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Archived exhibition

Here Was Elsewhere: >>FFWD

Here Was Elsewhere: >>FFWD
20 January – 17 February 2018

Artists’ moving image by:
Anne Colvin, Anne-Marie Copestake, Karen Cunningham, Kate Davis, Katy Dove, Kathryn Elkin, Sarah Forrest, Allison Gibbs, Michelle Hannah, Elín Jakobsdóttir, Mairi Lafferty, Adam Lewis Jacob, Lyndsay Mann, Duncan Marquiss, Oliver Mezger, Rosalind Nashashibi, Bobby Niven, Hardeep Pandhal, Ross Sinclair, Nashashibi/Skaer, Pernille Spence, Corin Sworn, Tom Varley, Dominic Watson.

Preview: Friday 19 January, 5.30 - 8pm

Culminating Event: “Press the eject and give me the tape”
Saturday 17 February 2018, 2 – 8pm

Here Was Elsewhere: >>FFWD

Here Was Elsewhere Installation Photographs by Ross Fraser McLean and Cooper Gallery

Here is fickle. Moving between different times and places, here is nomadic and it is often an elsewhere. Inherently mobile, here and its elsewhere institute connections and routes of exchange.

Here Was Elsewhere: >>FFWD holds these passages in the frame of the moving image, producing histories and memories of what was and could be. Displacing elsewhere into here, Here Was Elsewhere: >>FFWD is a reprise of Cooper Gallery’s International Project CURRENT: Contemporary Art from Scotland (Phase Two), in which >>FFWD was first shown at the Shanghai Minsheng Art Museum in 2016.

Capturing the distinctive concerns driving contemporary artists’ moving image works made in Scotland, Here Was Elsewhere: >>FFWD evokes the body, history, time and narrative; the material of here and elsewhere. Featuring works made since 2000 by 24 up-and-coming and established artists, including winners and nominees of the prestigious Turner Prize, Max Mara Art Prize for Women, Margaret Tait Award and The Derek Jarman Awards, Here Was Elsewhere: >>FFWD is a panorama of a medium defined by the urgencies of the contemporary. Cut together as a four-week ‘film strip’, the exhibition, with the camera as its medium, brings to clarity the diverse ethos of looking, recording and seeing that thrives in artists’ moving image practices from Scotland.

Placing the eye and the gesture as intrinsic aspects of the moving image, the first week of Here Was Elsewhere: >>FFWD positions the human body as a question of place and situation. Acknowledging the voice and the materiality of sculpture, the second week evades history as merely an account of what has been, registering it instead as a concrete vocal presence. For the third week, Here Was Elsewhere: >>FFWD foregrounds the description of distance implicit in the moving image as an ephemeral grammar of time. Giving form to narrative, the fourth and final week focuses on methods and demonstrations as images that mediate practices of living into an ethos. The selection of works in the exhibition is supported by Modern Edinburgh Film School.

To celebrate the flourishing artists’ moving image practice in Scotland and the triumph of the international tour to China, a culminating event will be held on 17 February amongst a vista of moving image featuring all 24 artists’ works, illuminated by performances, readings and talks. The Culminating event is co-organised with British Council.


Weekly programme schedule

Week One: In eyes and gestures, a double economy of the body
20 – 25 January

Michelle Hannah, Outoftheblu_ (2016)
Allison Gibbs, How to wash your hands in molten metal (2014)
Mairi Lafferty, LOVE (2013)
Oliver Mezger, Foghar - noise, sound, sound, note, blow (2016)
Rosalind Nashashibi, Lovely Young People (2012)
Pernille Spence, NaCl (1995-2016)

>>FFWD | Week One: In eyes and gestures, a double economy of the body

Week One - Stills from Artists' Films

Week Two: In voices and sculptures, a transparency of history
26 January 1 February

Anne Colvin, Momentarea (2015)
Katy Dove, Luna (2004), Sooner (2007), October (2011)
Kathryn Elkin, Michael’s Theme (2014)
Duncan Marquiss, Midday (2011)
Hardeep Pandhal, Ya Hasan! Ya Hosain! (2015)
Dominic Watson, Like A Rolling Stone (2012)

>>FFWD | Week Two: In voices and sculptures, a transparency of history

Week Two - Stills from Artists' Films

Week Three: In descriptions and distance, a folding of time
8 February

Kate Davis, Weight (2014)
Adam Lewis Jacob, Can’t See the trees for the wood (2015)
Lyndsay Mann, An Order of the Outside (2016)
Ross Sinclair, The Ballad of 20 Years of Real Life (2014)
Corin Sworn, Faktura (2008)
Tom Varley, Violence. Silence. (2013)

>>FFWD | Week Three: In descriptions and distance, a folding of time

Week Three - Stills from Artists' Films

Week Four: In methods and demonstrations, a pursuit of narrative
9 – 15 February

Anne-Marie Copestake, Back as Front, Inside as Out, Part One (2015)
Karen Cunningham, Development (2000-2015)
Sarah Forrest, The Pot (2015)
Elin Jakobsdóttir, Horsebox (2009), Models (2004)
Bobby Niven, Island (2012)
Nashashibi/Skaer, Ambassador (2005)

>>FFWD | Week Four: In methods and demonstrations, a pursuit of narrative

Week Four - Stills from Artists' Films



Week One: In eyes and gestures, a double economy of the body
20 – 25 January

Michelle Hannah is an artist and performer based in Glasgow. Hannah holds a Master of Fine Art from the Glasgow School of Art. Hannah uses a musical guise to engage, entice and detach equally with a strong sense of post – digital romanticism, namely in the roles which image, sound and performance can be used as an outlet to understand – in her own finite way –emerging technologies, cosmic pessimism and new ontologies of identity in a non-corporeal world. Exhibitions and performances include at Talbot Rice Gallery, NGCA Sunderland, HOME Manchester, DCA Dundee, CCA Glasgow, CGP London, ZKU Berlin, The Royal Standard Liverpool, Res. Gallery London, Limoncello Gallery London, Stereo Glasgow, Central St Martins London, University of London, Vetlanda Museum Sweden, Dresden Film Festival, CCA Glasgow, Glasgow Film Festival, Generator Projects, Embassy Gallery Edinburgh, London Art Fair. Hannah is the curator of 'Niteflights' which has taken place at various venues in Glasgow. She is a member of the collective Opera Autonoma, commissioned by Edinburgh Arts Festival as part of Generation in 2014 and Shortlisted for the Margaret Tait Award in 2013.

Allison Gibbs is an artist whose research-based practice incorporates film and video installation, sculpture, performance and the hosting of an ongoing meeting group; A Development Circle for Radical Subjectivity. Recent exhibitions and screenings include The 3rd Nanjing International Art Festival, Baijia Lake Museum, Nanjing, China; CURRENT: Contemporary Art from Scotland, Minsheng Art Museum, Shanghai; fugue states, The Centre for Contemporary Art, Glasgow; Ripples on The Pond, Gallery of Modern Art, Glasgow; 3 Scripts for Future-telling, Tenletters, Glasgow; Premiere screening of Our Extra Sensory Selves, Glasgow International Film Festival & Let The Body Be Electric, Let There Be Whistleblowers, an exhibition with Allison Gibbs, Ken Jacobs and Joachim Koester at Dan Gunn Berlin, curated by Heidi Ballet and Anselm Franke. In 2014 Gibbs was shortlisted for the Margaret Tait Award. She has undertaken artist residencies at Rupert, Vilnius, Triangle France and Hospitalfield, Arbroath. Gibbs graduated with a Masters of Fine Art from The Glasgow School of Art in 2013, with an Erasmus exchange at The Piet Zwart Institute Rotterdam, NL. She will commence practice-based Fine Art PhD candidature at Monash University, Melbourne, Australia in 2018.

Mairi Lafferty is a visual artist based in Edinburgh working with film, video, sound, printmaking and performance. She has exhibited and screened work throughout the UK and internationally recently in Ripples On The Pond, Gallery of Modern Art, Glasgow, Time Will Tell, Talcual Galería de Arte Contemporáneo, México and Hold This Object Up Until There is Nothing Left of You with Modern Edinburgh Film School. Recent solo projects include ABRACADABRA at Glasgow Project Room and LOVE at Dundee Contemporary Arts, Dundee. In 2015 she undertook a residency at n.o.where in London funded by Creative Scotland and Glasgow Life, the resulting work Droste was shown as part of 'Ripples on the Pond’, by Modern Edinburgh Film School at the CCA in Glasgow and featured on MAP Magazine as part of the project ‘Footnoting the archive’. Lafferty studied Sculpture at Duncan of Jordanstone College of Art, completing her Masters in Fine Art from Glasgow School of Art in 2008.

Oliver Mezger lives and works in Scotland. Mezger graduated with an MFA from the Glasgow School of Art in 2006. Mezger’s films, sound and performance works are realised through digital animation, 16mm film and optical sound, through to flick-books. Since 2008 Mezger has explored the idea of ‘parallel’ relationship. Parallelism is a very ancient poetic device of the Gaels and a contemporary term used to describe the processing of information in computer systems. Mezger has explored both traditions of parallelism. He is interested in the essence of both analogue and digital medias which can be seen through the works like ‘Air Sgàth Margaret Tait - For the sake of Margaret Tait’, (2014). ‘Alex / Mrs Po’er’ (2011). ‘I AM Adam’, (2009). ‘The Curse’, (2009). ‘Bluevale/Whitevale Psalmody’, (2008). He was the recipient of the John Schueler Scholarship in 2015, and took up the artist residency at Sabhal Mòr Ostaig, the National Centre for Gaelic Language and Culture. He was the recipient of the Royal Scottish Academy Morton Award in 2013/14, for artists working in lens based media. Mezger spent 2 years as Digital Artist in Residence at Timespan Helmsdale (2012/13).

Rosalind Nashashibi lives and works in London. Her films reveal the rhythms and patterns of everyday life and explore the boundaries between reality and fiction. She is concerned with the rituals played out by social groups and the individual’s place within society. Nashashibi has had numerous solo shows including those at Tate Britain; Chisenhale Gallery, London; Presentation House Gallery, Vancouver; ICA London; Bergen Kunsthall; Berkeley Art Museum. She presented a solo show at Objectif Exhibitions in Antwerp in 2014 and an Imperial War Museum commission on Gaza in 2015. In 2017 she participated in documenta 14 in Athens and Kassel and has been nominated for the Turner Prize. She represented Scotland at the 52nd Venice Biennale, and has participated in Manifesta 7, Sharjah 10 and the 5th Berlin Biennial with Lucy Skaer in their collaboration as Nashashibi/Skaer. Nashashibi studied at the Glasgow School of Art.

Pernille Spence is an artist based in Fife, Scotland who has been creating installations, performances and moving image works since the mid 1990s. Her work explores a visual dialogue between the human body (with objects/materials), movement and space, and the body’s physical/psychological limits and constraints with in these parameters. Spence completed a BA(Hons) Degree in Fine Art Sculpture and a Post Graduate Diploma in Electronic Imaging at Duncan of Jordanstone College of Art & Design. She currently lectures in the Contemporary Art Practice department at Duncan of Jordanstone College of Art & Design, Dundee. Exhibiting nationally and internationally her work has been shown in many galleries and festivals including the National Review of Live Art, Glasgow, the European Performance Art Festival, Warsaw, the Edith-Russ-Haus for Media Art, Germany and the Dean Gallery, Edinburgh. In 2006 she was a recipient of one of the Scottish Arts Council Creative Scotland Awards.

Week Two: In voices and sculptures, a transparency of history
26 January – 1 February

Anne Colvin is an artist based in San Francisco and sometimes Scotland. Her work explores the tension between memory, material structure, and moving image. Colvin's work has been exhibited and screened at San Francisco Museum of Modern Art; Massachusetts Museum of Contemporary Art; Minsheng Art Museum, Shanghai; Torrance Art Museum, California; Berkeley Art Museum, California; Mills College Art Museum, Oakland, California; Gavin Brown’s Enterprise, New York; Jancar Gallery, Los Angeles; Craftswoman House, Los Angeles; Modern Edinburgh Film School; Baltic Centre for Contemporary Art, Gateshead, and Gallery of Modern Art, Glasgow among others. Colvin is Visiting Faculty at the San Francisco Art Institute and founder of School of Inattention.

Katy Dove received a BA (Hons) from Duncan of Jordanstone College of Art & Design, Dundee, in 1999. In her solo work, Katy Dove created meditative spaces through the combinations of sound and image and contemplative responses to colour and rhythm. The artist collaborated with Anne-Marie Copestake and Ariki Porteous under the name Full Eye. They shared an interested in mantra, the repetition of words or sounds to aid meditation, and their work includes writing, voice and percussion. Full Eye’s inaugural exhibition was part of Studio Jamming: Artists’ Collaborations in Scotland at Cooper Gallery in 2014. Solo exhibitions include: Katy Dove (2016) Dundee Contemporary Arts, Thought Becomes Action (2013) Spacex, Exeter. She participated in numerous group exhibitions including Drawn In (2011) Travelling Gallery, Scotland; Sounds Good (2011) Location One, New York; Blink! Light, Sound & the Moving Image (2011) Denver Art Museum; Running Time: Artist Films in Scotland from 1960 to Now (2009) Scottish National Gallery of Modern Art, Edinburgh; GENERATION, 25 Years of Contemporary Art in Scotland (2014) Scottish National Gallery of Modern Art and Moving Image Season (2015) at Gallery of Modern Art, Glasgow. Dove was a member of the band Muscles of Joy from 2007 to 2011.

Kathryn Elkin is an artist currently based in Berwick Upon Tweed. Her performance and video works concern roleplay and improvisation, alongside an ongoing interest in the ‘out-take’ and clowning ‘on set’. She has an ongoing interest in shared ‘cultural’ memory (e.g. those produced by popular music, television and cinema) and the melding of this information to biographical memory. Recent exhibitions include: Television, CCA, Glasgow, 2016; Why La Bamba, CCA, Derry with Seamus Harahan, Fig-2 at ICA, London and screenings at London Film Festival, Tate Modern and Courtisane Festival in Ghent. She presented recent work alongside Alia Sayed at Tate Britain in August 2016 as part of a year-long series of events celebrating the 50th Anniversary of the London Filmmakers Co-Op. She graduated from Glasgow School of Art’s Environmental Art course (2005) and received a Post Graduate Diploma in Art Writing from Goldsmiths College, London (2012). She was a LUX Associate Artist (2012-2013) and Artist in Residence as part of the BBC’s Artists in the Archive project (2014). She is the recipient of the 2017 Warwick Stafford Fellowship at Northumbria University and teaches part-time at Liverpool John Moore’s University.

Duncan Marquiss is an artist working with video, drawing and collage. Often using appropriated material he draws links between disparate cultural reference points, re-imagining them in new narratives and contexts. Duncan Marquiss graduated in 2001 in Printmaking at Duncan of Jordanstone College of Art & Design and subsequently graduated from the MFA at Glasgow School of Art in 2005. He undertook the LUX Associate Artist Programme, London in 2009. He was the recipient of the Margaret Tait Award 2015-16. Recent exhibitions and screenings include Copying Errors, Dundee Contemporary Arts (2016), Renderruin Glasgow International (2016), Experimenta, BFI London Film Festival (2015); International Motley Honest Signals, Glasgow Project Room (2015); Index, screening at Microscope Gallery, New York; Foraging Economics, essay for The Happy Hypocrite (2014); and Information Foraging, Artist Moving Image Festival Tramway, Glasgow (2013).

Hardeep Pandhal lives and works in Glasgow. Pandhal’s research draws on processes of translation, uneasy humour and his interest in histories of identity and difference. His work encompasses drawings, knitted work and a video using reworked autobiographical material such as home videos. These works tell conflicted stories around the artist’s own identity and build on a body of historical research. Much of the work is made through collaboration or directly references texts written by other artists and academics. Pandhal was selected for Bloomberg New Contemporaries (2013), the Glasgow International Open Bursary (2013), the Catlin Art Guide (2014) and the Drawing Room Bursary Award (2015). Recent solo exhibitions include Plebeian Archive, David Dale Gallery, Glasgow (2015) and Hobson-Jobson at Collective Gallery, Edinburgh (2015), A Neck or Nothing Man! , Comar Isle of Mull (2015). Pandhal graduated with an MFA from the Glasgow School of Art in 2013 with the support of a Leverhulme Scholarship award.

Dominic Watson is an artist living and working in Amsterdam. In an exploration of what he sees as a false sense of shared consciousness, Watson typically works with film and installation to reflect upon the definers of taste in visual, popular and everyday culture. Frequently appearing like a caricature of himself in his works, Watson creates absurd and unusual situations between his cultural influences. Watson attained a BA in Sculpture from Camberwell College (University of the Arts London) in 2005 and graduated from the MFA programme at Glasgow School of Art in 2014. In 2015, Watson presented three solo exhibitions: Significant Culture II at BoetzelaerNispen in Amsterdam, Specific Emotions at New Studio London and Significant Culture at the Hutt Collective in Nottingham. He has participated in group exhibitions and screening events across the UK and internationally at organisations including, S1 Art Space in Sheffield (2015), Zona De Desgaste in Mexico City (2015), Sorbus Gallery in Helsinki (2015), 176 Zabludowicz Collection in London (2014), Paradise Row in London (2014) and Outpost in Norwich (2013). In 2013, Watson was selected for Bloomberg New Contemporaries and a selection of Watson’s films were included in the much-acclaimed London Open 2015 at the Whitechapel Gallery. Watson was a finalist in the Catlin Art Prize in 2015.

Week Three: In descriptions and distance, a folding of time
2 – 8 February

Kate Davis lives and works in Glasgow, Scotland. Her work reconsiders what certain histories could look, sound and feel like. This has often involved responding to the aesthetic and political ambiguities of specific art works and their reception, or re-evaluating historical moments that have been marginalised. Informed by successive waves of feminist art and theory, Davis works across a range of media, including moving image, drawing, printmaking and bookworks. Recent group exhibitions, screenings and awards include: Charity, LUX, London; Nudes Never Wear Glasses, Stills Gallery, Edinburgh; Cinenova Presents Now Showing, LUX Cornwall, St Ives; LUX/ BBC Artists and Archive commission; GENERATION exhibition, Scottish National Gallery of Modern Art; HOUSE WORK CASTLE MILK WOMAN HOUSE, Glasgow Women’s Library; Art Under Attack, Tate Britain; For Each Gesture Another Character, Art Stations Foundation, Poznan, Poland; eva International 2012, Limerick, Ireland; Olinka or Where Movement is Created, Museo Rufino Tamayo, Mexico City. Forthcoming projects include a solo exhibition at Stills, Edinburgh. Davis is the recipient of The Margaret Tait Award 2016/17.

Adam Lewis Jacob is a film-maker and artist based in Glasgow. His practice is eccentric, experimental and unpredictable, ranging between: a complicated figurative sculptural practice; his semi-embryonic lighting design collection; and the organising and advocating for artists in his current position both on the Transmission Gallery committee, and his flatmate-run living-room gallery, ‘Celine’. Exhibitions include: Here, Glasow International (2016), I Dunno Shit, Cactus Gallery, Liverpool (2014). Lewis Jacob attended the Mountain School of Arts, Los Angeles. During his MFA at the Glasgow School of Art he was selected for the Erasmus exchange to The Piet Zwart Institute in Rotterdam, NL. The artist is the 2016 recipient of the SUPERLUX Research & Development Award awarded by LUX Scotland and is part of Collective Gallery’s Satellite’s Programme in 2016-17.

Lyndsay Mann is an artist based in Scotland. Mann’s works focus on descriptions of experiences and events, subjective reflections and remembrances, which draw attention to the often overlooked details and interactions that shape attitudes, beliefs and actions in quiet and subtle ways. Mann gathers material across time periods and subject areas from reading, archival research and interviews she conducts to produce scripts, videos, performances and installations. Her work has been shown across the UK and Europe, most recently in 2016 at Transmediale, Berlin, and the Glasgow Film Festival. Recent exhibitions and events with: LUX Scotland; C/O Center for Contemporary Art, Milan; Aarhus University, Denmark, Liverpool John Moores University, and Liverpool Biennial; Edinburgh International Film Festival, Scottish Documentary Institute, and LUX; Transmission Gallery, Glasgow; blip blip blip, East Street Arts, Leeds; Modern Edinburgh Film School; Tramway, Glasgow; CCA, Glasgow; Enclave, London; Royal British Society of Sculptors, London.

Ross Sinclair is an artist, writer and musician, and currently Reader in Contemporary Art Practice in the School of Fine Art at The Glasgow School of Art. Since the 1980s Sinclair has used music throughout his practice. He is best known for his ‘Real Life project’ which has been exhibited in public and private spaces, museums and galleries in the UK, Europe, USA, South Korea, Japan and Australia, and has been disseminated across a range of publication contexts. Recent public exhibitions include: After After After The Monarch of the Glen, Real Life is Dead, Inverness Museum and Art Gallery; Real Life is Dead/Long Live Real Life, CURRENT |: Contemporary Art from Scotland (Phase Three), Shanghai Himalayas Museum, China; the display of his large-scale neon installation, We Love Real Life Scotland for the Devils in the Making, GSA and the Collection exhibition, Gallery of Modern Art, Glasgow (2015/16); a recreation of his 1996 performance installation Real Life Rocky Mountain at The Scottish National Gallery of Modern Art, Edinburgh for Generation: 25 Years of Contemporary Art in Scotland (2014/15), OVER OVER OVER, an exhibition at Simone de Souza Gallery, Detroit (2015); 20 Years of Real Life, Collective, Edinburgh, 2014 and a new commission by UK Parliament, to contribute to a year-long project in Westminster Hall, Palace of Westminster (2015). Ross Sinclair undertook a Creative Scotland funded research visit with Cooper Gallery to Shanghai in 2014.

Corin Sworn lives and works in Glasgow. Sworn creates installations that explore the ways objects can circulate stories and histories. Often combining images with spoken narrative, her work examines the cultural and personal significance attributed to things and how they in turn narrate us as social subjects. Sworn has exhibited widely and recently was a subject of solo exhibitions in institutions including Gallery Arsenal, Poland (2016), Inverleith House, Edinburgh (2014), The Common Guild, Glasgow (2014), Neuer Aachener Kunstverein, Aachen (2013), Chisenhale Gallery. London (2013), Whitechapel Gallery, London (2012), Art Now, Tate Britain, London (2011), Contemporary Art Gallery, Vancouver (2011). Sworn was one of three artists representing Scotland at the 55th Venice Biennale in 2013 and recently participated in You Imagine What You Desire, 19th Biennale of Sydney. As a winner of Max Mara Prize for Women 2013 - 2015, Sworn presented solo exhibitions in Whitechapel Gallery, London and Collezione Maramotti, Reggio Emilia in 2015. Corin Sworn is represented by Natalia Hug Gallery in Cologne and Kendall Koppe in Glasgow. The artist holds a BA in Psychology from the University of British Columbia, Vancouver (1999), a BFA from The Emily Carr Institute of Art & Design, Vancouver (2002) and an MFA from The Glasgow School of Art (2009).

Tom Varley is an artist working in a range of media, including film, writing, painting and collage. His work is concerned with the relationship between symbolic communication and abstraction, often playing on malfunctioning speech or defective typographies to reveal the arbitrariness of the shapes and sounds that make up written and spoken language. Varley completed the BA in Printing and Printmaking at the Glasgow School of Art in 2008. He was recently part of the Syllabus programme run by Wysing Arts Centre and is undertaking an MFA in Fine Art at Goldsmiths, London. Recent exhibitions include: Electric Indigo (with Mark Briggs), Glasgow Project Room, (2015); Glossolalia, Tramway, Glasgow, (Solo, 2014); Well Done, Rhubaba, Edinburgh, (2013); Violence Silence, Collective Gallery, Edinburgh, (Solo, 2013); Tom Varley, Glasgow Project Room, (Solo, 2013). Selected screenings include: CCA Glasgow (2014); ICA London (2014); Standpoint, London (2014) and Volkesbuhne Pavilion Berlin (2013). He has contributed texts to the journals Gnommero and The Burning Sand and was the reader for Tramway Artists’ Moving Image Festival (2013). Varley completed a Standpoint Futures Residency in 2014 and was on the committee for Transmission Gallery between 2009 and 2011.

Week Four: In methods and demonstrations, a pursuit of narrative
9 – 15 February

Anne-Marie Copestake is an artist and musician based in Glasgow. She studied Fine Art at Glasgow School of Art and at the Stadelschule, Frankfurt-am-Main. Copestake works with moving image, sound, performance, print, and sculpture. Moving image is at the core of her practice and recent works have focussed on research into technological optimism, and female legacies. Copestake often works collaboratively, and has been a founding member of two long-term collective projects in Glasgow: Poster Club, a group of artists using the medium of print as a site for collaborative work; Muscles of Joy, a band with a shifting line-up of members, often working with polyvocal arrangements and hand built instruments for performance. Copestake’s exhibitions and screenings include: Salon: Alternative Burns Night (with Muscles of Joy), Glasgow Women's Library, Glasgow (2016); Autumn Screening, Inverleith House, Edinburgh (2015); Ripples on the Pond, Gallery of Modern Art, Glasgow (2015); eee e o ee i a ae e a, Rhubaba, Edinburgh (2015); The Trigger Tonic Compendium, Tramway (2014), Studio Jamming (with Full Eye), Cooper Gallery, Dundee (2014); Tectonics (with Muscles of Joy), The Old Fruitmarket, Glasgow (2014); Oberhausen International Short Film Festival, Germany (2013); Media City Festival, Canada (2013). In 2011 she received the Margaret Tait Award, and in 2015 was awarded the inaugural BFI Experimenta Development Award from BFI London Film Festival.

Karen Cunningham is a Glasgow based artist whose practice engages in phenomenological relationships with culture and technology. Focusing on overlooked occurrences, sites, images and objects her artworks reconsider things that may have lain dormant in time and space but which in the present take on a renewed relevance or importance. Cunningham graduated with a 1st class degree in photography from Edinburgh College of Art and a MFA from Glasgow School of Art. Exhibitions include the solo shows at Walden Affairs, The Hague and moving image commissions from LUX, London and Collective Gallery, Edinburgh. She recently presented a new film, the monologue for which was written and read by the theorist Gayatri Spivak, at The Showroom, London. Forthcoming exhibitions include a solo show at Cample Line Gallery, Scotland. Development was filmed in, and on the way to, the tourist district of Kuta, Bali in 2000. 2 years later the Sari nightclub was the site of a major bombing attack which killed over 200 people and is thought to have been carried out retaliation to Western governments 'war on terror' campaign. The video also includes Balinese ritualistic dance dramas, Legong dancing (characterised by complex finger movements, footwork, and expressive facial expressions) and dances constructed specifically for tourist audiences. Consisting of hand-held shots, diegetic sound and text by the artist segments of the video are filmed in night-vision. Development was recently shown within the exhibition Make Something, With Your Body at vbkö in Vienna, Austria.

Sarah Forrest is an artist based in Glasgow. Forrest’s practice explores the potential within language to shape her own and other people’s perception of things – be this a place, person, object or artwork. Recent exhibitions include: The Shock of Victory, CCA, Glasgow; Ripples on the Pond, GOMA, Glasgow; A Skull and a Screen, Taigh Chearsabhagh Museum and Arts Centre, North Uist, Concrete Ribs, Govanhill baths, Glasgow (all 2015), Mood is Made, Temperature is Taken, curated by Quinn Latimer, Glasgow Sculpture Studios; Reclaimed: The Second Life of Sculpture, Glasgow International; I will wear a plastic guise / I will wear a fabric guise, Dog Park, Christ Church, New Zealand (all 2014). Two Solo Shows: Sarah Forrest and Mounira Al Sohl (solo), CCA, Glasgow; Next to Perplexed you, curated by Jan Verwoert: Galerie Martin Janda, Vienna; You Blink at the Plughole, M.E.X.I.C.O, Leeds; Phenotypic Plasticity, with OaPaO (Mark Briggs, Amelia Bywater, and Rebecca Wilcox); ReMap 4, Athens (all 2013). Playing with undead things, curated by Andros Zins-Browne, Kortrijk, Belgium; Absence of Evidence is not Evidence of Absence (solo), Supplement, London; Magic Love Trade Objects, curated by Jan Verwoert, Geneva. In 2012 Sarah Forrest won the Margret Tait Residency Award and she is the recipient of The Margaret Tait Award 2017/18.

Elín Jakobsdóttir is an Icelandic artist who lives and works in Berlin and Glasgow. She undertook her BA and MFA in Fine Art at Glasgow School of Art and also studied at the Royal Scottish Academy of Music and Drama. Recent solo shows include: Looping Lexicon at Krome Gallery (Luxembourg, 2015-16) , Eyes Cast at Leeds Art Gallery (2014-15) and Hinges Between Days at Temporere Galerie (Cologne 2009) and Stills (Edinburgh 2009). Recent group shows include: Fiction Dacha Folly at Art Cologne 2014, The Drawing Biennale at The Drawing Room (London 2013 & 2015), Drifting at The House of World Cultures (Berlin) and Frames at CCA (Glasgow 2014). Her Super 8 and 16mm film works have been commissioned by The Louvre (Paris, 2004), Stills (Edinburgh, 2009) and Leeds Art Gallery (2015). Recent screenings include Elín Jakobsdóttir, Patience in virtue of débordement, CCA, Glasgow May 2016. In April 2016 she received a Pollock Krasner Foundation Grant.

Bobby Niven lives and works in Scotland. Niven’s practice has been concerned with the processes of mimesis, misrecognition, simulacrum and entropy. His work is predominantly sculptural, revealing psychological repercussions of these different forms of transformation through a combination of found, perturbed and sculpted objects. Niven’s solo presentations have included Broad Reach curated by ATLAS Arts at Taigh Chearsabhagh, South Uist, Outer Hebrides (2015), Palm of the Hand , Old Ambulance Depot, Edinburgh Art Festival (2013),ISLAND, Studio Warehouse, Glasgow (2012), ISLAND Peacock Visual Arts, Aberdeen (2012), and featured in group exhibitions Moths curated by Modern Edinburgh Film School, Summerhall, Edinburgh (2015), Reclaimed The second life of sculpture, Glasgow International, The Briggait, Glasgow (2014). He gained an MFA from the University of British Columbia (UBC), Vancouver (2006) BFA from Glasgow School of Art (2003).


Rosalind Nashashibi Lives and works in London.
Lucy Skaer Lives and works in Glasgow and London.

Alongside their individual practices Rosalind Nashashibi and Lucy Skaer have been making collaborating works since 2005 as Nashashibi/Skaer. Recent group exhibitions include: The Other Dark: Tacita Dean, Jeremy Millar, and Nashashibi/Skaer, Sirius Arts Centre, Cork, Ireland, 2017; documenta 14, Kassel, Germany, 2017 and documenta 14, National Museum of Contemporary Art – EMST Museum, Athens, Greece, 2017. Selected solo-exhibitions include: Pygmalion Event, Musée Matisse, Le Cateau-Cambrésis, France, 2013; Nashashibi/Skaer, Murray Guy, New York, 2010; Our Magnolia, Doggerfisher, Edinburgh, 2009; Art Now: Nashashibi/Skaer, Tate Britain, London, 2008; Pygmalion Workshop, CAC Brétigny, Brétigny-sur-Orge, France, 2008 and Flash in the Metropolitan, Spike Island, Bristol, 2007.

Lucy Skaer lives and works in Glasgow and London. Using a diverse array of materials both mass-produced and handcrafted, Skaer presents various overlapping orders of time and memory, the historic and the domestic. Skaer abstracts objects into sculptural forms and symbols, removing them from their original context, and scrambling and unpicking their narrative associations. In doing so she reveals their intrinsic material nature and the ways in which language, meaning and value migrate over time. Skaer studied her BA in the Environmental Art department at the Glasgow School of Art. Selected solo exhibitions include KW Institute for Contemporary Art, Berlin, 2017; Musees Gallo Romains, Lyon (2016); Peter Freeman, Inc. New York (2015); Murray Guy, New York (2014); Tramway, Glasgow (2013); Mount Stuart, Isle of Bute (2013); Kunsthalle Vienna, Vienna (2012); Kunsthalle Basel, Basel (2009); Chisenhale Gallery, London (2008) and The Fruitmarket Gallery, Edinburgh (2008). She has participated in numerous group shows in Europe and America including Kunstverein Freiburg, Germany (2016), Extra City Kunsthal, Antwerp (2016) and Tate Britain, London (2013). Residencies include Hammer Museum, Los Angeles (2016) and Emily Carr University of Art+Design, Vancouver (2015). She represented Scotland at the 52nd Venice Biennale in 2007. She was nominated for the Turner Prize in 2009 and is represented by Peter Freeman, New York. Skaer was a member of the collaborative collective Henry VIII’s Wives and their work was shown as part of Studio Jamming: Artists’ Collaborations in Scotland at Cooper Gallery in 2014.

Modern Edinburgh Film School (2012-2017) produced a series of works and projects in 2013 across Edinburgh on the subject of film and sculpture including: Ute Aurand: FILME, Stills; The Slow-Wave and Videotheque, Talbot Rice Gallery; The Hand that Holds the Desert Down, April Set: Sarah Forrest, Anthony Schrag and Zoë Fothergill; Lauren Gault: Granular and Crumb and Hold This Object Up Until There is Nothing Left of You, ESW; Green Screen, Embassy Gallery, 6000 Posters for Giants and Dwarfs, Rhubaba; and The Good Work, New Media Scotland, as well as a short research residency at the Henry Moore Institute, Leeds. In 2014 it produced The Silver River and the National Review of Live Art, Gallery of Modern Art, Glasgow for Atelier Public 2 as part of Glasgow International and “A New Island Forming…” for Annuale at Embassy Gallery, which included artists Suzanne van der Lingen, Leah Millar and Katrina Vallé.

In 2015 it produced the exhibition, print and screening project MOTHS at Summerhall, Edinburgh; the essay and film programme, A Poetic Measurement, for Ripples on the Pond at GoMA (Glasgow) with events, screening and performances at off-site locations at GSS, Old Hairdressers and CCA and a publication project for Scottish Art News on Lauren Printy Currie, Jessica Ramm, Lyndsay Mann and Kirsty Hendry. In 2016 it screened an event on the films of the Glasgow based artist Elín Jakobsdóttir for CCA, Glasgow and produced the publication Rerecording and Do It All on The Same Day with essays by Richard Taylor among others funded by an Edinburgh Visual Arts Award. In 2016 Modern Edinburgh Film School contributed to the programming of the exhibition >>FFWD held at Shanghai Minsheng Art Museum as part of Phase Two of CURRENT, Contemporary Art from Scotland, Cooper Gallery, DJCAD, and two adjunct screenings The Hallucinating Edge at Red Brick Art Museum, Beijing and Pure Movement at K-11 Art Foundation, Wuhan. Part of this project, funded by an Open Project Award, from Creative Scotland. In 2017 Modern Edinburgh Film School produced the 16mm film ‘Work with Stone’ made in collaboration with Edinburgh-based artists Andrew Gannon and Oliver Mezger, and by the invitation of Stills Gallery produced the text and publication TREATMENT based on an interview with artist Kate Davis on the occasion of her exhibition Nudes Never Wear Glasses.

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