are the result of the artist’s struggle to maintain the necessary balance between economic self sufficiency, and becoming a professional working artist in her first year out of art school.
Sofie graduated from HND Contemporary Art Course at Edinburgh College Granton in 2009 before going directly into year 2 of the highly respected Sculpture and Environmental Art Course at Glasgow School of Art. Since graduating from GSA in summer 2012 Sofie has continued to develop her practice while dealing with the economic realities of life after art school.
Sofie is prolific in her use of social media and internet based research. Some which readers can see from the links below which include an interview on Glasgow based artists collective 2-1-4-1 website.
PARADISE: Opens tonight at 6pm at A.Gallery, 87 Saltmarket Glasgow.
SFR on tumblr:
http://sofiefischerrasmussen.tumblr.com
Full exhibition text:
http://sofiefischerrasmussen.tumblr.com/image/64408284423
Interview with SFR on 2-1-4-1 website:
http://2-1-4-1.com/exhibition-preview-and-artist-interview-sofie-fischer-rasmussen
AH:16-10-13
SERIAL SETTLEMENTS: Exhibition of New Work by AIRetc… Neil Nodzak
SERIAL SETTLEMENTS: An exhibition of new work by Edinburgh College Artist In Residence Neil Nodzak. This exhibition of work developed and produced during the residency in the Art & Design dept at Edinburgh College marks the end of a highly successful and productive period in Neil’s emerging career.
OPENING TONIGHT: Friday 26th July 2013 6pm – 8pm Edinburgh Sculpture Workshop.
Open to public Saturday 27th & Sunday 28th July 11am – 5pm
