Tag Archives: Talbot Rice Gallery

Last of the Summer Time

9 Oct

Finally, I’ve found some time to write a blog post and I’m ashamed to see how long it has been since the last one.  I’ve been gathering catalogues, notes and bits of paper from the inordinate amount I have seen over the past month but now there are far too many to tell you about them all.

At this time of year we’re all looking ahead to Frieze week – in fact, LAPADA in Berkeley Square already heralded the beginning of art month.  But, to look over some of my highlights I have to journey back to Edinburgh and an exhibition at Talbot Rice Gallery showing works by Korean artist, Nam June Paik.  I have to confess, that I wasn’t at all familiar with his work even though he is dubbed the founder of video art.  Born in 1932, Paik had a remarkable insight into the ways that technology would change everyday life and our approach to art.  Unusually for Talbot Rice this is a posthumous retrospective; Paik died in 2006 but the gallery saw this as the perfect opportunity to celebrate this artist’s work – art and technology was the theme of the Edinburgh International Festival this year so this could not have been a more fitting choice.

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Nam June Paik at Tabot Rice Gallery.  Image via www.journal-online.co.uk

It is a confusing exhibition as there is so much going on around the galleries that at times it becomes hard to digest – the main floor exhibits a survey of Paik’s video works, sculpture (including two of his handmade robots) and documentary pieces, while the upper gallery shows objects from his important debut solo exhibition in Germany that took place 50 years ago.  Whatever direction you turn to Paik’s works include old-fashioned television sets whether in their entirety, showing montages of found documentary footage, or included in strange sculptures.  The works are often noisy and at times almost aggressive in their crude aesthetics.  Paik was intent on getting his message across and there can be no denying that he succeeded in conveying his overflowing ideas that combine television with contemporary art.

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Nam June Paik at Tabot Rice Gallery.  Image via www.re-photo.co.uk

In contrast, was Franz West at Inverleith House.  In all my years in Edinburgh I don’t think I’d ever visited the Botanic Gardens and I had most certainly been missing out.  Aside from the incredible glasshouses, which I’d definitely recommend particularly because of the sculptures dotted around them, the Gardens and House are free of charge.  Walking around this space is like entering another world, particularly in August when Edinburgh is taken over by the Fringe.

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Sculptures in the glasshouses at the Botanic Gardens.  Own photograph.

It is rare that we enter a gallery and are encouraged to touch the works on display.  Here we’re not just asked to gently touch but to play full on with West’s pieces that are solely in collaboration with other artists.  This exhibition contains more than 50 examples of these mad collaborations.  The list of artists in the press release shows quite how influential West is for all these artists to want to work with him – examples are Sarah Lucas, Michelangelo Pistoletto or Douglas Gordon.  Although there are some serious works the exhibition feels exciting and fun – if you don’t participate with the pieces you won’t get very much out of them.  West allows us to escape the conventions of gallery-going where many feel constrained, forced to whisper and look from afar.  The gallery staff make sure we’re doing it right as well – “Have you laid down here yet?” one young girl asked me as I walked through a room, “You can’t see the piece properly unless you do.”  Well, that told me and before I knew it I found myself prostrate on a work of art.  Thank you Franz West.

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Franz West at Inverleith House.  Image via www.rbge.org.uk.    

Inverleith aren’t attempting to exhibit the sculptures that many of us would normally associate with West – their exhibition is solely about the creativity of collaboration.  Sometimes West integrated works by other artists with his own, sometimes he invited artists to ‘complete’ one of his works and sometimes the collaboration began with him asking an artist to provide him with something.  West was, however, always the conductor of these exchanges, the master of collaboration and of artistic harmony.

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Franz West at Inverleith House.  Image via www.rbge.org.uk.    

The Edinburgh Art Festival spans the whole city and there are always wonderful installations dotted around in the most unusual o places.  One such example is Peter Liversidge’s work where he was invited anyone in the city with a flag pole to fly a white flag which bears the text: HELLO.  Hello is a word so commonly used in everyday life – to express a greeting, answer a telephone, attract attention and so on.  Liversidge aims to remind us that a flag is also a way to say hello and, here, they wave at us from across the city’s public buildings, blowing their greetings across Edinburgh with each gust of wind.

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A collective greeting in Edinburgh.  Own photograph.

When I was at school aged only 7 or 8, one of the first artists we studied was LS Lowry and he has always had a special pull for me.  Now Lowry’s time has come with a huge exhibition at Tate Britain.  For me, Lowry’s works don’t work well in bulk so this exhibition was always going to be difficult in that regard.  But that was never any doubt that no matter what Tate did I would be instantly won over.  Even ignoring my own personal love for Lowry, this is a very important show and one that is curated by two senior curators who give it an immediate element of gravitas.  But, both are art historians who live in America; they aren’t specialists in Lowry or British art and perhaps this is why they have decided to mix things up a bit, not always successfully.

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Lowry at Tate Britain. Image via www.telegraph.co.uk.  

The exhibition offers direct comparisons between Lowry’s work and that of 19th century French artists tackling the same subject which is the big let-down of the exhibition.  Why have Tate not let Lowry stand in his own right?  Nor is the exhibition hung chronologically so it is very hard to see the developments across more than 60 years of work.

Lowry’s depictions of England and his acute powers of observation are still something special.  His depictions of modern life hold a simplicity and rusticity to them that capture the true feeling of the town – some of the scenes haven’t even changed that much since Lowry painted them in his work.  Although the poverty and hardship of the times is there, he often idealises his scenes to make them more palatable for his audience.  He is often criticised for the almost one-dimensionality of his tiny stick figures but look closely at the work that has gone into them.  This is Lowry’s unique record of changing times – his very own texture and timbre of the world in which he lived and the specifics he chose to see.  Love or hate Lowry this is a must-see show.

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Walking through the exhibition.  Image via www.demotix.com

Idris Khan was one of the artists included in our East Wing VIII exhibition at The Courtauld but his latest show at Victoria Miro marks an important departure from the photographic based work he then showed.  Beyond the Black comprises a suite of black paintings, a monumental site-specific wall drawing and a series of works on paper, considering the metaphysics of creation.  Using a mixture of black pigment, rabbit-skin glue and slate dust the paintings’ darkness shines from the walls.  Whereas previously Khan has used the writings of famous philosophers in his pieces, here he incorporates his own writings in response to his readings of Nietzsche, building up strands of text applying densely one on top of the other until the words disappear into the saturated surface, slipping away from us beyond our understanding.  The further we try to look into the works, the less we can comprehend.

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Idris Khan at Victoria Miro.  Image via www.londonist.com

The wall drawing upstairs consists of more than 120,000 lines of text forming a giant radial form.  It’s possible to get lost within this work for hours and I do mean get lost as we are incapable of following the complicated overlays of words at play here.  Throughout the exhibition we are offered glimpses of words that may, or may not, give us a window into Khan’s thinking.

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Complicated overlays. Image via www.fadwebsite.com

Edel Assanti’s latest show (and one on which I have worked) is of Alex Hoda’s incredible new sculptures where the cutting-edge technological processes of 3D-modelling are applied to traditional sculptural materials to create sublime forms.  Alex’s work is an investigation into how discarded objects can provide a valid starting point for wider discussion and critique of contemporary society’s ‘throwaway’ culture.  He sees chewing gum as the perfect embodiment of this area of consumer culture. The chewing gum undergoes a metamorphosis when translated into Carrara marble, imbuing the final piece with an importance that is more often exclusively reserved for classical iconography. The bronze works undergo a comparable transformation, only the source objects are delicate hand-sculpted maquettes formed from entwined dry banana skins.  Despite the medium of bronze, the ‘banana skins’ have an incredible delicacy and tactility that defies their medium and recalls the source objects in a beautiful way.

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Alex Hoda’s new works at Edel Assanti. Image via www.edelassanti.com

David Zwirner is currently showing Philip-Lorca DiCorcia’s East of Eden, a large-scale body of photographs ranging from strangers, family members and pole dancers.  He takes everyday happenings and pushes them beyond the realms of banality and normality asking the viewer to question the truth of the image.  The works, partly inspired by John Steinbeck’s book of the same name and the Book of Genesis convey a sense of disillusionment, with lone figures contemplating their surroundings and remaining beyond our reach.  While some are compositionally stimulating and powerful others don’t quite hit the mark for me.

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Installed at David Zwirner.  Image via www.davidzwirner.com

Finally, I was lucky enough to visit Stanley Spencer’s Sandham Memorial Chapel at Burghclere just before it closed to the public for a long programme for conservation and renovation.  Words cannot do justice to the feeling of walking through the modest chapel doors and being overwhelmed by the inspirational scenes that Spencer created, a series of large-scale epic murals that honour the ‘forgotten dead’ of the First World War, inspired by Spencer’s own experiences both as a hospital orderly in Bristol and a solider on the Salonika front.

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Approaching the Chapel.  Image via http://en.wikipedia.org

Peppered with personal and unexpected details, they combine the realism of everyday life with dreamlike visions drawn from his imagination.  His recollections, painted entirely from memory, focus on the domestic, rather than combative, and evoke everyday experiences – washing lockers, inspecting kit, sorting laundry, scrubbing floors and taking tea – in which he found spiritual resonance and sustenance.  The poignancy of the works is powerfully emotive.  The main 16 panels from this English ‘Sistine Chapel’ are journeying to Somerset House for an exhibition next month.

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Inside the Chapel.  Image via  www.siue.edu.

This is by no means a survey of all I have seen but a taster of some shows that are currently on.  The winter programme across London and the UK looks particularly exciting and I’ve recently bought a host of new heels in which to enjoy them.

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Transmitted Live: Nam June Paik Resounds is at Talbot Rice Gallery, Edinburgh, until 19th October 2013, www.ed.ac.uk/about/museums-galleries/talbot-rice.  Mostly West: Franz West and Artistic Collaborations was at Inverleith House, Edinburgh.  Lowry and the Painting of Modern Life is at Tate Britain until 20th October 2013, www.tate.org.uk.  Idris Khan: Beyond the Black is at Victoria Miro until 9th November 2013, www.victoria-miro.comAlex Hoda: D-Construction is at Edel Assanti until 26th October 2013, www.edelassanti.comPhilip-Lorca diCorcia: East of Eden is at David Zwirner until 16th November 2013.  Stanley Spencer: Heaven in a Hell of War will be at Somerset House from 7th November 2013 – 26th January 2014, www.somersethouse.org.uk.

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Frantic at the Fringe 2012 – Part II

28 Aug

So, only a week or so after my first trip I found myself back at King’s Cross early one Saturday morning boarding a train to Edinburgh.  Having previously realised that my aim to see everything in the Edinburgh Art Festival was a tad ambitious, I’d scaled back and had a more manageable list in hand.

My first visit was to the Talbot Rice Gallery – an absolutely stunning space .  The gallery has two main areas: first is the White Gallery which shows a changing programme of contemporary exhibitions.   For the EAF, the gallery is showing Tim Rollins and K.O.S.: The Black Spot which explores Rollins’ group strategy that enabled him to study literature and produce works of art as a response to the learning process.  Through this Rollins and his peers created their own unique aesthetic solution that inspired some intriguing works responding to literary masterpieces. The exhibition title comes from Treasure Island and the painting created in response summons audiences to reinvigorate a belief that the power of art can change lives.

Tim Rollins and K.O.S.: The Black Spot at Talbot Rice Gallery. Image courtesy of Chris Park and the Talbot Rice Gallery.

There is also the Georgian Gallery with an impressive neoclassical interior, originally designed by William Playfair as a natural history museum.  The upper level displays works from the Torrie Collection, collected by Sir James Erskine of Torrie in the early 19th Century. They are predominantly made up of 17th Century Dutch paintings across a range of different genres.  Erskine, a former student, bequeathed the works to Edinburgh University on his death.   Downstairs houses changing exhibitions and it is here that their second exhibition of Donald Judd drawings is located.  Talbot Rice Gallery are the first in Scotland to examine Judd’s working methods.  The exhibition brings together a number of Judd’s drawings and materials, mostly never before seen in public, all closely connected to his three-dimensional works.  Even after he abandoned painting, drawing was always an important component of Judd’s practice allowing him to problem-solve and express his thoughts and ideas.  The drawings don’t adhere to any formal method of composition-making and his lines escape from the pages, disappearing from our sight.

Donald Judd’s drawings in the Georgian Gallery.  Image courtesy of Chris Park and the Talbot Rice Gallery.

One morning, I realised that my flat on Abercrombie Place was very near a whole series of small commercial galleries and so after breakfast I set off, umbrella in hand, for a little stroll.  My first stop was the Open Eye Gallery who were showing John Bellany at 70 to precede a major retrospective of his work at the Scottish National Portrait Gallery which will celebrate his birthday.  Much of Bellany’s work focuses on the fishing communities and harbours that he saw when growing up in Port Seton.  Recently, Bellany moved to Tuscany and the bright optimistic colour range is a relatively new development inspired by his new surroundings.

John Bellany at 70. Own photograph.

Just along the road, Dundas Street is full of galleries.  Bourne Fine Art are showing an exhibition of works by Jock McFayden to coincide with his exhibition at the Fleming Collection in London.  McFayden defines himself very much as an artist rather than a painter and he sees his works as an organic way of describing the world we live in.  The gallery is very atmospheric but, fundamentally, it is just another commercial gallery where the exhibition spills into the office space, meaning you have to tiptoe past working desks to see all the paintings.  Underneath Bourne is the Dundas Street Gallery, a hire space that was closed and looking rather forlorn.

The closed Dundas Street Gallery. Own photograph.

Carrying on down the hill, I popped into The Scottish Gallery for their Duncan Shanks exhibition where large abstract paintings are filled with emerging heaving forms.  On my way back into town I stopped at the National Portrait Gallery.  This is a huge, beautiful gallery and one where you could easily spend hours or just pop in for 15 minutes to have a nose through one room and soak up the atmosphere.  When it opened in 1869, the space was the first purpose-built portrait gallery in the world and, since then it has expanded and grown from strength to strength. With works spread across 17 large galleries, here is somewhere to lose yourself, particularly during the Fringe when you’re longing for a bolthole away from the madness.

The National Portrait Gallery. Own photograph.

Although I had the amazing EAF art map to help me know where all the smaller galleries are, the blue festival signs outside all the venues are more helpful than you can imagine and act as art beacons around the city.  The Ingleby Gallery are showing Ian Hamilton Finlay’s Twilight Remembers which was included in lots of the festival previews and looked set to be a hit.  I wasn’t let down.  Before even mentioning the art, I have to say what genuinely nice people are working at this gallery.  You’re greeted on arrival and handed the information sheets.  They seem so pleased to see you and delighted that you’ve chosen to visit.  I can think of a fair few other spaces that could learn from this.

Ian Hamilton Finlay’s Twilight Remembers at Ingleby Gallery. Own photograph.

Downstairs is quite subdued with a video piece, Carrier Strike, models, postcards and rare works on paper. For me, this exhibition really comes alive on the first floor.  Three large boulders, bearing the names of Japanese war planes, become stepping stones from the Pacific warzone to Finlay’s famous garden, Little Sparta.  In the Pentland Hills, near Edinburgh, Little Sparta brings together Finlay’s work in a natural landscape which is shaped and changed around the artistic and aesthetic needs of the works.  The garden itself becomes an artwork, encompassing all the individual pieces under its ‘umbrella’.   Upstairs explores the garden offering puns and teasing evocations about what the five-acre outdoor space may offer.  Ingleby ran a number of trips throughout August but I only realised too late and then couldn’t free up the time – I’m gutted that I didn’t get to visit as it’s not regularly open to the public.

Finlay often explores the French Revolution in his work and two sculptures in the exhibition allude to specific historical moments – the Reign of Terror in 1794 and the Ventose, the sixth month in the new calendar adopted in 1792.  The spade refers specifically to the 10th day of that month and conjures up a layering of multiple evocative ideas.  Finlay’s use of objects such as spades and gravestones are a wonder.  Gelling seamlessly into the natural world, they are beautiful pieces of art that offer moments of reflection on all around us.

Ian Hamilton Finlay’s Twilight Remembers at Ingleby Gallery. Own photograph.

Later in the week, I found time to go to the Edinburgh College of Art where, alongside the postgraduate degree show, there is a video work, Apes as Family by Rachel Mayeri and also an exhibition responding to the cast collection at the college.  Although I personally didn’t think much of all the works in Cast Contemporaries,the method of display is great as the works have been shown in a cluttered curatorial arrangement, all mixed up with the actual casts.  Cast Contemporaries explores contrasting responses to the fate of the plaster cast collections in art schools which is particularly appropriate as ECA has one of the most important cast collections in the UK.  These casts are a feature of everyday life here and the exhibition considers them as catalysts for future visual arts experimentation.

Cast Contemporaries.  Image via http://fields.eca.ac.uk/

There was still so much to see that it was lucky I had a while longer…

Tim Rollins & K.O.S.: The Black Spot and Working Papers: Donald Judd Drawings, 1963-93 are at Talbot Rice Gallery until 22nd October 2012, www.ed.ac.uk/about/museums-galleries/talbot-riceJohn Bellany at 70 is at Open Eye Gallery until 4th September 2012, www.openeyegallery.co.ukJock McFadyen: The Ability to Cling…. is at Bourne Fine Art until 15th September 2012, www.bournefineart.comDuncan Shanks: Across a Painted Sky is at the Scottish Gallery until 5th September 2012, www.scottish-gallery.co.ukIan Hamilton Finlay: Twilight Remembers is at Ingleby Gallery until 27th October 2012, www.inglebygallery.comRachel Mayeri: Primate Cinema: Apes as Family and Cast Contemporaries are at the Edinburgh College of Art until 2nd September 2012, www.eca.ac.uk.

Frantic at the Fringe 2012 – Part I

11 Aug

I am spending a lot of time in Edinburgh this month.  When I return I hope to visit all the National Galleries but for my first trip my somewhat ambitious plan was to see all the galleries in the Edinburgh Art Festival programme – over 45 exhibitions spread across the city.  I’m not quite sure what prompted this absurd idea but, needless to say, it didn’t happen – I was in Edinburgh working and also seeing a large amount of theatre.  Plus, when I arrived, the Art Festival hadn’t actually started as I found out the hard way (some things never change).

However, this didn’t stop me from seeing a few brilliant shows.

Edinburgh. Own photograph.

The Fruitmarket Gallery is one of my favourite art spaces in Edinburgh.  As well as having a fabulous art programme, they have a brilliant café.  So, it’s practically compulsory to be standing on their doorstep when they open at 10am to start the day with a bacon butty and a cup of piping hot tea.  This done, I was ready to see their current exhibition of Dieter Roth’s Diaries.  This exhibition is the first to focus on Roth’s diaries which he used not only to record appointments, addresses, etc., but also to note his ideas and drawings.  His diaries help us to understand his work and the thinking behind it.  They were an integral part of his life; he even had his suits altered in order that the diaries would fit comfortably in the pockets.

Dieter Roth’s diary. Own photograph.

Many of Roth’s works are presented as visual metaphors of diaries – Flat Waste records a year in his life in rubbish that is less than 1cm thick (I’ve read a fair few different comments on the actual measurements of the rubbish but 1cm is stated in the Fruitmarket bumph that accompanies the exhibition) and Solo Scenes records on 128 video monitors the last year of the artist’s life.

Dieter Roth, Flat Waste. Own photograph.

The rubbish in Flat Waste is presented in 623 ringbinders that together form an archive, housed in specially designed shelving units.  Between each cabinet, a lectern allows visitors to browse a selection of the binders in more detail to appreciate fully the anal precision of this task.  Roth didn’t censor his life and plastic wallets in the ringbinders are filled with random everyday items including orange peel, used tissues and toilet paper (don’t ask!).   There are some anomalies in the dates because a number of the volumes from the original year (1975-6) went missing and Roth decided to replace them with binders of rubbish from the same day in later years.  The folders are labelled in an compulsively consistent pattern.  Using rubbish to make a portrait of his life, Roth is without the forerunner of many artists who consider themselves to be radical.

Dieter Roth, Flat Waste. Own photograph.

Video art has never been my favourite medium but Solo Scenes is incredible, a gripping look at Roth going about his day-to-day activities: getting out of bed, cooking, eating, and even sitting on the toilet, in his homes and studios in Iceland, Switzerland and Germany.  Nowadays, we are familiar with the concept of a video diary but it was far less common when Roth first began experimenting with the idea.  Although many of the activities that Roth carries out are mundane and don’t differ much from our own routines, they allow us to monitor him in an obsessive fashion blurring the boundaries between life and art.  Yet, despite witnessing Roth at such personal moments, he says we don’t necessarily come any closer to understanding him as ‘who knows what people think?’.  The work only came to an end when Roth died of a heart attack – this is a truthful and honest portrayal.

Dieter Roth, Solo Scenes. Own photograph.

As with Flat Waste, Roth hides nothing from us and poignantly shows us the reality of his life – the good, the bad and the ugly.  The exhibition also includes some of Roth’s copybooks and actual diaries.  Roth was never an orthodox or predictable artist; this is an amazing exhibition, showing that everything he did fed into his art.  Indeed his whole life was a voyage, creating diaries that fulfilled his need for constant artistic production.  This was the first exhibition that I saw in Edinburgh and I already knew it was to be a highlight.  It stayed with me for days.

Dieter Roth, Solo Scenes. Own photograph.

Next, I crossed the road to City Art Centre who are showing an exhibition of works by Leslie Hunter.  Hunter was part of The Scottish Colourists who, although they never worked together as a foursome, are brought together by their love of bold colour that revitalised Scottish art – the influence of which can still be seen in the work of artists in Scotland today.

With over 50 works, the exhibition really allows us to get a feel for Hunter’s oeuvre but, having just experienced the moving poignancy of Roth’s work, this exhibition did nothing for me.  Hunter is obviously a good painter but he didn’t excite me.

Leslie Hunter, Peonies in a Chinese Vase, 1925. Image via www.theskinny.co.uk

Upstairs, is a complementary exhibition entitled The Scottish Colourists which shows Hunter’s influences and the work of those who have been influenced by him.  On the top floor is Human Race which I thought would require very little time – I was wrong.  Human Race celebrates pioneering developments in medical imagery, surgery and sports training in the last 200 years.  The exhibition uses intriguing objects from Scottish collections that date as far back as to the Bronze Age and is split into themes; there is an 1820s Hobby Horse, films, drawings and photographs, bone and muscle specimens, a St John’s Ambulance first aid kit from the 1950s and specimen jars used in modern-day anti-doping tests.  The objects could not be more diverse or informative without being overbearing.  There are also a number of commissioned artworks that take inspiration from objects in the exhibition and explore the many tensions that exist in sports and medicine.

Human Race at the City Art Centre. Own photograph.

Heading up the road to Stills, I discovered the gallery wasn’t yet open and it was at this point I found out that the EAF didn’t officially start for a couple of days.  Hmm…  Some people never learn and perhaps that’s me.  Collective, however, had opened so recently that it was still possible to smell the fresh paint in the gallery.  Sadly, this may be their last exhibition in their current Cockburn Street space as they are moving to the City Observatory later this year.  Lying and Liars is a site-specific installation that explores the conflict between storytelling and formal experimentation by mixing different sculptural and architectural forms.  This is a beautiful gallery and its large glass frontage offers multiple perspectives on the unusual exhibitions they mount.

Lying and Liars at Collective. Own photograph.

The next morning I headed to St Andrew’s Square to see another EAF commission; Andrew Miller’s The Waiting Place is this year’s pavilion and is a playful reinterpretation of a summerhouse in one of the busiest areas of the city.  The building is designed to show off an ambitious and ambiguous architectural form.  The title comes from Dr Seuss’s Oh! The Places You’ll Go where the protagonist finds himself in The Waiting Place, ‘a most useless place … for people just waiting’ for a variety of different things to happen.  The pavilion doesn’t have any particular function but can fulfil whatever the visitor needs: ‘Waiting for a train to go, or a bus to come, or a plane to go, or the mail to come, or the rain to go, or the phone to ring, or the snow to snow, or waiting around for a Yes or a No, or waiting for their hair to grow…’.  Even a tree makes use of the pavilion as it erupts from its roof.

Andrew Miller’s The Waiting Place. Own photograph.

Stills was still shut (!) so I climbed the Scotsman Steps, where Martin Creed’s Work No. 1059 is a permanent installation.  Creed re-generated these 104 steps so that every stair is now a different kind and colour of marble.  Last year, I observed that although the staircase is fit for royalty, the city rushes up and down without even noticing its spectacular beauty.  I am more and more convinced that this is the charm of the work.  It is so beautifully integrated into Edinburgh that it is easy to miss yet, when you spot it, you just have to stop and stare at the stairs.  Continuing further into town, I headed to the Talbot Rice Gallery which hadn’t yet opened either.  I began to think that theatre may be easier (my tweets will allow you to track what I saw) and stored my art map in my bag for my next trip.

Martin Creed, Work No. 1059 at the Scotsman Steps. Own photograph.

I never quite managed to be in one of the set spots at 1pm to hear Susan Philipsz’ Timeline but I’ll try again next week.  The work, in response to the One O’Clock Gun makes use of the artist’s own voice to call out across the city every day.  I’ve heard recordings and it’s wonderful.

The Art Festival really must be praised for not only the Guide that they produce but also the map.  This year it has been produced by renowned illustrator Peter Arkle – it’s helpful, comical and beautiful and I’ll carry on working my way through galleries on my return when, hopefully, they’ll be open.

Dieter Roth: Diaries is at The Fruitmarket Gallery until 14th October 2012, www.fruitmarket.co.ukLeslie Hunter: A Life in Colour is at City Art Centre until 14th October 2012 and Human Race: Inside the History of Sports Medicine is at City Art Centre until 9th September 2012, www.edinburghmuseums.org.uk/venues/city-art-centre.aspxMick Peter and B.S. Johnson: Lying and Liars is at Collective until 30th September 2012, www.collectivegallery.net.  Andrew Miller: The Waiting Place is in St. Andrew Square, www.edinburghartfestival.com.  Martin Creed, Work No. 1059 is a permanent installation at The Scotsman Steps, www.martincreed.com.  Susan Philipsz: Timeline can be heard daily at 1pm outside Nelson’s Monument on Calton Hill, at Old Calton Cemetery, on North Bridge, on Waverley Bridge, behind the National Gallery of Scotland on The Mound and in West Princes Street Gardens.

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