Modern Edinburgh Film School & HND Contemporary Art Practice Link up

Guest blogger Alex Hetherington presents: Modern Edinburgh Film School

Alex Hetherington Modern 1    Alex Hetherington Modern 5    Alex Hetherington Modern 3    Alex Hetherington Modern 4

Images Courtesy of Alex Hetherington: Modern Edinburgh Film School

Modern Edinburgh Film School – a temporary participatory film school, combining themes of the sculptural screen, film and poetry, narrative and space, event as image, and acoustics and noise as form – is curated by the visual artist Alex Hetherington in association with Edinburgh Sculpture Workshop.

It acts as a kind of prism, reflecting, connected and transparent surfaces – where one thing can be seen through another – on the activities, functions and architecture of the Sculpture Workshop’s

new building and outward to contexts, processes and activities externally, as satellite disparate engagements. It is informed by propositions and practices by a range of national and international artists demonstrating concerns between improvisational, meticulous and sensitively drawn associations in poetry, film, moving image, space and sculpture. It hopes to work as a season of projects, appearing and disappearing, being seen discreetly, at spaces and venues across the city in 2013.

Its propositions, which are elusive and allusive include a series of essays, of indicators of historical and contemporary activity, a slight curriculum: Edgar Schmitz, Anne Colvin, AA Bronson, Tom Marioni, Trisha Donnelly, Samantha Donnelly, Rachel Harrison, Martin Kippenberger, Harry Everett Smith, Marcel Broodthaers & Aurélien Froment and traits found in contributors, influencers and cameos such as Stephen Sutcliffe, Anthony Schrag, Anne Colvin, Lyndsay Mann, Hazel France, Sarah Forrest, Ute Aurand, Sarah Neely, Lauren Gault, Debi Banerjee, Benjamin Fallon, Zoë Fothergill,  Raydale Dower, and others.

The project, meanwhile is informed by the free school, and alternative learning approaches, inhabiting an arc of combined themes of the sculptural screen, film and poetry, narrative and space, event as image, and acoustics and noise as form. Education here becomes an obstacle, articulating thoughts on commitment, graduation, qualification and drifting attention, and the possibilities of promiscuous coincidences, synchronicity.  Meanwhile it contains two considerations of time, Modern and School, and the meanings of those in abrasion to a city with faint film vocabularies, traditions, establishment and authority and museums. In turn it contains thoughts on exhibitions, fictions and contrivances: outputs, alongside the essays are, transparent letter texts on black glass (solid film credits), zines and print, and a series of events and talks: Green Screen, Group Show, A Party for Young Artists, Edinburgh Homosexual, The Hand that Holds The Desert Down, A Library.

From the outset the School sought practitioners from different stages of their careers, including students in formal education, as well as those working at a professional level in contemporary art. After an open discussion on the work, and its ambitions, at Contemporary Art Practice at Edinburgh College and an open call, that followed  the conventions of applying for work in that professional setting: 4 images, statement and moving image samples,  two practitioners were identified to become part of the project, to attend works, and respond finally with a time-based submission for a portmanteau film for a screening at Edinburgh Sculpture Workshop’s appearance at the Edinburgh Art Festival in August 2013.

All the applicants in this process responded to different aspects of the shaping of Modern Edinburgh Film School, some revealing questions on the political status of such an undertaking, others looking at the subject of the poetic and the sublime, how literature and words give potent expression to filmmaking, how the digital might inform the sculptural.

The two successful candidates are Shareen Sorour and Kaitlyn Walker-Stewart whose applications both alluded to the symmetries, echoes and architectures of film, poetry and sculpture, while containing experimental and diverse approaches to the screen, the performative, time, the object, surface and representation. While still very early stage visual art practitioners their portfolios contain intriguing enquiries.

Shareen Sarour- Inside - Outside     Kaitlyn Walker-Stewart

Sharren Sarour: Outside: Inside; Still from Video.                 Kaitlyn Walker-Stewart: Barriers; Still from video

Modern Edinburgh Film School commences 15 March with a screening at Edinburgh Sculpture Workshop and a group show, Green Screen, co-curated with Embassy, followed there by performances and talks during March, and later a discussion on this collaboration at Edinburgh College of Art.

I would like to thank Alan Holligan, Jennie Temple and Colette Woods at Edinburgh College for their continued generous support of my practice in general and the work to be carried out for Modern Edinburgh Film School in particular.

Alex Hetherington, Edinburgh, February 2013.

Warehouse of Horrors

ContemporaryArtETC… attended the opening of the Warehouse of Horrors at the ++44 141 Gallery in Glasgow on Saturday night and encountered a number of familiar and in some cases rather spooky faces.

The exhibition, curated by ex Telford Fine Art student and ContemporayArtETC… visiting lecturer Benjamin Fallon, brings together a range of artists who share a common interest in horror. Newly commissioned works by  Chris Walker, Catherine Street and our very own Alan Holligan sit confidently in the company of international art stars such as Mike Kelly, Paul McCarthy and Olaf Breuning.

‘Warehouse of Horrors’ is one half of an innovative exchange project between the Embassy Gallery in Edinburgh and +44 141 Gallery, which sees the Glasgow based gallery bring ‘Way Out is The Way Out’ featuring seven artists, predominantly painters, curated by Jamie Kenyon.

Warehouse of Horrors @ ++44 141 Gallery, Glasgow.


Marc Bijl, Beagles and Ramsay, Olaf Breuning, Neil Clements, Alexander Hetherington, Alan Holligan, Mike Kelley and Paul McCarthy, Lyndsay Mann, Jon Owen, Emma Pratt, Aida Ruilova, Catherine Street, Chris Walker

A publication featuring images of the artists work and newly commissioned essay’s by John Beagles, Neil Clements and Norman James Hogg accompanies the Exhibition.

Wednesday – Sunday 12:00 – 18:00

until 15th November

Way Out is The Way Out @ the Embassy Gallery, Edinburgh.


Alan Stanners, Benny Merris, Christian Newby, Dan Miller, Ragnar Jonasson, Sandy Smith, Sophie Mackfall

Thursday – Sunday 12:00 – 18:00

until 15th November

Edinburgh Sculpture Workshop @ WASPs presents: Lyndsay Mann and Ewan Robertson

Lynsay Mann & Ewan Robertson

TBG&S Installation, Dublin 2008 Casimir in Monoceros, 2007

Edinburgh Sculpture Workshop presents a two person exhibition featuring new work by Edinburgh based artists Lyndsey Mann & Ewan Robertson will open tomorrow night 13th Novemebr at Patriothall Gallery, Stockbridge.

Lyndsay Mann and Ewan Robertson share a sensibility in their approach to materials, each following diverse areas of research which leads to both multi-disciplinary processes and practice.

This new recent work by Ewan Robertson further explores interests in physicality: it’s material nature; constituents; fabric and status lying somewhere between the experiential and the physical, between object and installation. Drawn together from individual strands as diverse as mechanical music, the LA coastline, vehicles and props in non-violent action, linear systems / events / narratives, the work has a slow-burn feel and has almost self-formed into a singular sense or entity speaking about presence, silence and shadow. Like a newly uttered visual sentence it seems caught perpetually in the moment before thought condenses and meaning is fixed. It feels like a momentary clearing in fog that quietly subsumes but shows light traces of its tangential origins.

Lyndsay Mann’s work explores the most fundamental aspects of our experience: desire and dread, faith and futility. She follows simultaneously intuitive and pragmatic routes within her enquiries, often employing labour intensive processes in her work; using simple and inexpensive materials to suggest an environment of appropriation and a submission to process, manipulating familiar materials removed from their common context simulates a ritual. Mann’s writing, which is integral to her practice, falls somewhere between a manifesto and a self-help text, taking the form of suggested hypotheses or personal statements, neither definitive nor absolute. Abstracted from larger texts, she creates mantra-style sound bites within the works. Most recently she has developed this through sound recording during her residency at Stills gallery.
For Mann, combining multi-dimensional elements of her practice creates a dialogue which the viewer interrupts and becomes party to, assigned a role within the created dynamic to produce event, experience, and witness.

Opening: Thursday 13th November 6-8pm

Dates: 14th-30th November
Exhibition open: Thursdays to Sundays only
Opening times: Thursdays & Fridays 12-6pm, Saturdays and Sundays 12-5pm

There will be an artists’ talk on Sunday 23rd November from 2-3pm at WASPS, Patriothall.

Entry to the exhibition and talk is free.

Edinburgh Sculpture Workshop at WASPS, Patriothall in Stockbridge.
WASPS, 1D Patriothall, Off Hamilton Place
Stockbridge, Edinburgh EH3 5AY