Transmission presents Working Methods, a new video by Chris Dyson, with accompanying artists talk.

An Exhibition by Ed Atkins and Nicolas Deshayes

Transmission Gallery is pleased to present A Killer Whale Breaching in Soft Focus, an exhibition by Ed Atkins and Nicolas Deshayes.

Ed Atkins (b. 1982) lives and works in London. He studied at Central Saint Martin's College of Art and Design and The Slade School of Art. He has recently exhibited at Monitor, Rome; Dependence, Brussels; Bloomberg New Contemporaries 2010, Liverpool; and The Frieze Art Fair. He will present a solo project at Cabinet, London in November.

Nocolas Deshayes (b. 1983) lives and works in London. He graduated from the Royal College of Art in 2009 and Chelsea College of Art and Design in 2005. Solo exhibitions include: Concrete, Hayward Gallery, 2010; The Two Jonny's Project Space, London, 2010; and Moot, Nottingham, 2005. Recent group exhibitions include: Bloomberg New Contemporaries 2009; IPS Radio, International Project Spoace, Bourneville, 2010; and Keep Floors and Passages Clear, One Thorseby Street, Nottingham, 2010, which will tour to White Columns, New York in 2011.

This exhibition has been generously supported by The Elephant Trust, Talbot Designs, London and Plasti-Kote.

An open forum addressing current self-organised practices in Glasgow and beyond.
1 – 5pm

Sunday 31st October

All Welcome

Itinerary:

 1 - 1.30pm       Brunch

 1.30 – 3pm       Presentations from:

 * The 85A Collective (85A.org.uk) is a Glasgow-based, loose-knit brood of multidisciplinary artists. In recent years they have worked alongside one another and supported each other in various provocative shows, performances and collaborations. Though not all entirely within its radius, many of this progeny are affiliated to the independent gallery Lowsalt who have been integral to a number of the collective’s initial projects. 85A are consolidated in their belief that work ought to reveal itself by non-conformist means: An ongoing tactic is the presentation of their projects in disused buildings and forgotten spaces, confronting the audience with an alternative, hidden pathway leading through the glistening alleys of experimental-experience.

* It’s Our Playground (itsourplayground.com) is a collaborative, curatorial project by Joey Villemont and Camille Le Houezec, two French artists and curators currently living and working in Glasgow. They see curatorship as a medium and develop their multiple projects - which take the form of sculpture, installation and exhibitions both on the internet and in physical space - with a certain sense of freedom.

* Glasgow Open School (gdiycommunity.wordpress.com) is a name under which, at the moment, people are experimenting with frameworks for learning and exploring self-organised and improvisatory practice. Situations are set up, collapsed, addressed, thought, performed, moved through. It is an open invitation. It is an experiment and a point from which to be critical. At Transmission participants of GOS will enact their collaborative practice rather than describe it, opening up the situation to your involvement.

* Research Club/Heavy Meta (research-club.org) is an organisation based in Portland (USA). They have initiated this forum as part of their tour around Europe, which also includes stops in Berlin and London. The event at Transmission borrows their template, which aims to bring creative people together in an environment that is conducive to exchanging ideas and sharing knowledge, there is an emphasis on engaging with a group of people with broad interests, not just art-related. Research club will be cooking their signature brunch.

* Winning Sperm Party (winningspermparty.com) is a not-for-profit organisation that promotes gigs and releases records by independent artists in Scotland. Each release is available as a free download as well as in physical form.

 3 – 4pm Discussion
 
4 – 5pm Screening:
 
* Stephan Dillemuth ‘The Hard Way To Enlightenment’. A film produced and exhibited at Transmission this year, which critically examines the privatisation of the public sphere and propagates self-organisation and bohemian research as resistance tactics for artists, teachers and students.

Vulpecula

Transmission Gallery is delighted to present Vulpecula, an exhibition that takes its name from a constellation that depicts a double figure of a goose in the jaws of a fox. Vulpecula contains no named stars and has no legends. The exhibition brings the work of two American-born artists together for the first time. New York-based Ronnie Bass and Glasgow-based Anna Tanner share various overlapping concerns: foremost amongst these are the characterisation of the social outcast and the idea of stepping into the unknown. Their respective practices are characterized by fantastic, dreamlike imagery and incongruous juxtapositions, by the use of open-ended narratives and the deployment of mundane everyday materials and hobbyist techniques.

Anna Tanner’s recent work has found focus in the conflation of the image of mythological wild men (Sasquatch, The Yeti, Nookta) and their modern equivalents (vigilantes, explorers) with settings and objects taken from mundane, contemporary, urban, domestic and cultivated environments. Working with small, panoramic dioramas and painting, Tanner conjures mutations in space, time and scale which investigate the ways in which man can prove and exhibit bravery in a world in which so little of the natural landscape is left undiscovered, cultivated or urbanised.

Ronnie Bass’s videos are narratives of transformation rooted in the ideals of contemporary belief structures. Both of the videos presented at Transmission - The Astronomer: Part 1: Departure from Shed and 2012 – involve a vision of escape to a better place and the start of a new world. Against a backdrop of amateur astronomy and housebound experiments, Bass’s synth-driven soundtracks provide soothing affirmations to assuage our hesitancies and fears of a brand new age. The protagonists of The Astromomer make use of the useless, harvesting junk to create new items for their purpose: a calling indicated by a cosmological sign. Bass brings this filmic vision to life by installing a fountain constructed from bric-a-brac and junk in the exhibition space.

Anna Tanner (b. Arkansas, 1979) lives and works in Glasgow. She studied painting at Rhode Island School of Design before completing an MFA at Glasgow School of Art in 2008. Her recent exhibitions include: New Work Scotland, Collective Gallery, Edinburgh; Zoo Art Fair, London; Set It Up And Go, APS Artnews Projects, Berlin; and Last Tango In Partick, Lowsalt/Now Museum, Glasgow. Tanner recently completed a residency project in France titled Walden Revisited.

Ronnie Bass (b. Texas, 1976) is a visual artist and musician based in Brooklyn, NY. He received an MFA from Columbia University in 2006 and a BFA from the University of North Texas in 2003. He has exhibited widely at institutions and galleries including: MOMA P.S.1, New York; The New Museum of Contemporary Art, New York; The Henry Art Gallery, Seattle; Centro de Arte de Sevilla, Spain; and The Contemporary Art Centre of Tel Aviv. Musical compositions include the score for Rirkrit Tiravanija’s Hugo Boss Prize Exhibition at the Serpentine Gallery. He is currently producing a hip-hop album due for release in 2012 and an upcoming album for German pop singer Gandalf Gavan.

Ronnie Bass will give a talk about his practice at 7pm on Monday 13th September at The State Bar, 148 Holland St. All Welcome.

*The exhibition will be open on Sunday 19th September for Glasgow ‘Doors Open’ Weekend.
*The gallery will be open until 8pm on Thursday 7th October.

 

Stephan Dillemuth

Transmission Gallery is proud to present The Hard Way To Enlightenment, a new video and installation by Stephan Dillemuth commissioned by Transmission and Manifesta 8. Dillemuth has worked with Transmission members, the committee, a Glasgow-based academic and a live goat over a five-week residency period. This time in Glasgow has allowed the production of the work to be truly experimental and responsive to its context.

Stemming from Dillemuth’s work as a professor at the Academy of Fine Arts in Munich, the video is a mise en scene of a lecture transcript which critically examines the privatisation of the public sphere and its implications within the realms of art, research and education. The lecture - The Academy And The Corporate Public – propagates self-organisation and ‘bohemian research’ as resistance tactics for artists, teachers and students. With a light and playful touch, the text is dramatised as an exchange between an artist and a prisoner, both played by Dillemuth. Performed within an impressionistic stage set - at once an artist’s studio, a prison, a stable and the basement of an artist-run gallery - the work simultaneously demonstrates and investigates the politics of producing artwork in relation to modes of research and models for learning. Creating this film within the context of Transmission, a gallery founded and sustained through self-organisation, lends another dimension to the conversation enacted within it.

Stephan Dillemuth (b. Büdingen, Germany, 1954) is an artist and academic based in Munich. He studied at the art academies of Düsseldorf and Nürnberg as well as at the Academy of Fine Arts, Munich, where he has held a professorship since 2006. Dillemuth has exhibited in galleries and museums internationally for two decades. Recent exhibitions include: Marktverficktes Sein, Galerie für Landschaftskunst, Hamburg (Solo); The Avant-garde: Depression, Marres Maastricht, Maastricht; You Have Been Misinformed (with Nils Norman), Reena Spaulings Fine Art, New York; STARSHIP Various Sketches For Leaving The Room, LUDLOW 38, Kunstverein Munich/Goethe-Institut, New York; and Erfolg, Galerie Christian Nagel, Cologne (Solo).

www.societyofcontrol.com

Realised with generous support from the Goethe Institute Glasgow and Manifesta 8
 

We will be in touch with members regarding uplift of Members Show work

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belly-stuff,
chug-chug,
shake-down and
knees-up at the...
 
♥ANNUAL TRANSMISSION SUMMER PARTY AND BBQ♥

In keeping with tradition, the party will be held at Poloc Cricket Club, from 5pm, on Saturday 17th July.

The phantastic Phat Trophies will be playing LIVE, and there will be dancing tunes a-pumpin from disaster DJs, all for £3 (including the food!).

***AZTEC THEME***


Travelling by car:

Turn off the M77 at junction 2 .....onto Barrhead Road, at the roundabout turn left following signs to the Burrell Collection.  Enter Pollok Country Park via the entrance immediately past Pollokshaws West railway station. Pollokshaws West railway station is right beside the entrance to Pollok Park on Pollokshaws Road.

 
Travelling by train:

Trains on route 19 out of Glasgow Central Station to East Kilbride, Barrhead, Kilmarnock, Auchinleck and New Cumnock stop at Pollokshaws West at regular intervals - please check in each case that the train you are boarding does actually stop at Pollokshaws West!
 

Transmission Annual Member's Show

Every year Transmission Gallery offers its membership the opportunity to participate in the Annual Members Show. With no limits to the size of work and all media accepted, the members show promises a whole range of contributions, from that of students to work by more established artists.

The resource room is new space in Transmission, making the gallery's unique 28-year archive permanently available to its membership and the public.

On Sunday 20th June we celebrate this with an afternoon and evening of events: Romana Schmalisch's performative work Mobile Cinema, an installation by Sarah Tripp, limited edition bookmarks designed by Oliver Pitt, Lucy McKenzie and Giles Bailey, a publication launch of The Curse of Bigness by Dexter Sinister, Jayne Taylor and Malcom Dickson in conversation and screenings from the Transmission Archive.

During the afternoon of 20th (3pm-5pm), we will celelbrate the launch of Laura Aldridge's publication, which was made alongside her Solo show at Transmission Cats Are Not Important, and contains an essay by Leslie Dick.

Kristina Bengtsson, Jim Colquhoun, Samuel Dowd, Stuart Gurden, Catherine Street

The Gloaming

DARK LIGHT

And yet, at least for a moment in these pages, these lives shine blindingly with a dark light.
Giorgio Agamben: The Author as Gesture

In its current production the Faculty of Invisibility engages itself with processes of institutionalisation. Exposing the mechanisms of these processes by means of quotation, the Faculty of Invisibility tries to put them at play. As speech, gesture or image, the examples assembled draw attention to a place inherent to any institution, one that concerns its foundation.

At Transmission Gallery the Faculty of Invisibility is concerned with the concept of a ‘dark light’: a light that occurs along the lines of bureaucratic acts and texts. With this dark light the doubling of any bureaucratic gesture – at once expressive and inexpressive – is illuminated. Through a rhythm of setting in and out – of being in and out of force - the Faculty of Invisibility strives for a manifestation, which like a dark light, no longer merely exposes or exhibits.

The Faculty of Invisibility was founded in 2006 with The Speech. Guests were invited to open departments within the Faculty of Invisibility relating to their own individual practices, such as the Department of Uncertainty, the Department of Haunting and the Department of Doubt. Two years later in The Invitation, the Faculty of Invisibility explicitly took up the question of its own becoming public: Over the course of three months, a series of letters and postcards sent to 550 addressees known personally to the authors formed a gesture of insistence. The series aimed to create an encounter, which suggested a place situated in the realm of memory rather than offering an attendable exhibition. Also in 2008, the authors of these letters announced the resignation of the Faculty of Invisibility. This act indicated the Faculty of Invisibility’s modality of always being carried out anew. Since then, the Faculty of Invisibility has been less an institution that establishes itself in terms of chronology, continuity and a definite place or position of speech, than a gesture of constituting and withdrawing itself at once. Since its resignation the Faculty of Invisibility has dedicated its work to a practice of instituting that attempts to assemble, quote and execute moments of institutionalisation without giving in to them.

Throughout 2010, the Faculty of Invisibility will pursue this practice in a series of productions at Transmission, Künstlerhaus Büchsenhausen (Innsbruck), Shedhalle (Zürich) and Flutgraben e.V. (Berlin). Public assemblies addressing questions of institutionalisation will be accompanied by a series of letters.
 
www.faculty.cc
 

Cats Are Not Important

Aldridge's current body of work is an attempt to draw out relationships of the form of thought and feeling as she recognises them in external sources and processes of making. Loosely composed hanging fabric works, repeated arrangements of tied knot sculptures and a collection of images and objects sit in a field of layers, parts and fragments.

A shift in feeling, attitude and approach to thought may be experienced through a softness, a precarious faith in allowing oneself. The production of this experience attests to a double bind between self and thought, instances of which may be seen in the relations of objects produced. Small bits of dried fruit and pot pouri form a figure against a ground of hanging fabric, or are held inbetween semi transparent sheets of organza. Lengths of string become reminiscent of simple clear gesture, repeated. The fabric ground is sewn in a loop so it may be pulled around its metal hanging bracket, like hand towels in a bathroom dispenser, seen anew, both sides payed attention to. Quickly and calmly tying knots with tubes of fabric filled with plaster, letting them take their own casual form, as an activity to do again and again. When grouped on a wall they become like phrases or tenses.

In an arrangement of images on a low plinth the round opening of a cave is seen from above looking down into it and from within looking out of it. Where previous works have presented a hole cut into large curtains the size of gallery walls presenting a tension between perceptual and bodily penetration, the hole is here re-addressed in a perceptual plane of images looked down on to. Another image shows a woman placing her fingers in her mouth, feeling the point between inside and out, the image also figuring the scene of a thing (finger) put in a hole or place for it (mouth). Slightly above the plane of the table round fruits placed in round jars of water float just at hand's reach, a thing fitted into a container.

Engraved metal cutouts of cats being cradled and petted hung on the gallery walls, show a similar moment of an object other to oneself being touched. Only the arms are shown, the bit part of the body doing the touching, seen as fragment. But also the cat as fragment, literally cut out, as figure with no ground. As moment of apprehension the cat becomes thing which is the object of affection but also thing as extension of the hand. A thing reached out to, needed but not important, the viewing of a surrogate activity.

Aldridge's installation created in Transmission Gallery re-presents the scene of this relationship to making, opens it out in its differing moments and re-approaches.


Laura Aldridge lives and works in Glasgow
 

Join us at 7pm to hear artists Anna Tanner and Conor Kelly talk about their practice. All welcome.

Transmission Gallery presents new work by Falke Pisano.

Falke Pisano’s practice centres upon an exploration of the structural possibilities of language. From written accounts of transformations that take place between concrete object and qualifying language, she develops performance-lectures, printed matter, audio recordings and video works. These elements animate icily elegant sculptural installations.

In her new work for Transmission, Pisano will examine the idea of ‘critique’: What does it mean to be critical as an artist? How does a critical practice relate to notions of production and performativity? Pisano proposes criticality as a continuous, precarious activity that can accumulate at certain moments, in a specific statement, connected to a specific position, about a specific subject, towards a specific recipient.

Falke Pisano lives and works in Berlin. After studying Fine Art at London Guildhall University and Sculpture at the Hogeschool voor de Kunsten, Utrecht, she took up a two-year research fellowship at the Jan van Eyck Academie in Maastricht. Since then, Pisano has participated in a number of international exhibitions including Talkshow, ICA, London, Making Worlds curated by Daniel Birnbaum for the 53rd Venice Biennale, Manifesta 7 and the Yokohama Triennale. She is represented by Ellen de Bruijne Projects, Amsterdam, Balice Hertling, Paris and Hollybush Gardens, London.

Falke Pisano will perform a lecture entitled Figures of Speech as part of the CCA’s Critical Applause series on Wednesday 27th January, 7.30pm.

The artist will launch a new publication produced in collaboration with Will Holder at the preview of the exhibition.

 

A Project Show by Carolyn Barrett and Harriet Tritton

Transmission gallery presents Guest, a one-week project show with Carolyn Barrett and Harriet Tritton.

Transmission gallery’s project shows were conceived as a forum for artists to test out new ideas in public, a space for experimentation.

Carolyn Barrett has produced new video and sculpture for this exhibition. Barrett explores her relationship with her surroundings through improvised gestures, using the body and voice to test ‘potentials’ within her environment. Triggering the unconscious is crucial to the development of unsteady narratives and journeys within Barrett’s practice.

Harriet Tritton works mainly with drawing and video. The work Tritton has produced for Guest uses glass and paper-layering techniques in an exploration of the sculptural aspect of drawing. She has also produced a new video work involving her immediate surroundings and close relations.

Carolyn Barrett (b. 1984) graduated from Glasgow School of Art in 2008, she now lives and works in London. Her recent exhibitions include Now I know my ABC’s at Studio Warehouse and Gorge Yourself at 111 Argyle Street.

Harriet Tritton (b. 1980) lives and works in Glasgow. Tritton graduated from Glasgow School of Art in 2003. She has exhibited both locally and internationally; exhibitions include the group show Flounder in Amsterdam and a Transmission group show in Cologne. She co-founded Mary Mary Project Space in 2005.



Transmission is supported by Culture and Sport Glasgow and The Scottish Arts Council
 

The two artists Carrie Skinner and Helen de Main will discuss their practice, and their current projects.

All welcome.

WE WISH YOU ALL A HAPPY NEW YEAR!

LOTS OF LOVES.

THE COMMITTEE.