Gallery Logo


2015 2014 2013 2012 2011 2010 2009 2008 2007 2006 2005 2004 2003 2002 2001 2000 1999 1998 1997 1996 1995 1994 1993 1992 1991 1990 1989 1988 1987 1986 1985 1984 1983

Moot Points

03 November - 30 November 2008

  • carousel
    Dexter Sinister Series of pamphlets based on Dexter Sinister's online library. view original
  • carousel
    Moot Points in Transmission Gallery Gallery view original
  • carousel
    Kajsa Dahlberg's project 'The name of this organization shall be Transmission' A game of Nomic played in the gallery on invitation of 'The Salford Restoration Office' view original
  • carousel
    Variant Variant presents 'The Assult on Culture II' in Dows bar -Glasgow view original
  • carousel
    The Faculty of invisibility 'The Invitation' an ongoing project by The Faculty of Invisibility view original
  • carousel
    Islington Mill Art Academy Breakfast at Transmission view original

Exercises in self-organisation, discourse and collaboration

An agenda of events, screenings and commissioned publications
at Transmission Gallery throughout the month of November.


Dexter Sinister
Emma Hedditch
The Faculty of Invisibility
Islington Mill Art Academy
Kajsa Dalhberg
Olivia Plender
Resonance FM

Moot Points is an exercise that attempts to insert Transmission Gallery itself as the common locus for a project - an x marking a spot that hopes to inspire responses from those invited to participate. The project attempts to represent means and methods of self-organisation via varied and polyvalent approaches; it aims to build relationships between the practices of those individuals and artists involved and, in turn, relate these practices to Transmission as an organisation. What will be presented is in essence an agenda of activities, publications and events installed sequentially over the course of one month.

This project has been achieved through the provision of the position of Curatorial Intern I was awarded in December 2007 (supported by the Scottish Arts Council), in collaboration with the Transmission committee and participants within this initiative. By inviting those involved to consider Transmission as an organisation or form they might work in response to, we hoped to avoid the use of the gallery as an imagined neutral space for the display of works. Moot Points attempts to place significance on the social space that Transmission provides and the community it has established and to swell the numbers of those who might be implicated in this undertaking.

A booklet has been produced containing information regarding the contributing artists, individuals and organisations within the project as well as a diary of events and activities due to happen throughout the month. The booklet also features a commissioned essay by Leeds-based artist Andy Abbott.

On those days when there is no planned activity the gallery will be open between 11am and 5pm to provide access to the printed material that comprises a significant part of the project as well as to allow access to those contributions that will develop over the course of the month.

Kathryn Elkin


Download exhibition program.

Michael Kent, Kendall Koppe, Ariki Porteous, Michael Roy, Darren Rhymes

30 September - 25 September 2008

  • carousel
    Michael Kent, Kendall Koppe, Ariki Porteous, Michael Roy, Darren Rhymes view original
  • carousel
    Michael Kent, Kendall Koppe, Ariki Porteous, Michael Roy, Darren Rhymes view original
  • carousel
    Michael Kent, Kendall Koppe, Ariki Porteous, Michael Roy, Darren Rhymes view original
  • carousel
    Michael Kent, Kendall Koppe, Ariki Porteous, Michael Roy, Darren Rhymes view original
  • carousel
    Michael Kent, Kendall Koppe, Ariki Porteous, Michael Roy, Darren Rhymes view original
  • carousel
    Michael Kent, Kendall Koppe, Ariki Porteous, Michael Roy, Darren Rhymes view original
  • carousel
    Michael Kent, Kendall Koppe, Ariki Porteous, Michael Roy, Darren Rhymes view original
  • carousel
    Michael Kent, Kendall Koppe, Ariki Porteous, Michael Roy, Darren Rhymes view original
  • carousel
    Michael Kent, Kendall Koppe, Ariki Porteous, Michael Roy, Darren Rhymes view original
  • carousel
    Michael Kent, Kendall Koppe, Ariki Porteous, Michael Roy, Darren Rhymes view original
  • carousel
    Michael Kent, Kendall Koppe, Ariki Porteous, Michael Roy, Darren Rhymes view original
  • carousel
    Michael Kent, Kendall Koppe, Ariki Porteous, Michael Roy, Darren Rhymes view original

Transmission Gallery presents work by five Glasgow-based artists.

The distinct lines of enquiry presented by these emerging practices reflect a creative terrain of multifarious possibilities. These artistic trajectories investigate and interweave exploratory approaches to assembling images, the probing of sensory thresholds, wry critique and the oblique translation of research to invite a questioning of what such a terrain might constitute. The gallery hopes to offer a context for a dialogue between experimental artistic vocabularies as they are refined and take on new shapes.

Michael Kent’s work combines film gathered while on a research trip to Iceland in 2008 with recent drawing. Kent describes his work as a reaction to the frustration with the disconnectedness to the natural landscape, coinciding with thoughts surrounding our limits of understanding.

Kendall Koppe’s figurative works are embedded with non-descript gestures that hint at psychological spheres. His prints and photographs draw upon a surrealist vocabulary in which we find the traces of a disembodied search for belonging and unconscious states. Ultimately, Koppe's interest in the hyper-real and masquerade culminates in a practice that explores the subtle mechanisms of representative identity.

Ariki Porteous’ relationship to sound; sound as an acoustic and electronic medium and the art object as a medium for sound, are explored in her ceramic and microphoned sheet metal installation. The language of minimalism and performance combine to adapt the environment to explore music as a social phenomenon. Porteous has invited artists to perform as part of the opening and closing of the show.

Michael Roy’s plaster, wood and cardboard installation is to be viewed more like a sketch for the realization of a larger series of installation works based on texts by RM McDowell. The main themes explored are the interconnectedness between ideas surrounding dislocation, deconstruction and separation. The work here functions as part installation, part prop and all are incorporated into a film project that Roy is currently working on.

Darren Rhymes paintings aim to perform received logics inherent to the exhibition as a social form. Through the familiar modes of address of incorporeal authorial voices, overly solid pronouncements are left as open questions that might form relationships to a larger network of desire.

Michael Kent graduated from Glasgow School of Art in 2006. He lives and works in Glasgow. Kendall Koppe graduated from Glasgow School of Art in 2001 and completed an MA in photographic studies at University of Westminster in 2005. He lives and works in Glasgow. Ariki Porteous graduated from Glasgow School of Art in 2005. She lives and works in Glasgow. Michael Roy completed an MFA at Edinburgh College of Art in 2002. This year he finished a Masters of Reasearch in Creative Practices at Glasgow School of Art. Darren Rhymes graduated from Wimbledon School of Art in 2001. He has lived and worked in Glasgow since 2005.


28 June - 28 June 2008

Donald Urquhart

PLAGUES is a new co-commission for Transmission Gallery, Glasgow and Studio Voltaire, London by artist Donald Urquhart.  The piece will feature a group of actors performing a live “radio play” along with live costume changes, sound effects and songs. 

Donald Urquhart has been presenting these small dramas both live and on radio since 1993. PLAGUES takes the form of a live "radio play” performed by six actors, seated with microphones as though they are broadcasting on live radio.  With conventional radio sound effects (coconuts, trays of gravel, etc.,) and costume changes onstage behind a specially designed screen, PLAGUES will blur the boundary between theatre, cabaret, radio and performance.  The performance concerns various types of plagues (plagues of the mind, infestations, curses and invasions), all delivered in camp comic style. As usual, Urquhart’s melodrama and tragicomic satire will be tinged with vitriol and black humour as he takes us through a three-act drama. 

Before the interval Urquhart will screen his film L'Entr'acte (2006), which is set 'backstage' between acts one and two of a play.   The film features some of the actors who will be performing in PLAGUES, suggesting real backstage drama. The artist will design and make a dramatic stage set, utilizing his drawing practice, that will transform Transmission’s upstairs space. In keeping with the artist’s history as club host, PLAGUES will incorporate the audience, and will conclude in an evening of song and dance.

Urquhart (born 1963) gained increasing prominence in the 1990s for his camp drag performance night, The Beautiful Bend, at Central Station, London.  As a part of a tradition of 1980s club performance alongside luminaries such as Leigh Bowery, Marilyn and Steve Strange, Urquhart’s dark and high camp performances incorporated a number of friends and acquaintances as performers, alongside his co-host Sheila Tequila.  For each club night, Urquhart would create photocopied black and white posters to be pasted around the venue, depicting cartoonish characterisations of camp figures, representations of queer icons, literary personalities and fictional characters from various sources including television, stage and film. Urquhart’s work has gained increasing prominence in the UK and internationally in recent years. The artist has recently had solo exhibitions at Jack Hanley, San Francisco (2008); Maureen Paley, London (2007), White Columns, New York (2007) and Herald St, London (2006). Previous performances include The House of Tears, Art Perform/ Art Basel Miami Beach (2007) and Noir Noel, The Horse Hospital/Artangel (2003).

PLAGUES is a Transmission Gallery (Glasgow) and Studio Voltaire (London) co-commission, 
supported by The Elephant Trust.

Transmission would like to thank Sarah McCrory  & Joe Scotland.

Lois Rowe

24 June - 28 June 2008

New film and video work

Transmission Gallery presents new film works by London based artist Lois Rowe. Rowe uses film as a medium for investigations into the formulative structures of artistic practice: practice that takes place both under the immaterial conditions of histories of thought as well as material conditions of histories of power. Her recent short films have made particular and recurring reference to the role of authorial voice in the construction of sound and un-sound narrative spaces and their consequences for a possible viewer.

For her show at Transmission Gallery Rowe will present three new films and curate a screening of historical and contemporary works by other artists.
Mannerism to Mind 2007 is a short documentary style video featuring a market vendor on East Street, London and the narratorial voice of a fictional artist who makes public sculpture in the vicinity. Taking us through his areas of influence the disembodied artist’s voice seems to guide us through the market and surrounding area with the market vendor appearing and re-appearing as main point of interest and protagonist. The authoritative, but not authorial, voice of the artist at first holds closely to the progression of footage we are shown but this apparently natural link between what is shown and what is spoken wavers in and out of synchronicity. As the artist’s voice alludes to physical structures that might effect or place behaviour the camera frames negative shapes around the market trader, as if the artist is directly enclosing him by his verbal drawing. However, periodically the trader re-asserts himself as the more convincing actuality through the virtuosity and idiosyncrasy of his vocal performance. Voice seems to escape and reacquaint itself with identity. The artist’s narrative is interrupted by fragments of the trader’s patter that mirror his own, coincidences that allow the two voices to travel temporarily in tandem- occupying the same space but embodying dissonance. The narrative whole of any articulatory structure, be it documentary or artist’s pronouncement, is made to feel falsely naturalised - a sutured space that may momentarily oppress or repress multiple voices.

Orlando 2008 takes place primarily within a suburban conservatory where a robbery has taken place. Rowe uses the device of the narrative voice investigating the crime scene to consider the qualities of the analytical space of any enquiry- ‘a paranoid and fictional place defined by projections placed upon it.’ Self-aware mirroring of the spaces created by the modern condition of alienated thought is therefore planted into the structural fabric of the film. Occasional discord between this narrative voice and the film image further complicates any unity between the voice and space of enquiry.
Capital 2008 explores the relationship between the ‘gifting’ of the foundation of the Tate and the ‘debt’ that might have been set in motion by this action of Sir Henry Tate, founder of Tate and Lyle and owner of the first patent for the sugar cube in Britain. Through deft and sadly whimsical portrayal the hidden labour in this relationship is drawn out. Filmed within the Tate and the Tate and Lyle sugar refinery quick links are made between monolithic piles of sugar and the monolithic structure of Tate Modern which however remains unseen – only hinted at through the pouring of sugar in to a coffee possibly in the gallery’s café. In this way our experience of institutional structures under contemporary capitalism is conjured through gesture and symbolic metonymy. Capital ends with the surreal discovery of an alienated and dead third space – somewhere between a cell and an institutionalised gallery made from cubes of sugar.

Lois Rowe graduated from the MFA programme at Glasgow School of Art in 2006. Recent exhibitions include: By Itself 2008, ROOM, London, New Contemporaries 2006, The Coach Shed, Liverpool, and Rochelle School, London, Marks and Comments, Museum for Contemporary Art, Roskilde, Denmark.

Transmission is supported by Glasgow City Council and the Scottish Arts Council

Jennifer West & George Ziffo

For this two-person exhibition West will be presenting a selection of film works and Ziffo will be showing new paintings and collages. Both Artists display a keen commitment to their materials of choice and while proving a marked contrast in how they produce these bodies of work, as counterparts the outcome of their shared investment provides a stunningly vibrant visual experience of contemporary film and painting practices. It is fair to say that Jennifer West’s films are truly immersed in lifestyle culture and draw on the material potential of film as a medium. The mesmeric films she will present take the principles of artists such as Brakhage and Kern and further the aims of expanding the material possibilities of film and the transgressive visual rhetoric of rock and pop, with more contemporary self-reflexive lifestyle concerns. West’s interest in the psychosensual and the synasthesia result in films that document an autobiographical narrative process. In filmed sequences West invites friends and family to perform to camera -dancing, jumping, skinny dipping- in scenes redolent of the excesses of youth. In ‘unfilmed’ sequences West uses the material properties of the film -dripping foodstuffs on it, immersing it in fluids and taking it on journeys or activities- to create frenetic, materialist mindscapes. Often both processes combine and are described verbatim in the final title of the works. These substances, rituals and activities and the redefining of the role of the camera, film as artist’s material (and document) and the artist’s hand in the final work, often reflect West’s references to contemporary mass-consumerism, leisure and entertainment culture (particularly on the US West Coast) or materials referenced in classic rock and pop music that result in a blissful, hypnotic silent multi-screen presentation.

In the gallery, her presentation of the work tries to avoid the black box orthodoxy of film presentation. Being often half-lit, the projector beam itself is interrupted and enhanced with prism’s that refract the imagery of the films and cast the shards to – perhaps- the viewer’s more errant glance. George Ziffo’s paintings and collages draw upon the formal devices of abstraction creating an idiosyncratic visual language. A colourful palette reveals layers of amorphous gestural mark-making and bold geometric shapes struggle for attention on busy, laboured and spatially dynamic planes. Ziffo’s investment in the art historical and the vernacular interpretation of painting practice, and the relationship between the mechanical and organic, describes an unfolding, often densely layered hybrid pictorial space. Since graduating from Chelsea College of Art in London, Ziffo has moved to Glasgow where he has slowly refined the language of his painting technique and the work on display as well as recent shows in Glasgow clearly display the rewards of his labours.

Jennifer West lives and works in Los Angeles, USA. Recent exhibitions included Occamy, Marc Foxx, Los Angeles (solo), The White Room at White Columns, New York (solo), and When Words Fail, MOCAD, Contemporary Art Museum, Detroit, Michigan, curated by Matthew Higgs. She has a solo presentation of her work at Vilma Gold in September this year. George Ziffo lives and works in Glasgow. He has recently shown at Intermedia Gallery, Glasgow.

Transmission Gallery would like to thank Vilma Gold Gallery.

Prison for Objects

11 April - 10 May 2008

Melanie Gilligan

Transmission Gallery is pleased to present new work by London based artist Melanie Gilligan.  Melanie Gilligan’s work includes performance, writing and object-making as well as critical writing for magazines such as Mute, Artforum and Texte zur Kunst. In her writing and work for gallery contexts, Gilligan engages with current and past philosophical, political and aesthetic subjects to produce work that lies somewhere between fiction, artwork and polemic.

Her new work for Transmission gallery starts from the idea that the historical transition to commodity production in capitalism gave rise to striking visual representations of objects that manifest this shift. But this is just a possibility: a notion that isn’t based on hard research. The point is to display this hypothetical history of imagery, where objects become both increasingly abstract and intensely realistic, with a wider picture of social reification.

Melanie Gilligan completed the Whitney Independent Study Programme in New York in 2005, and has exhibited as part of the Art Now live series at Tate Britain, at Lisson Gallery, London, Columbia University, and Greene Naftali Gallery in New York, Via Farrini Gallery in Milan and in 'Convulsive Initiatives: a world of secret affinities' at Century Gallery, London (with Emma Hedditch). She is a regular contributor to Mute Magazine, ArtForum, and Text zur Kunste and edited the 'de-,
dis-, ex-' series for Black Dog publishing.


Prairial, Year 215

27 April - 27 April 2008

Melanie Gilligan

Performance of Melanie Gilligan's Prairial, Year 215 at the gallery premises.

Performance: Karin Schneider and Mattin

26 April - 26 April 2008

At the invitation of Melanie Gilligan, as part of Prison for Objects,  Karin Schnieder and Mattin collaborated for the first time on this improvised participatory performance, in the gallery.

Karin Scheider is an artist who lives and works in New York.

Mattin is an artist and musician who lives and works in Berlin.


Talk: Dan Berchenko

20 April - 20 April 2008

Dan Berchenko presented a lecture on Perspective and the Production of Space his contribution to a free publication to co-incide with Melanie Gilligan's Prison for Objects.

Dan Berchenko is a writer who lives in New York. 

The publication also contains Melanie Gilligan's Notes on Art, Finance and the Un-Productive Forces and a small number are still available at the gallery.

Ann Bowman, Luke Collins and Derek Lodge

18 March - 05 April 2008

Three distinct practices and vocabularies explore wayward narratives and creative unease to generate work that calls into question audience demands and the responsibility of the entertainer. An amalgamation of disparate texts, plundered theatrical tropes and cathartic humour set a terrain for wild and inventive negotiation.

Transmission Gallery has invited Ann Bowman, Luke Collin and Derek Lodge to produce new work to be shown across both gallery spaces at 45 and 48 King Street.

Ann Bowman will be showing new video and drawing work based loosely on Lenny Bruce’s stage and written version of his own obscenity trial (1961 San Franscisco “Bruce V. the people”) due to onstage use of the word “cocksucker”, the character Frank T. J. Mackey played by Tom Cruise in the 1999 film “Magnolia”, as well as the actor himself, performance anxiety, and private interviews.  

Stepping behind the camera for the first time Luke Collins has built a set and developed a series of characters. A small cast play out the conflicts and resolutions produced between the contrasting themes of 'control', 'excess' and 'rhetoric'. The set becomes a container forcing these irreconcilable tones to share a space.

The video piece produced by Derek, begins by examining his own working methods and the difficulty he experiences when beginning a project.  After a failed attempt to make something research based and academic he has instead been guided by random influences.  Charlie Chaplin, Kurt Vonnegut, You Tube How-To videos, and his former self, via incomplete college sketch book notes, lead him down a path where he encounters a new alphabet, glow-in-the-dark tomatoes and God.

Ann Bowman:  Ann graduated from the Painting department at Glasgow School of Art in 2005. She currently lives and works in Denver.

Luke Collins: Luke Collins graduated in 2007 from the MFA at Glasgow School of Art. He works across sculpture, video and performance. Collins has exhibited widely and worked on several collaborative projects. He is currently writing an essay about the 1991 film Point Break.

Derek Lodge:  Derek studied printmaking at Duncan of Jordanstone College of Art, graduating in 2000. Based in Dundee, he works with video, music, performance, dialogue and collaborative practice. He is part of the Scottish artists’ collective Ganghut and  recently completed a residencies at Cove Park and Yorkshire ArtSpace in Sheffield where he developed a distinctive style of ‘musical documentary’ in collaboration with some rather specialised Sheffield clubs such as The Sir Cliff Richard Meeting House of Sheffield and Sheffield City Morris Dancers.

Artists talks: Luke Collins and Derek Lodge

27 March - 27 March 2008

Luke Collins and Derek Lodge gave a talk to compliment the exhibition at the gallery premises

Bogman Palmjaguar

04 March - 08 March 2008

Luke Fowler

Bogman Bluequatz Palmjaguar is a portrait of a man who after a series of disturbing events became distrustful of people and withdrew into nature. Bogman describes himself as “the hidden cat” and “wild outlaw of paradise” and is fighting against a diagnosis that that brands him as a “paranoid schizophrenic”.

Bogman’s early life, and the diagnosis, subsequently conditioned his relationships with others, both within and beyond the medical establishment.  The decision to take legal action to remove this label is of paramount importance to him, both as a search for justice and to seek reason in the course his life has taken over the past three decades.

The film was shot across two visits to Bogman’s home in a remote village in the north of Scotland. The former was motivated by Bogmans solicitor’s request of an independent report by Dr. Leon Redler1 to assess whether the label “paranoid schizophrenic” was justified. The later was in collaboration with Lee Patterson2, whose evocative field recordings document the environment which Bogman sought to preserve during his time as a conservationist.

Bogman had been passionate about the threatened habitat of Scotland’s Flow Country; a wilderness made of blanket bogs and Peatlands that houses a unique diversity of wildlife. However the peatlands also became a hide-out, when Bogman fled attempts to section him. The film is a reconciliation of the young conservationist with his older self; isolated and withdrawn from society.

Artists talk: Luke Fowler

05 March - 05 March 2008

Luke Fowler gave a talk to compliment the exhibition of Bogman Palmjaguar and to present the work he has made since his first exhibition at Transmission in 1999.

Live Undead

29 January - 23 February 2008

curated by Michael Hill Johnston

David Bomberg

Brian Calvin

George Condo

André Derain

Armen Eloyan

Marianne Greated

Alexander Guy

Alex Katz 

Dana Schutz

Walter Sickert 


Live Undead brings together the work of ten painters from across Europe and America, some showing for their first time in Scotland. Loosely based around the theme of portraiture, the exhibition looks at the different ways these artists deal with painting possibly the oldest of all subject matters, ourselves. Each individual approaches this in their own particular way, but it is interesting to see the links that can be drawn between artists and paintings, separated by generations if not mindsets.


Brian Calvin’s serene Turtleneck (2007) shows a move beyond his earlier, deliberately awkward, slacker paintings. These seemed to fuse the twin influences of Hockney and Alex Katz whose striking Nikki 2 (2007) embodies everything he has become famous for; grand scale, closely cropped subject matter and stylised simplification. These are skills he has been perfecting over more than 5 decades, as this example from last year proves, painted when the artist turned 80.


The paintings of Walter Sickert and André Derain show two different stages of the portrait commission. The former shows the freedom of having finished the official version, to create a superior work through an economy of technique and mastery of colour. The latter, with its quick gestural marks again shows the freedom of the artist, but this time before the pressures of producing a likeness kick in. Making this study arguably more interesting than the painting of Marie Harriman it led to.

Sickert’s one time pupil David Bomberg’s dark Self portrait (1937), painted in rapid slashing strokes, shows he too can capture an image with the fewest of marks and also why his later work was to become so influential. This frugal mark making is shared by the other self-portrait in the show by Marianne Greated*, who contrasts elements of blocked in brushwork with elegant areas of pure line.


The work of both Armen Eloyan and Dana Schutz take painting to the other extreme with both artists creating their own alternative worlds, populated by characters straight from their imaginations. Schutz’s Man with wooden teeth (2005) seems to be choking on his delicious canines picked out in think impasto paint. While Eloyan’s unnamed guard seems to be peacefully sleeping while his nose bleeds, or is he in fact already dead?


Finally we have two artists who play with scale and convention to create paintings which are right, because they are wrong. Alexander Guy over inflates the head of Stuart (1989), while George Condo swaps his blondes face for his trademark miniature clown face. It’s the fact we know what these painting should look like that makes them interesting.


If there is one thing which links all these paintings it’s the idea that at one time they have all existed outside of what is considered the avant-garde of the day and yet their merit continues. It is clear there is something about the way people appear in paint that transcends what can be captured in photographs and still says something about the human condition that cannot, thankfully, be expressed in words.  

*Marianne Greated will give a talk on her practice at Transmission Thursday 31 January 7pm, she will be joined by Glasgow based George Ziffo, who will also give a presentation on his current practice.


Transmission would like to thank Bob van Orsouw Gallery, Zurich; Corvi-Mora, London;; Glasgow Museums, Scottish National Galleries, Simon Lee Gallery, London; Timothy Taylor Gallery, London; Zach Feuer Gallery, New York and all the private collectors who made this exhibition possible.



Special thanks to Merlin James for writing the essay for the publication which accompanies this exhibition.