Torsten Lauschmann takes on both floors of Transmission Gallery throughout November for presentation of film, video and performance works. 

In the upstairs space, Lauschmann will show three new video works. In common with a show earlier this year at the Glasgow Project Room, Lauschmann will combine projected imagery, wall painting and sculptural objects. Drawing on both the history of European cinema and his own footage as source material, using video installation as an expanded field of sculptural, image and sound presentation.

Meanwhile, in the basement video lounge, Lauschmann has programmed a series of performances, film and video screenings. This will commence on the opening night with re-enactment of Dieter Roth, Gerhard Ruhm and Oswald Wiener's 1973 performance 'Selten Gehorte Musik'. This performance consisted of participant taking up musical instruments on which they had no proficiency, and performing together in "an aesthetic embarrassment, blamage and abstention".

 Laurence Figgis

Copenhagen Free University

Mike Peter

Clare Stephenson

Torsten Lauschmann

Enrico David

HOSING RESULTS

A male artist, father of one,

is stopped and put to use through his inaction.

Man, take a rest from your simulation of rotating movement.

Savour the essence of being and extra in this recreated expanse of creative hosing.

"Social problems are due to lack of love":

hence the vertiginous increase in shoe/neck angle.

Hence the proposition of a once and for all adequate measure of disagreement.

What is a stake is the launch of an applicable standard.

What is at stake is an appeal to the temptation to check inside the release.

RECLINING SIGNIFICANCE

"I'll squirt when I'll squirt",

and in so doing the presence of mediumship can be legitimised,

and rendered in all its over-processing faculties.

The importance of the role of the reclining witness lies down,

like the witness itself,

in it being a reminder of the importance of being vigilant

in the face of the punishing dryness of any given surface.

Understanding that the unusually dry nature of the squirt

is the graphic language elected to render a given position of opposition.

FLUIDS LIMITS/DRY MODE

Adequate linguistic blossoming can only be the fruit of a substantial,

lavender scented pipe work.

"The limits of conventions in conversations are very fluid,

perhaps as fluid as geographical frontiers".

Does "DoucheThatDwarf", like the demand to "Put The Lotion In The Basket",

respond to the need of addressing the extended nature of disagreement?

Sculpture lies down, in stasis, in a stuck mode that cannot be helped.

Is it in the act of representing an extra in dry mode that punishment lies?

DOUCHETHATDWARF.

Transmission in Bazouges la Perouse, Centre de Creation, France.

Group show showng the work of gregor Johnstone, Lee O'Connor, Hannah Robinson & Sue Tompkins.

 Transmission Annual Members Show 2004

Lee O'Conner, Hannah Robinson, Gregor Johnston, Sue Tomruins (performance)

 Exhibition in Brittany, FRA

Clare Stepheson's drawings allude to states of configuration; scaffolds and armatures made of wire and wood are represented through thin overlapping layers of stencilled spraypaint and pencil line. These constructions are the structure that literally and symbolically underpin the thought processes which will become an artwork.

Historical reference points - caricature and the classical nude (via Daumier and Canova respectively) are co-opted as part of determinist structures, which are set up and questioned. Avoiding reductive readings and pictorialism, Stephenson engages in materialist, symbolist and aesthetic quandaries, transcribing and parodying relationships of a cultural, historical and academic nature.

 Saturday 12th June

Hoffman

1970 

Directed by Alvin Rakoff

Screenplay Ernest Gebler

Starring Peter Sellers, Sinead Cusack, Jeremy Bulloch and Ruth Dunning

Saturday 19th June

Morgan (A Suitable Case for Treatment)

1966

Directed by Karel Reisz

Screenplay David Mercer

Starring Vanessa Redgrave, David Warner and Robert Stephens

Saturday 26th June

Alice in Wonderland

1965

Directed by Jonathan Miller

Written by Lewis Carroll

Starring Wilfred Bramble, Peter Cooke, Anne-Marie Mallik, Sir Michael Redgrave, Peter Sellers, Alna Bennett, Sir John Gielgud and Leo McKern

Saturday 3rd July

102 Boulevard Haussmann

1988

Directed by Udayan Prasad

Screenplay Alan Bennett

Starring Alan Bates, Janet McTeer and Paul Rhys

Seamus Harahan

Seamus Harahan is an artist and filmmaker living in Belfast. His film
‘Holylands’ was made over the period of a year and a half from 2001 to 2003.
It was shot through the artist’s window and on the streets occupying a 20 yard
radius from his house. The title ‘Holylands’ is the name of his neighbourhood,
a district of the city that combines a transient student population with more
long-term residents. The film in part depicts these people, showing fragments
of their passage through this territory but firmly resists either a documentary
or narrative approach. It is possible to extrapolate a politics from this work but
one that is inflected with diffuse experiences of urban space, including the
sensory, the collective and the absurd. The film’s images are spliced together
with a soundtrack that includes hip-hop, traditional Irish and classical music to
provide a counterbalance to the images and enables them to work as abstract
sequences.
 
Seamus Harahan was born in London and lives and works in Belfast. Recent
exhibitions include The International Language, Belfast (2001), How Things
Turn Out, IMMA, Dublin (2002) and a solo show Holylands at Project, Temple
Bar, Dublin (2004).
 

Baron works primarily with textiles to create objects, embroideries, masks and clothing, some of which are functional and wearable. The work references images drawn from subjective experience and memory, from imagery in children's books to Barron's own fanciful yet vivid characterisations. By using handmade construction techniques and a range of domestic materials, Barron creates work which distorts the familiar to appear at once inviting yet isolated from the everyday.

Helen Barron was born in Yorkshire and graduated from The Glasgow School of Art in 2002. Recent exhibitions include New Contemporaries, The Barbican, London, UK and Static, Liverpool, UK (2002).

To make here elegant, two and three dimensional paper works, Forde selects patterns and shapes from the familiar landscape of everyday objects and images. Working intuitively, she cuts into and repeats fragments to create an intensity of line and silhouette. An uneasy tension of fragility is set up where the original patterns become subsumed by the formal drive of the finished composition.

Kate Forde was born in Arbroath and graduate from The Glasgow School of Art in 2002.

Jacco Olivier's video works are akin to images of a child's dream. Using painting as a point of departure, Olivier's pictorial abstractions create a fluid movement of colour and form which merely hint at their origins. Instead, a new world is revealed with its own narrative and meaning resulting from the chance incidents found there. Olivier confesses that he is a follower of the Romantic idea that, where a little green drop could emerge into a tree or another drop of colour could become a bird, aesthetical form and content come together to create a commentary on out faculty of vision.

Jacco Olivier lives and works in Amsterdam. Recent exhibitions include Latest Paintings, Galeria Lia Rumma, Milan, Italy (2004) and Extended Painting, Victoria Miro Gallery, London, UK (2004).

 Starting with the most banal and overlooked substances of domestic order; tin foil, cleaning products, tissues and vaseline, Black coaxes an uncompromising sense of materiality from the inherent instability and messiness of her materials. Citing as an influence the radical and sometimes extreme gestures of the Viennese actionists, Black transposes the violent acts of artistic defiance into a more reflective and, by mode. The gender politics implied in the work are not its sole nor stated intention however. Instead, Black prefers to allude to the unsaid, the hesitant and the inconclusive, without shirking from the kind of resolutions that the relationships between the maker, the viewer and the art object demand.

Karla Black is completing an MFA at Glasgow School of Art. Recent shows include Pallas at The Changing Rooms in Stirling and East International at the Norwich Gallery.

Thompson's thirteen acrylic on organza paintings for Transmission are a part of a larger original installation in which he radically reworked Gericault's Raft of the Medusa. Reducing it to a set of schematic fragments, he combines literal quotes from structural elements of the original painting with ephemera such as rags and torn flags and contemporary detritus from the streets of New York. Such mixing of historically specific source materials with random-seeming influences from the margins of contemporary society tests both the legitimacy of the canon, and attests to the "inescapability of historical influence and the responsibility of the artist to address its lingering challenges" (Periodic Tables, Michael Wilson, Frieze Issue 76, p.97).

Cheyney Thompson lives and works in New York. He has recently shown at the Andrew Kreps Gallery and Sutton Lane.

Laurence Figgis, Iain Hetherington, Sophie MacPherson, Lucy McEachan, Matthew Noel-Tod, Fred Pederson, Michael Wilkinson

 Transmission at Grazer Kunstversin, Austria

 "Everything, our whole culture, civilisation, every step is based on the last thousand steps. If one of the last thousand steps is misplaced, everything crumbles" J.P. Munro, quoted by J. Tumlir in Morbid Curiosity: The Art School Curriculm and Modernism Unbound. Arttext no. 78(Fall 02) p. 65).

J.P. Munro's febrile canvasses pull to the foundations out of from under his historical house of cards as he plays stylistic pile-on with art historical references. These references produce a frenetic succession of revivalisms - Gothic, Baroque, Romantic, Symbolist and Surrealist, which collude with one another to open up devastatingly rich vistas of pictorial possibility. Munro avoids resolving these references into neat pictorial combinations, instead revelling in the myriad artistic opportunities such a collapse may entail.

With his interest in samizdat literature, thieves argots and palare, Alex Pollard shakes a bellicose vorticist's fist at the apologists for semantic freefall and those who insist on illustrating theory. Marginalised social groupings become liberated zones, rich with the possibility of new language. As viewers we become host to his paintings generative syntax, which originates in a vocabulary that has history and weight, but communicates differently; throughout in its reflexivity, yet open to procedural possibilities.

Tony Swain's cut and reworked collages build upon the ink-dot matrix foundation of broadsheet newspaper photographs and illustrations. The originating images, still with their taint of information, are combined with a meticulous eye for formal grouping and composition. The collages hold no obvious sense, yet clearly neither are nonsense. Instead, they gracefully serve to strain at the sense of the underlying system (the newspaper graphic), creating new realms of invented meanings and systems of reading out the old.

 Family heirlooms, dusty Victorian and country squires who compromise themselves through their illicit penchant for exotica are the subject and starting point for Coombes' investigation into the musty hangover of Britain's glorious Empire. Coombes transfers the latent aggression and instrumental violence of a British class structure into deceptively naive tableaus. The protagonists act out roles that are proscribed for them by dominant power structures and ideologies, yet are often made ridiculous through Coombes' absurd staging. The role of the artist-as-commander of the realm is an ever-present shadowy figure, subtly mocking his self imposed position as grand puppet master.

Using diverse materials and techniques Coombes draws on a cultural legacy of oddball aristocrat eccentrics and provincial English hoodlums to frequently humorous effect.

Henry Coombes lives and works in Glasgow

Sarah Smith

 Life and Us is a live performance created by Sarah Smith specifically for Transmission.

Life and Us uses received pronunciation as a dramatic device to conceal and repress identity. By combining Valencia Harris' recorded vocals with Jo Freer's live miming Smith's text raises questions about fragmentary and shift nature of speech.

Sarah Smith has previously worked with Waterloo based Network Theatre Amateur Dramatics Society. Graduating from The glasgow School of Art (200) and Goldsmith's College (2003) she now lives and works in London.

Jo Freer trained at the RSAMD (2001). Since graduating her Theatre experience has included work with The Royal Lyceum, The Byre, Pitlochry Festival Theatre and most recently playing Lulu in T.A.G. Theatre Company's production of Pinter's "The Birthday Party".

Valencia Harris is a member of Covent Garden's The Actor's Society. She specialises in voice over film, television and radio.