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Great Scots >> Video artists record what's Glasgowing on by KEITH MARCHAND
If that's the case, you'd be way off track. Over the past 10 years, Scotland has seen a renaissance of artistic production rivalled by few places in Europe. In the plastic arts, literature and music, Caledonia has carved out a very respectable name for itself. And Glasgow, arguably the hotbed of most of this activity, handily kicks the crap out of the embarrassingly trendy London. On now at Articule is a show that offers a rare opportunity for Montrealers to gain some insight into just what prompted the (perceived) sudden arrival of the likes of Danny Boyle, Irvine Welsh, Arab Strap and Stephen Campbell. Video From Scotland is an exhibition that showcases the talent of seven Glasgow videomakers. The selections for the show were based entirely on whatever caught the eye of curator Nikki Forrest; there is no agenda evident nor is the show thematic in any way. The videos are widely diverse in subject matter, technique and theme. This functions well as it affords the viewer a chance to see a broad range of expression from the artists. Of particular note are the films of a Glasgow-based artist of German origin, Holger Mohaupt. In Street, we see compound images shot from the same vantage point. A simple scene of a street corner becomes strangely compelling, as the viewer is shown an entire day in one minute. In Tallow, Gelatin and Semen, images of cows are combined with the sound of news reports on the crisis of mad cow disease. Mohaupt takes ordinary subject matter and manipulates it in ways that make it powerful and provocative. Mandy McIntosh's Eagle Eye is a chronicle of people's lives. Using poetic and moody imagery, held together by scenes of travel and flight, the film documents personal details about its two main characters. Throughout are images of hearth, home and family. Her work has the appearance of home movies that have been rendered ephemeral and beautiful. Karen Dickson's offering rests on the opposite side of the spectrum from that of McIntosh. Her untitled video is simplicity itself. For six minutes and 50 seconds, the artist hurls herself against a white wall, making impact with her arm and shoulder (the old cop-breaking-down-a-door schtick). As the video progresses, we see Dickson begin to suffer the consequences of repeated contact. She leaves increasing amounts of her own arm on the wall. What first starts as bruising, ends with her skin tearing and coming off. Repetition, control and violence are all addressed... as the viewer squirms. The videos in the exhibition represent, to me, much about the Scottish character: they are, at times, funny, thoughtful, self-assured and brimming with vitriol. Video From Scotland is on until December 13 at Articule, 4001 Berri #105, 842-9686
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Does the thought of Scottish video production bring to mind the image of Jim Kerr mincing around in a satin corsair's shirt and tight black trousers? Do you think immediately of depressing re-runs of Taggart on Public Television?