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Asparagus Piss Raindrop Infesting Transmission

21 October - 22 November 2014

Asparagus Piss Raindrop is a multi limbed crypto-conceptual science-fiction anti-band formed from a dreadful, ever expanding pool of improviser/composer/performers. APR composition arises from contingency; how can we do things otherwise? The music is never repeated and the same group of players never performs more than once.


Transmission have invited Asparagus Piss Raindrop to infest the gallery for a period of five weeks from mid October through to November. This period of work marks the beginning of a year long development for the group where they will produce a portfolio of new work for international and local performance in 2015. Their methodology is properly collaborative and pushes composition into new realms and forms. This methodology draws on anthropology, contingency, autonomous (and/or corruptible) spaces, ritual, forms borrowed from the animal queendom, arcane games, Miss Spent Youth, abduction cults, group behaviour turned in on itself.


Their 2012 composition Breakfast Bombs the Inevitable was performed simultaneously at the CCA, Glasgow and Helper Projects in New York. Their black metal yoga composition Dream Within a Dream: last night we died in a plane crash was performed at the Tectonics Glasgow Festival 2013 occupied several parts of Glasgow’s City Halls simultaneously, consecutively and horribly. In 2014 they were commissioned to produce new work for Tectonics Iceland resulting in a three hour bacterial composition for CPU dust and amplified glands that synthetically fused the performers (drawing their movements, aesthetics and behaviour from slug reproduction) with the asophogeal node points of Harpa concert hall; choking the building in a tour de farce.


Performers so far include: Fritz Welch, Neil Davidson, Liene Rozite, Julia Letitia Scott, Stuart Arnot, John Cromar, Tuukka Asplund, Michelle Letowska, Ben Knight, Annie Crabtree, Catherine Robb, Paige Martin, Nathan Gwynne, Lea Cummings, Armin Sturm, Penny Chivas, Anna McLaughlan, Lucy Duncombe, Alan McKendrick, Peter Nicholson, Iain Campbell F-W, Michael Duch, Sigtryggur Berg Sigmarsson, Nickolaus Typaldos, Zerek Kempf, Reuben Lorch-Miller.

EVENTS:

1st November: performance of work in progress; the culmination of the first two weeks of the residency.
Part 1 runs from 4 – 6pm. Part 2 runs from 8pm and features APR offshoot Yoke of Blood.

8th November: large scale modular group activity with (in)appropriate formalities

15th November: performance of further work arising out of weeks 3 and 4 of the residency; an installation / symposium / performance / séance.

+ MORE TBA, ALL WELCOME

http://asparaguspissraindrop.wordpress.com/

Things have a hard time escaping their own making

29 October - 29 October 2014 7pm

A screening and talk with Brandon Cramm

The screening consists of a selection of found and recorded footage, which is being used to chronicle the research around a developing project and text piece functioning as fan-fiction. The selected footage relates to Cramm’s overarching interest in cinematography, unfinished special effects, and continuity errors within fiction.

Final Screening | Sport, Sport, Sport

22 October - 22 October 2014 6:30pm

A Screening Programme of Soviet-Era Cinema and Artist Moving Image

Isaak Friedberg, Little Doll | Phil Collins, Marxism Today

@ Transmission

The third in a series of four events, the ‘Sport, Sport, Sport’ screening programme is structured around three Soviet-era cinema works, all of which feature gymnastics: Elem Klimov’s ‘Sport, Sport, Sport’ [1970] Věra Chytilová’s ‘Something Different’ [1963] and ‘Little Doll’ [1988] from Isaak Fridberg. Rarely or never seen before in the UK, subtitled especially for the programme and all early works in the careers of the directors, the programme engages with the lack of critical material surrounding these works. This lack is mirrored in the absence of attention on sporting themes in artist moving image, and the programme as a whole draws upon the long-running ties between sport, the moving body and early experiments in film. Through the links between the works, the programme examines the relationship between sport in cinema and artist moving image, in tandem with the influence on this particular era of film-making and its aesthetics in contemporary art.

Set amongst the changes of perestroika, glasnost and the last years of the Soviet Union, this third event brings us to the ‘chernukha’ period of Soviet film, known for depictions of the dark and hopeless reality of the time. The programme features Isaak Fridberg’s 1988 ‘Little Doll,’ which follows the life of an elite USSR gymnast whose career is rocked by injury, as she struggles to adjust to a new life at home and normal schooling. The rare material items she has accrued as a result of her winnings have come at the cost of a damaged psyche, and she becomes increasingly manipulative, bullying those around her with tragic consequences.  ‘Little Doll’ is preceded by Phil Collins’ ‘Marxism Today’ [2010], an ongoing project that originated in tracing former teachers of Marxism-Leninism in Communist East Germany.

The film mixes contemporary interviews with the ex-teachers alongside archive material, in which snapshots of life in the old GDR are offset with the teachers’ own recollections of the time, and their contrasting experiences after the fall of the Berlin Wall in 1989. These include clips from the 1983 Leipzig Gymnastics and Sports Festival, which show the synchronised bodies of hundreds of athletes performing choreographed exercises inside the huge stadium. Yet of all the stories presented, the most poignant belongs to Ulrike Klotz, an Olympic gymnast, whose mother Marianne worked as teacher. At Ulrike describes her gruelling training regimen aided by series of handwritten schedules and childhood drawings, the lasting damage and anxiety resulting from the centralised training system are laid bare for all to see.


Curated by Tiffany Boyle in collaboration with Transmission Gallery and Birkbeck Institute for the Moving Image Presented in collaboration with Kinning Park Complex, GFT and the Gordon Square cinema.

Free & Refreshments Provided - All Welcome!

 

People Love Monuments

18 September - 18 October 2014 Tues-Sun 12-5pm ALL WELCOME

Fokus Grupa

Transmission gallery are extremely excited to present a solo show by Fokus Grupa, an artist duo based in Rijeka, Croatia. The collective – comprised of Iva Kovač and Elvis Krstulović - borrow their name from a contested research method, used equally for independent research as for PR purposes, and through their work they point to the social, economical and political frames of art. Their practice is collaborative and interdisciplinary, and they work across art, design and curating. This is the first time Fokus Grupa have exhibited in Scotland.

The exhibition People Love Monuments, examines the role of monuments in nation building. These ideologically charged pieces of “state design”, occupy and dominate public spaces in order to perform and represent the state, but also to frame it's “audience” within the national paradigm. Fokus Grupa presents a series of works that take specific monuments from Croatia as their point of departure, in order to critically examine their underlaying politics and trigger debate around cultural identities and their role at the current time.

The sculpture of the mounted Governor [Ban] Josip Jelačić, its positioning on Zagreb's main square, its covering, subsequent removal and later re-installment has served as a kind of litmus paper for the extended plot line of Croatian national identity. The statue was made by an Austrian sculptor, installed on the Zagreb main square during the Austro-Hungarian empire and the Kingdom of Yugoslavia but removed in the first years of the Federal Socialist Republic of Yugoslavia. At that time the square changed its name from Ban Jelačić Square to The Square of the Republic, and the monumental sculpture of the horseman was replaced by different temporary constructions, that signified a variety of values, from industrial development, socialist celebrations, international political and economic affiliations.

In 1991 the horseman was re-installed (and the old name of the square was re-introduced) but this time the sculpture was facing south instead of north, as if to face the new enemy. Pointing Jelačić's sword to the south, post-Socialist Croatia strives to align itself with Central Europe as opposed to the Balkans.

In 1994, a Monument to the Croatian Heroes was made during the questionable restoration and reconstruction of the medieval fortress above the capital. Only apparently a minimalist sculpture, the monument is a rendering of the medieval heraldic pattern originally intended for formal political manifestations. A kind of political stage, for a while abandoned in the early two thousands, today it gets in and out of media spotlight, reflecting a state of affairs at any given moment.

In the context of the Scottish independence referendum, the work sheds light onto ongoing questions of nationalism, statehood, self-determination and identity on an international level. The works in the exhibition take monolithic singular state narratives embodied by monuments in order to complicate and open them up for the viewer to step in.

This exhibition was made possible with support from Creative Scotland, Glasgow Life, The City Department of Culture of the City of Rijeka, Foundation "Hrvatska kuća - Croatia House, and City of Zagreb - Office for Culture, Education and Sport.

Home Diversions

08 July - 03 August 2014 Tues - Sun 11am-5pm

Justin Stephens & Sogol Mabadi

Transmission are delighted to present Home Diversions, a two-person show with work by Justin Stephens and Sogol Mabadi. Having both shown in Glasgow and internationally, it will be the first time the two artists have exhibited together.


When we asked Justin and Sogol to make a show together, our initial email presented them with some thoughts on the application of found objects and the multiple meaning of ‘gesture’ as potential links between their respective practices - such as the banality of objects re-imagined and loaded with sentiment. Or the gesture involved in the invitation from the gallery to the exhibiting artists. We began by thinking of the show as two solo exhibitions in the same space: a sense of accountability and restraint inherent to Justin and Sogol’s work made us feel that they could play well together.


In Justin Stephens’ practice, the history of abstract painting is both acknowledged and manipulated like plasticine. His paintings are formed of oblique marks and banal objects that offer themselves to be absorbed from the surfaces and textures of the studio onto the canvas. Simultaneously self-assured, scrappy and reticent, the resulting works function as portraits of an intent practice and studio exertions. For Home Diversions, Justin will be presenting a selection of paintings produced intensively in the run up to the show.


Sogol Mabadi’s work for Home Diversions will not include performance and will be the first purely sculptural exhibition that Sogol has shown, a combination of sculptures that were first used four years ago in a performance, and new pieces; together comprising The Family. Originally cased in material but now bare, they are an attempt to ‘lift a veil’. They are here presented without the many phases of hair and material that have been added and removed from her performances and objects. Now lifted - The Family shed their canvas skin. The sculptures have been re-made from the original materials, with added foam for support and corks to contain and hold. Decoration or ‘masking’ was (where possible) avoided.


The show also coincides with the removal of the wall at the front of the gallery. The decision was based on a practical restructuring of the space and less definite feelings on opening up and summertime.

Sport, Sport, Sport

31 July - 31 July 2014

curated by Tiffany Boyle

 A Screening Programme of Soviet-Era Cinema and Artist Moving Image


Elem Klimov | Laura Horelli | Jo Longhurst

Kinning Park Complex | 31 July | 7 pm

The first in a series of four events, the ‘Sport, Sport, Sport’ screening programme is structured around three Soviet-era cinema works, all of which feature gymnastics: Elem Klimov’s ‘Sport, Sport, Sport’ [1970] Věra Chytilová’s ‘Something Different’ [1963] and perestroika-era ‘Little Dolls’ [1988] from Isaak Fridberg. Rarely or never seen before in the UK, translated and subtitled especially for the programme and all early-career works, the programme engages with the lack of critical material surrounding these films. This lack is mirrored in the absence of attention to sporting themes in artist moving image, and the programme as a whole draws upon the long-running ties between sport, the body in motion and early experiments in film. Through the juxtaposition of the works, the programme examines the relationship between sport in cinema and artist moving image, and  the influence of this particular period of film-making and its aesthetics in contemporary art.
 
The title of the programme takes its name from the first of the cinema works to be screened at the Kinning Park event, Elem Klimov’s ‘Sport, Sport, Sport’: a film appropriating documentary footage from the stadiums of Moscow, Philadelphia, Stockholm and Mexico City, laced with allegory and satire. The film will be accompanied by two artist works: ‘You Go Where You’re Sent’ [2003] from Laura Horelli and ‘Present’ [2013] by Jo Longhurst.


Curated by Tiffany Boyle in collaboration with Transmission Gallery and Birkbeck Institute for the Moving Image. Presented with Kinning Park Complex, Glasgow Film Theatre and Gordon Square Cinema.

Presented with Kinning Park Complex, Glasgow Film Theatre and Gordon Square Cinema.
Kinning Park Complex, 43 Cornwall Street, Glasgow, G41 1BA. Directions: www.kinningparkcomplex.org/contactmap/

Free Entry, All Welcome
 

Vision and Values

03 June - 28 June 2014 Open Tuesday - Saturday, 11am-5pm

Members' Show 2014

photo credits : Jen Martin

The annual members' show, showcasing the talent and diversity of the membership of Transmission.

Post-Military Cinema

05 April - 22 May 2014 11am - 5pm // daily during Glasgow International, Tuesday - Saturday thereafter

Beatriz Santiago Muñoz

Transmission are delighted to present the first exhibition in Glasgow of Beatriz Santiago Muñoz, included as part of the Glasgow International Festival of Visual Art. Post-Military Cinema follows Santiago Muñoz’s six-week residency at the gallery last year.

 


 

Post-Military Cinema consists of objects, recordings and moving-image works pertaining to Ceiba, a coastal town in Puerto Rico. Ceiba was home to Roosevelt Roads, a US Naval Base which remained operational until a decade ago, having occupied Puerto Rican land for over sixty years. Many animal and plant species have begun to return to the base, reclaiming the landscape transformed by oil tanks and bombing. Through entropic forces and life without us, it is becoming something else. The works presented look at the indeterminacy of what that elsewhere might be, how it behaves and what images it creates. Having been accustomed to thinking of Ceiba as a place where an event (the event of the bombing, warfare, military industry) has ceased, we might behave as if we were waiting for another event of the same scale and form. In reality, there are an infinite number of events taking place, the majority of these outside of politics or ideology, free of symbolic weight. Post-Military Cinema engages us in looking at these events taking place right now: what do we see and how do we see them?

The project hopes to examine the various connections between the phenomenon observed in Ceiba, and still-existing military bases in Scotland, in particular Faslane, a naval base located 25 miles north-west of Glasgow. There will be a 12’’ vinyl publication accompanying the exhibition with recordings from both Ceiba and Faslane available from the 17th April. Recorded and edited by Bradley Davies (Faslane) and Joel Rodríguez (Ceiba).

Based in Puerto Rico, Santiago Muñoz often works through long periods of observation and documentation, in which the camera is present as an object with social implications and as an instrument mediating aesthetic thought. Her films and videos focus on specific social structures or events that she transforms into collaborative work, performance and moving image. Santiago Muñoz’s recent work has been concerned with the material and physical trace of abstract political ideas, particularly post-military spaces, and the relationship of new landscapes to social forms.

 


 

Accompanying Events:

Radio Show / Listening Party with Google Useless Radio

Transmission Gallery 8th April 2014 Midnight

 

Beatriz Santiago Muñoz Artist Talk

CCA Cinema 9th April 6pm 

 

Polyvocal Subjects

25 February - 22 March 2014 Tuesday-Saturday, 11am-5pm

Katherine MacBride

Each of us is here now because in one way or another we share a commitment to language and to the power of language, and to the reclaiming of that language which has been made to work against us. In the transformation of silence into language and action, it is vitally necessary to teach by living and speaking those truths which we believe and know beyond understanding. Because in this way alone we can survive, by taking part in a process of life that is creative and continuing, that is growth. 

 

- Audre Lorde, The Transformation of Silence into Language and Action 

 

Transmission Gallery is delighted to present Polyvocal Subjects, an exhibition of new work by Katherine MacBride. Occupying both floors of the gallery, the exhibition takes the phenomenon of acoustic resonance as a basis for considering existing forms of public speech and prefiguring alternative ideas of what speaking together in public can be. For this context, public speech is words and sounds made in public: whether live or recorded; in conversation or as address; in composed and improvised forms; with intended or coincidental audiences; and including ‘minor’ or ‘inarticulate’ forms. Resonance is a way to consider how these sounds interact as physical forms originating in bodies.

Polyvocal Subjects Events

25 February - 22 March 2014 Tuesday-Saturday, 11am-5pm

Katherine MacBride

Freedom of speech poster club – Submissions welcome throughout the duration of the exhibition. A window display of home-made posters/images/objects that express thoughts/feelings that you would like to make public but find difficult to do so freely and subjects that you think are not represented often enough in public discourse.

 

Screening of Do You Remember Revolution? Documentary by Loredana Bianconi in which four women speak of their experiences in the Red Brigades in 1970s Italy.

Sunday March 9th, 3pm, CCA cinema.

 

Deep Listening Workshop exploring exercises developed by Pauline Oliveros.

Sunday March 16th, 2-5pm, Transmission Gallery.

 

Screening/discussion event exploring embodied female voice on screen with films/videos by Ursula Biemann, Manon de Boer and Emily Vey Duke/Cooper Battersby and spoken contributions from Amy Charlesworth, Sophia Lycouris and Lyndsay Mann.

Sunday 22nd June, CCA Cinema.

The--family "When we lay on difference" part 2

16 January - 18 January 2014

performed by Dylan Aiello, Timothy Murray and Gordon Douglas

image credit: Hayley Silverman

 

Performances:

Thursday 16th January 7.30pm Transmission Gallery

Friday 17th January 7.30pm Transmission Gallery (informal discussion with members of the--family after the performance)

Saturday 18th January 7:30pm Transmission Gallery

 
Afterparty on Saturday 18th January.
 
 
Please note, doors close promptly at 8.00pm sharp, there will be no late entries. The performance will last for approximately two hours
 
This is the second part of a series of visits the--family will make to Transmission Gallery


"So I was sourcing the possibility of being captured

with a high yield of forward collapse

when we lay on difference outpouring neither a couple nor a singularity,

hinting at an unclassified being  


Apparently species gather to compare their trait ratios   

realising that their individual stages of evolution are years apart  

and each single one is insufficient:

imagine a genetic makeup redistribution.


What if locality were to be impressed?

Iterating through the ways for bodies to coincide,

upsetting future privacy  

 

At a non-contractual target, staring at love.

The presence well-updated is well-ridiculed  

 

In keeping with the auto-transparency  

we were making the rounds revelling in commonality i.e. species anxiety

and again, looking for presence.  

 

Can perform acts of affect-consumption  

if for the purpose of reverse-engineering.  

Aesthetics conveys the quality of the relationship

but it's distorted in the iris, anyway.


Be good to memory


You're going to love my family"

 

the--family.com