Sep 192014
 

Aberdeen Climate Action are setting up a photography exhibition focused on climate change.With thanks to Erik Dalhuijsen.

Disengage linocut - original artwork by Ade AdesinaClimate change is happening. It is happening now and is having very real consequences on people’s lives over the entire globe.

Climate change is disrupting national economies, costing us dearly today and will cost us even more tomorrow. We need to act now to try and prevent furtherwarming and the devastation that comes with that.

The world’s leading scientists state that there is strong evidence that humans are creating this climate change through their behaviour. If we are creating this problem then we can also be the ones to prevent it getting any worse by modifying that behaviour.

Climate change can be limited, with existing technologies and efforts, but we need to actually make this happen. Positive action is required. We need to send a clear message out to our leaders that we support action to reduce carbon emissions.

People, organisations, companies and governments need to do much more of some things, and much less of some other things. Politically it is often easier to sell doing something new (such as free charging for electric cars), rather than no longer doing something old (such as burning coal or pulping rainforest). But doing more is no longer enough: we also need to do less.

The United Nations are holding their Summit on Climate Change on 23rd September 2014 in New York. Globally people will be speaking out to implore these gathered politicians to take the substantial steps necessary to reduce as much as possible further global warning and its attendant
natural disasters.

We want to add our voices to those others campaigning for states to commit to a target and plan to reduce carbon emissions. We would like your help to spread the word and apply pressure on our leaders to do what they can to save this planet and all of us on it.

Aberdeen Climate Action: Photo Exhibition.

The Photo Exhibits will be interspersed with information posters, illustrated with extracts of artwork from Ade Adesina. The exhibition will open in The Belmont Filmhouse Cafe-Bar on Saturday 20 September at 11:00  (entry from 10:30) and will run until October 19.

Venue: Belmont Filmhouse Cafe-Bar
49 Belmont Street,
AB10 1JS,

Open: Weekdays and Saturday. 11:00 – 22:30 Sundays: 12:30 – 22:30

  • Image credit: ‘Disengage’ – original artwork by Ade Adesina
Apr 112014
 

By Suzanne Kelly.

alan davie 1At age 93 Alan Davie passed away peacefully on 5 April 2014.

His unique talents bridged art, music poetry and jewellery making (among other gifts); improvisation and intuition always guiding his hand.
He leaves behind a body of work which is exuberant, mystical, engaging, and compelling.

He commanded genuine affection in his friends and associates, and admiration from peers including Pollock, Rothko and Hockney.

One of Scotland’s greatest artists, Davie’s work and life merit the phrase ‘vibrant and dynamic’ overworked as that phrase may be. For decades he veritably defied the ageing process by creating images filled with joy, magic and passion.

He lived to see Tate Britain announce a show of its own collection of Davie paintings, plus items, especially jewellery, lent by the artist. This will run from mid April through September this year. The Gimpel Fils gallery in London proudly showcased his work for an amazing 64 years.

Davie’s interests in fine art and musical improvisation informed his artworks, created with the enthusiasm of a colour-loving child and a daring genius. He was an early abstract expressionist, and his work has inspired many artists since.

While many around him shied away from colour, Davie was synonymous with what was bright, beautiful, bold and powerful.

He was born in 1920 in Grangemouth; he studied painting at Edinburgh College of Art for two years, and later taught at London’s Central School of Arts and Crafts. He found artistic inspiration from the artwork of many cultures around the world; symbolism, intuition and improvisation mixed with his unrestrained love of colour and paint to create unforgettable work.

alan davie 2Gimpel Fils Gallery will have a show of his work at the end of this month. Aberdeen Voice spoke with Rene Gimpel, the great-grandson of the founder, Ernest Gimpel.

Ernest Gimpel opened his first gallery in Paris in 1883.

The gallery there ran until 1940 and after the war, reopened in 1946 in London.

Six years ago  they-established a branch of the gallery in Paris.

Rene Gimpel had this to say of his friend Alan Davie:-

“Reflecting on his death made me realise I knew him when I was a child when my parents were working with him; I knew him longer than I knew some of my family members. With Peter Gimpel’s (Rene Gimpel’s uncle) death, Alan became in a sense the leading figure for us. We would visit him in his beautiful studio and home in Hertfordshire; he was the silent leader for us – not that he was aware of the position. We were guided by when his next show was, his next project, next interview; and we assisted. There will be a real void. 

“He talked about Bach which he played every day. Piano, clarinet, cello – there were always lots of instruments lying around and lots of scores. It was different getting way from the city and one’s desk and getting out there. The highlight was the visits to the studio. Works on paper would be on the floor as well as the wall and decades’ thick oil paint covered the walls and easel. Until recently he painted every day because that’s what he did. 

“If you have a vocation you go on doing it. He would wait for our comments; he could work on 15 paintings at any one time, and he worked quickly, but at a certain stage the painting would stop. Often a work would be put away for a while and then taken out, sometimes years later, to be worked on further, or it could be completed in a few days. 

“He painted layer upon layer; he just painted on top of works – there will be masterpieces found by restorers and researchers underneath his paintings in the future. The thing about Alan when his wife Billie was alive, he would keep good records of his work; he would sometimes just hand work over to people, and he donated work to benefit auctions.”

Davie was no stranger to Aberdeen; he visited Peacock Visual Art and made a print with them.

Mark Hudson was the last interviewer to speak to Davie; he wrote:-

“His exuberant improvisatory canvases had a ruthlessness, as he painted out passages of paint other artists would have killed to have created, in pursuit of a visceral anti-perfection, a sense of mystery and ritual that made the efforts of his British peers look positively effete in comparison.” http://www.telegraph.co.uk/culture/art/art-features/10706381/The-artist-that-time-forgot.html

Hudson’s piece was called ‘The Artist that Time Forgot’. As is so often the case with the genuine genius who is ahead of their time, it is after they pass (and time passes) that their greatness becomes more fully appreciated. Davie’s work may not have received the acclaim it deeply deserved throughout much of his life, but there is no doubt that he and his work will be cherished by those who love art, now and far into the future.

We’ve lost someone very special in Alan Davie; but we still have his epic works and the example he set.

Samples of Alan Davie’s paintings such as Birth of Venus can be found on these links:

http://www.tate.org.uk/whats-on/tate-britain/display/bp-spotlight-alan-davie
http://www.gimpelfils.com/pages/exhibitions/exhibition.php?exhid=43&subsec=1
http://www.bbc.co.uk/arts/yourpaintings/artists/alan-davie-9645

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Mar 182014
 

The best of Aberdeenshire’s creative industries will be put on display in a contemporary art, craft and design fair in Westhill. With thanks to Margaretha Simpson.

Alison Simpson09 Artists and designers from Aberdeenshire and across Scotland will be showcasing their top-quality enterprises at the GLASSHOUSE event on March 22 and 23.
People across the north-east are being invited to embark on a creative journey to discover the wide range of top-quality creative products being made in Aberdeenshire and in Scotland.

A greenhouse in the heart of Westhill’s thriving subsea sector is the unconventional backdrop for the GLASSHOUSE event, commissioned by Aberdeenshire Council’s creative placemaking programme Be Part of the Picture, in collaboration with local arts agency SMART Consultants.

The journey begins with the GLASSHOUSE Cultural Tour Buses, travelling to and from the venue from available parking at Westhill town centre and the Subsea 7 east campus. Leave your car and hop on the tour bus where a Creative Conductor will take you on an artistic journey of visual and audio wonders.

The unique GLASSHOUSE event is supporting local arts and creative industries and giving local communities the opportunity to access high-quality artistic work in a way the never have before.

Artists from a number of Aberdeenshire communities are taking part, including: Aboyne, Sandend, Fraserburgh, Kinellar, Tarves, Banchory, Whitehills, Alford, Boddam & Kintore.

The contemporary fair is also celebrating the world-class status of Westhill’s subsea campus as a centre for skill and innovation, fostering links between the local creative and business sectors.

Members of Westhill’s residential and business communities have been involved in a series of creative engagement events in the run up to GLASSHOUSE and have helped produce the designs for the Cultural Tour Buses.

International textile designer Donna Wilson, from Banff, who is creating a new tartan for Aberdeenshire, has also been involved in putting together the creative journey that visitors will experience.

Aberdeenshire Provost Jill Webster said:

“GLASSHOUSE is a really unique way for us to showcase the creative talent of artists and designers in Aberdeenshire and beyond. And what better place than Westhill to help strengthen links between our business and artistic communities, two very important sectors for our local economy.

“GLASSHOUSE is going to be an event like no other and I would encourage everyone to come along and take a look at the huge variety of creative wares and ideas on show.”

Chair of Aberdeenshire Council’s Infrastructure Services Committee, which oversees Economic Development, Councillor Peter Argyle, said:

“A greenhouse bustling with artistic and creative energy is going to be an unusual sight in Westhill and one worth seeing. As a focal point for innovation and collaboration, Westhill is an ideal setting for this exciting event.”

SMART Consultants Creative Director, Sally Reaper, said:

“We are delighted to have been commissioned by Aberdeenshire Council to build such a unique event celebrating the creative industries for the region.

 “It’s exciting for us to extend our creative energy into Aberdeenshire, enabling us to build and develop a unique event for the wider community, as well as the creative practitioner. It will be interesting to see how the communities engage with the creative journey and how they respond to the unconventional setting of GLASSHOUSE.”

The GLASSHOUSE contemporary art, craft and design fair will run from 10am to 5pm on Saturday 22 and Sunday 23 March at Foxlane Garden Centre, Tarland Road, Westhill.

For more information on the event, go to www.bepartofthepicture.com.

Mar 182014
 

With thanks to Margaretha Simpson.

Allan Watson_poster

SMART Consultants are delighted to present ‘No More Nails’ an exhibition of contemporary sculpture by local Scottish artist, Allan Watson, Head of Fine Art at Gray’s School of Art from Saturday 15 March at the SMART gallery.

This exhibition highlights the hand of the maker in many ways, new and old, it celebrates traditional craftsmanship in a unique, contemporary and unfamiliar way and demonstrates the importance of passed trades and workmanship.

Allan describes the ethos behind his exhibition –

“Growing up on a Perthshire farm in the 60’s meant that I became familiar with working with my hands from an early age. My grandfather taught me to work with tools when I was very young, not that he was making anything artistic: just the necessity of sawing logs, chopping kindling, digging the garden.

“When doing these ‘chores’ my mind would wander and what was going on in my head seemed unrelated to what I was doing with my hands. When Roger Deakin writes in Notes from Walnut Tree Farm “working with a scythe is silent, unhurried, rhythmical, and conducive to thinking . . .” I recognise this sentiment straight away: I think best when I’m working with my hands – and thinking leads to more making.

“Repetition was of course everywhere on the farm – tattie howkin’, pickin’ berries, shawin’ neeps  – work which, at the end of the day you could see what you had achieved. Such formative experiences very much inform what I produce in my studio today: whether concerned with our changing relationship with tools, the visibility of labour or the ability of our imaginations to interact with reality and create infinite variation.”

The exhibition features a large-scale sculpture of ‘miniature’ pallets made from reclaimed wood with over 4000 hand cut pieces and over 5000 panel pins!  A selection of ordinary hammers found at car boot sales are encased behind glass like historical artifacts preserving these once personal and valued tools.

Scaled down miniature sawhorses are elevated on plinths presented as beautiful art objects, once the trusty tool bench used by the local joiner and carpenter.  Other highlights include a large-scale wall installation of found postcards documenting the American logging industry from the early 1900s.

This exhibition does not disappoint, it is a real showcase of our local contemporary talent and a highlight for the gallery to showcase contemporary sculpture in Aberdeen.

The SMART Gallery is at 9 Albyn Terrace, Aberdeen – it is open Saturdays and Sundays 12noon to 4pm or to arrange a viewing out of hours please contact info@wearesmartconsultants.co.uk or phone 01224 561977.

Exhibition runs from: 15 March to 27 April 2014

Allan Watson

Born Blairgowrie 1960, Allan Watson studied sculpture at Gray’s School of Art, Aberdeen, graduating in 1986.

Since then he has continued to live and work in the area, participating in a wide range of projects including exhibitions, public art projects, artist-in-residence schemes, international workshops, and the completion of a PhD in 1992 that focused on chance and decision making within creative practice.

In 1994 Allan joined the teaching staff at Gray’s and is currently Head of Fine Art.

Mar 142014
 

The Queen having tea_RL_1_003.tifFor 12 years the establishment and celebrities were grist to the Spitting Image mill; nothing and no one was sacred. If you weren’t laughing, you were outraged. By Suzanne Kelly.

Issues of the day were brought to light, political sleaze was explained and mocked in spectacular fashion, and well, those of us with a sense of humour had a great laugh.
A new exhibition in London’s Cartoon Museum pulls together puppets, memorabilia, news reports and anecdotes. It is a small exhibition in a small museum.

However, while floor space may be limited, the depth and breadth of the collection and the Spitting Image exhibition is deeply impressive.

This is also one of the most important shows you’ll have the chance to see, if press freedoms (facing new threats) and political satire are to be understood, preserved and appreciated.

The Cartoon Museum has been flying the flag for the cartoon as art and entertainment since 2006, and features a great diversity of art going back centuries. There are simple cartoons such as ‘Popeye’ which were simply intended to amuse. There are biting political cartoons from the distant past, and social commentary cartoons spanning decades which, when collected and curated, form an extremely important historic record.

But this Spitting Image exhibition must be the most impressive and engaging of all the museum’s major exhibitions to date.

There is an impressive schedule of evening talks and events featuring those who worked on Spitting Image. Roger Law (a founder of SI with Peter Fluck – listen to them on Desert Island Discs here  http://www.bbc.co.uk/programmes/p009mlw9 ) will deliver an illustrated talk on 19 March on ‘The Art of Theft’.

There is a Spitting Image Roundtable on 7th May with people behind the show, and a ‘Design your own puppet character’ session with puppet maker and puppeteer Scott Brooker.

“At 10pm on Sunday, 26 February 1984 British television witnessed the birth of a new phenomenon – a satirical puppet show which would push the boundaries of taste and decency, present the Royal Family, politicians and celebrities alike in surreal yet telling situations, and become one of the most talked-about programmes of the 1980s and 1990s. The country had never seen anything like it.” – CartoonMuseum

We may never see the like of Spitting Image again; it was the reactionary product of a heady mixture of Thatcherism, international issues, domestic political power struggles, the Reagan/Thatcher special relationship, and later on celebrities and sports. Apparently Peter Cook once remarked that the sports vignettes were his favourites.

Perhaps they were, but Spitting Image’s satire wasn’t so much biting as it was scorching. Many times it pushed the envelope just a bit further than people expected; many viewers for instance finding the Queen Mother puppet a bridge too far.

Thatcher Cutting up Britain (c) Spitting ImageMargaret Thatcher in S&M gear likewise provoked a response.

Memorable puppets included a completely grey John Major, a schoolboy Tony Blair sporting an ‘I’m the Leader’ badge, The Queen, and a slobbering Roy Hatterslea will be in the public conscious for quite some time.

In the display was a never-used Osama Bin Laden puppet – it oozes menace.

Imagining what could have been made of this in a sketch is a powerful idea to grapple with; the puppet sits in its case waiting for an opportunity which never materialised.

The exhibition screens Spitting Image episodes, and on the day I visited, many people stopped to watch the segment depicting how Zola Budd came to be English rather than South African, and while doing nothing more spectacular in her Olympic race than tripping up American Mary Decker, Budd nevertheless managed to make a bit of money from her exploits.

Spitting Image was a platform of perfect political satire and the springboard for many of our most important talents – Ian Hislop, Nick Newman, Harry Enfield, Rory Bremner, Hugh Dennis, Kate Robbins and John O’Farrell are some of those who were involved.

The show evolved from the partnership of artists Roger Law and Peter Fluck who met in Cambridge as students. Cambridge and its Granta magazine must have been quite a crucible. Peter Cook and Dudley Moore sprang from that Cambridge seam, and were responsible for an increase in political satire in the 1960s.

Cook’s ‘Establishment’ nightclub in Soho must have been incredible; Roger Law was also involved in that venture as an artist.  Cook of course lent his support in many ways to Private Eye magazine, still the zenith of political satire in the UK today.

The exhibition was well attended when I was there; people of different ages and several tourists wound their way through the gallery. Watching the episodes being screened on a wall brought back the importance of the show; we visitors watched in silence except when laughter broke out which it frequently did.

The puppets are quite something to see; the fact they were collected together at all is something of an event. Many were auctioned off and the collection dispersed; one puppet disappeared only to surface years later at a boot sale – from where it was rescued.

The ephemera and historical notes gave insights from many different perspectives; it was safe to say the visitors read the information presented with relish. There are many anecdotes which I won’t spoil by sharing – do go visit the museum if you can.

It’s a gem of a show, and I only wish it could tour the country (with a stop in Aberdeen of course).  Actually, I wish that we could have a new version of Spitting Image for today. However, there are many reasons whatever the next big thing in popular political sarcasm is, it won’t be Spitting Image.  Gallery Director Anita O’Brien had a few minutes to speak; she explained:-

“Satire is one of the great art forms which Britain invented, which continues to thrive. The difficulty with Spitting Image now, though people would like to bring it back and feel it would be wonderful is that the political climate and landscape have changed, and people are not as politically involved. I think when it comes to people the nature of their political involvement has changed. The media has changed; you had four channels then; it is far more fragmented now.

“I think people do different things – there is an emphasis on CGI, and people’s expectations of media has changed – people expect a different look and feel (to the latex puppets of SI). I also have to say cost – I just don’t think the media would be able to bear it – it would be very labour intensive, and a huge number of people would have to come together.

“I think that might be the biggest stumbling block. Also they were all very involved and quite committed to what they were doing. They perhaps hoped they would bring down the government; it didn’t happen [we laugh]. This was the ‘80s; there was a very strong political engagement; very anti-Thatcherite.”

I suggest the fact that the programme existed had an impact on political engagement, and suggest that Spitting Image was the reason people even knew who cabinet ministers were. O’Brien commented:-

“I think a lot of people who maybe might not have read political columns at the time would have watched the programme… Peter Cook said he actually enjoyed the sports more than the politics; if he wanted politics he would have read a newspaper. We’re hoping that people will come who might not have seen it and can come and become more aware of it, and gain a view into satire.”

But what’s the point of political satire? Is it nothing more than childish, vulgar base humour with no hope of achieving anything?

Here’s an example then:-

“In the mid-1980s Gary Trudeau, writer and illustrator of the comic Doonesbury used satire to help put an end to a racially motivated law in Palm   Beach, Florida. The law in question mandated that all workers or employees, including gardeners, retail clerks, janitors and taxi drivers, who were part of a racial minority were required to register with police and obtain and ID card within 48 hours of accepting a job.

“In 1985, upon discovering the continued existence of this Jim Crow legislation, Gary Trudeau illustrated a series of comics lambasting Florida’s government for its continued support of a racist law. By 1986, local politicians drew up the “Doonesbury Act” and repealed the outdated law.” – http://www.sarcasmsociety.com/satire.html

Sarcasm and political satire are sometimes the only weapons people have against powerful institutions and powerful people. We now have threats to our free press coming in light of the News of the World hacking scandal, wherein a sledgehammer is being used to crack all the nuts, good ones and bad ones, for the actions of a few corrupt, powerful people in the press, who were buying information from the police.

Compared to the laissez-faire approach and support the government gave to the banking sector in light of the vast scale of corruption it was and is riddled with, does the recent attacks on press freedoms really warrant any new law? Should those who are meant to be scrutinized by a free press have the right in a democracy – whatever that is – to limit the important checks and balances the press provides?

Let’s hope not. It is bad enough that the press is under fire as a whole institution for the actions of a few.  Let’s make sure that political satire remains a protected, powerful and widely-used tool of dissent and change.

And with that, I buy a few posters. As I’m leaving, I’m thinking about Private Eye, Hislop, Ingrams, Granta, and ultimately Peter Cook.

Before I leave, I ask when we’ll see the like of Peter Cook again; ‘Indeed’ is O’ Brien’s answer.

Spitting Image – From Start to Finish runs until 8 June 2014

Cartoon Museum,
35 Little Russell Street,
London,
WC1A 2HH,
Tel: 0207 580 8155
www.cartoonmuseum.org

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Nov 212013
 

-seeninthedeen 500This Friday, 22 Nov, 6 – 8pm, Peacock Visual Arts open their new winter exhibition, #SEENINTHEDEEN – Creative Characters from Aberdeen and Beyond.

The exhibition has been organised in collaboration with Aberdeen collective WLDWLVS.
The works included in the exhibition all use text and typography in some way; these include pieces by local artists Brian Ross, John Mackenzie and Neil Henderson amongst others, such as a large-scale mural commissioned for the show.

This work will be shown alongside that of established international artists Adam Bridgland, Chu, Scott Myles and many more.

It will bring together a rich variety of styles and disciplines from printmaking to graffiti.

The title, #SEENINTHEDEEN, was a quick method for WLDWLVS to start documenting the hidden side of Aberdeen that people could otherwise miss.

The inspiration originally came from graffiti, paste-ups and stickers posted around the city, however the hashtag has taken on a life of its own. It’s another way of looking at the city – these are images that won’t be found in the guidebooks but that show a truer representation of the city.

The exhibition invites contributions from residents and visitors of Aberdeen using social networking platforms Twitter and Instagram. Images of street photography from shop signs to graffiti, and everything else in-between, taken and tagged with #SEENINTHEDEEN will be displayed on the website www.seeninthedeen.com, which will itself appear in the exhibition.

Neil Henderson of WLDWLVS said:

“we’re continually surprised by the gems people find around the city and we love the range of images presented; from the serious to the absurd. It was always our intention to bring the work together at some point and when the opportunity to partner with Peacock Visual Arts came around it just felt like a natural fit.”

The opening is sponsored by anCnoc and BrewDog and runs from 23rd november to 21st December.

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Nov 012013
 

On 19th and 20th October some 200 people visited artists in their WASPS studios and participated in the Big Draw – an international event in October/November with events aimed at getting everyone to draw and create art. Voice’s Suzanne Kelly was one such visitor.

A portrait by Keith Byres_176Aberdeen has a pool of talented, diverse, international artists who exhibit work in important Scottish galleries and abroad, have work in international collections and are better recognised outside the city limits than they are at home.

However, WASPS studio space on Langstane Place, home to some 35 artists and makers whose work varies from portraiture to botanical art and from abstract landscapes to sculpture, held an amazingly successful open studio event in Aberdeen last weekend.

Visitors entered by photoghost, a printing and photographic services company, and then wandered through a labyrinth of art spaces, studios and corridors lined with artwork.

bigdraw-animals (2) photo by fiona swappThere was also the chance to participate in the Big Draw – by creating and drawing mythical beasts, drawing a picture of an aspect of Aberdeen for a large collage, and by learning how to make small artists’ books to take home.

One artist had lined studio corridors with newspaper and was busy redacting/blacking out words in the headlines (not unlike the city council’s practice of redacting text – like it did in the City of Culture Bid document before the public was allowed to see it, for instance.)

Artists who opened their doors included Keith Byres, Fiona Swapp, and Lorraine Taylor.

Keith, who was working from a model on a portrait, had this to say about the event:

“Wasps Artists’ Studios open weekend is our take on ‘Open Doors’.  It gives the general public an opportunity to see artists at work and have an insight into their practice.  We had between 150 and 200 enthusiastic visitors over the weekend, who weren’t shy to ask searching questions about what we do.  It was very stimulating and refreshing.”

keith byres studio during open studio weekend 2The visitors had a great time and the artists were all happy to explain their work and to encourage visitors to make their own art as well.

The studio open days may be over for the present but if you are looking for fresh original artwork produced in your own community, WASPS have something for every taste and budget.

You can get in touch with WASPS at:

Langstane Place Studios,
36-48 Langstane Place,
Aberdeen
AB11 6FB

emailinfo@waspsstudios.org.uk

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Oct 152013
 

Following on from Timothy Neat’s Edinburgh Festival appearance at Summerhall, profiling his collaborations with John Berger, Peacock Visual Arts are proud to be hosting a major Retrospective of Neat’s life’s work, STANDS SCOTLAND WHERE SHE DID? from 27 September – 9 November 2013.

Martha Mackenzie, Scots Traveller, Fortinghall, November 1976 © Timothy Neat sq

Martha Mackenzie, Scots Traveller, Fortinghall, November 1976 © Timothy Neat

A stunning collection of photographs capturing experiences and relationships over a long life will be on show. Neat is a champion of the marginalized – Scottish Travelling People, Gaelic bards, salmon-netters, crofters, bee-keepers, horse breeders, Andalucian villagers, poets and artists.

Neat has worked closely with many leading Scottish figures – MacDiarmid, Sorley MacLean, Hamish Henderson, Ian Hamilton Finlay, Margaret Gardiner (Pier Arts Centre, Orkney) and the Fife singer Jean Redpath.

Also, Robert Burns and Charles Rennie Mackintosh!

Six of Neat’s films will be screened at The Belmont Picturehouse including:

Play me Something (1988), winner of the Europa Prize, Barcelona 1989. This 35mm feature film shot on the Isle of Barra and Venice, features John Berger, Tilda Swinton, Hamish Henderson and Liz Lochhead;

Journey to a Kingdom – Hamish Henderson returns to the North East of Scotland’ (1992).

(Hamish Henderson [1919-2002] was with the 51st Highland Division in North Africa and Italy and became a legendary figure amongst the Gordon Highlanders. This film originally made for Grampian Television documents Henderson’s work as a folklorist in the North East. Neat’s highly prasied two-volume biography of Henderson will be available after the film screening).

STAND SCOTLAND WHERE SHE DID? will be a major exhibition, featuring a new suite of screen-prints by Neat, published by Peacock Visual Arts, and original works by many of the major artists with whom he has collaborated over 50 years; years during which Scottish culture and politics have changed dramatically.

Guests attending the opening and closing events will have the opportunity to enjoy performances by some of Scotland’s best traditional musicians.

Alison McMorland and Geordie McIntyre will sing Hamish Henderson ballads and political songs at the opening on 27 September. On 9 November Elizabeth Stewart will sing some of the great ballads of the north east and Alastair Roberts, rising star of the modern folk scene in Scotland, will sing some of Neat’s own songs.

Peacock Visual Arts is proud to be able to present this Retrospective in Aberdeen, before various parts of the exhibition embark on an international tour, which may prove seminal during the year of the Scottish National Referendum.

To coincide with this Retrospective, Polygon (Edinburgh) has published a major book, ‘These Faces; photographs and drawings by Timothy Neat’, with an important introduction by John Berger.

FULL LIST OF EVENTS

Exhibition:

28 September – 9 November 2013

Exhibition Opening:

Friday 27 September, 6 – 8pm
With performances by Alison McMorland and Geordie McIntyre.

Film Screenings:

Sunday 29 September, from 6pm:

‘Journey to a Kingdom’ (52mins)
‘The Tree of Liberty’ (73mins)

Sunday 13 October, from 6pm:

‘Time is a Country’ (52mins)
‘Hallaig’ (64mins)

Sunday 27 October, from 6pm:

‘Rathad nan Ceard’ (30mins)
‘Play me Something’ (72mins)

Exhibition Closing Gig:

Friday 8 November, 7pm
Performances by Elizabeth Stewart and Alastair Roberts.

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Sep 132013
 

Well, that’s Offshore Europe over and done with for another two years, and yet again it was a relative success, writes Fin Hall.

Taxis. Credit: Fred Wilkinson

The word relative is important here.

Thousands upon thousands of visitors, mainly males in light blue shirts, descended on the city and its surroundings, spending their company’s money on taxis, buses, restaurants, bars and ridiculously overpriced hotels.

There were keen ones taking photos throughout the city to show to their spouses and some might have bought a souvenir or two, if they were able to find the time between meetings, cocktail parties and free dinners.

After all, they were on business trips, and not (ahem…) an all expenses-paid party trip.

Personally, as a taxi driver, I thoroughly enjoy the experience, apart from the traffic jams of course, and not just for the extra business to my trade, although that does help.

I enjoy meeting people who tend to be here for the first time and are interested in hearing about the history of the city, and are fascinated by the grey granite buildings which look so much better in the really good weather that we had during the this year’s show. Some have even made up their minds to return for a holiday break with their wives.

There seem to be mixed feelings about the actual exhibition itself. Some say they don’t really enjoy attending, but do so because their boss tells them to, whilst others don’t mind at all. Some really enjoy it and get a lot out of it.

The general consensus is that there is very little, if any, business done inside the marquees and buildings, where the focus is mainly on a great deal of networking, exchanges of business cards and putting faces to names. There’s a lot of and catching up with old friends and making new ones.

I have been told that most solid deals and promises are done over dinner or, believe it or not, in the taxi queue.

But everyone agrees that the city makes them feel welcome and whole experience is really well run.

As yet, nobody has explained why the gates were locked

But….ah yes, there is always a ‘but’.

To return to the term ‘relative’ in relation to the Exhibition’s success, there were a couple of black marks against this year’s proceedings.

First was the well-publicised locking up of one of the overspill car parks, not only because cars were still awaiting to exit, but, for some inexplicable reason, concrete blocks were dumped on the ground inside the gate. This occurred after a car went on fire in the area, causing two hour delays, resulting in an extensive line of traffic.

This chaos was heightened by the fact that the Dons had scheduled a match against Viking FK of Stavanger with a 1900 kick off time.

As yet, nobody has explained why the gates were locked when cars were still inside. I know that the sign said that the car park was scheduled to close at 1900, but surely anybody with half a brain would have been aware of the situation? Also, what was the idea of putting the concrete blocks in place? I am aware that normally this empty lot is kept blocked off to restrict entry to it by travellers, but surely with 24 hour security in place, the need for laying blocks was totally unnecessary?

Not to worry though, the police finally managed to get somebody to nip over and relieve the blockade. After much persuasion, he grudgingly did the business. At 2300.

As for the P&J, I believe it was, pointing out that amongst the cars trapped inside there were even ‘Mercedes and Land Rovers‘.

How puerile and sycophantic was that? Should we be impressed or feel even more sorry for those vehicle owners than for the guys involved in the lock-in who had Mondeos or Skodas?

An edition of Aberdeen Voice seemingly cannot be published without the council coming in for criticism. This time, it is to do with their efforts in trying to lay on some free events for the visiting masses.

First of all was the three-day closure of Belmont Street for the country fair, which ran from mid afternoon until nine at night. On passing several times, it looked less than mobbed, although it was hard to differentiate between folk actually at the market and people coming and going from the street’s pubs and cafes.

The second laid-on event turned out to be an even bigger waste of your council tax

Why they insist on blocking off thoroughfares for this and the pseudo-continental market, when they have a ready-made market stance at Castlegate, and the larger Union Terrace Gardens, still mystifies most folk

The second laid-on event turned out to be an even bigger waste of your council tax, and that was the non-advertised free music shows held in the quadrangle of the Marischal College.

These concerts, which some of you may still not be aware of, consisted of an international evening, a Scottish evening and a jazz night.

Another faux pas here by our city fathers. Never mind that they seemed not to let anyone know about this, they decided to start the shows at 1800 and run until 2100.

This is really anything but an ideal starting time. It’s even worse than the free match at Pittodrie, since the exhibition didn’t end until 1800, and the taxi rank generally cleared of the remaining stragglers around 1945.

After a busy day, and before dining, the exhibitors and the visitors probably needed at least a half hour rest. So maybe if someone in the corridors of power, had really thought this through, then 2000 would have probably been a more sensible start time.

I picked up a man on Wednesday night who had been performing at the Scottish event, and he said that there were only around thirty people at the show. He also said that the line-up was ‘crap’, although he did use a stronger term to describe his fellow performers.

On passing the Thursday event in my car, it appeared that the jazz evening had a slightly larger audience than previous nights and there were even some people dancing. But overall I don’t think the term ‘success’ can be used to describe what should have been an entertaining affair.

Finally turning to my own profession, whilst most taxi drivers come out to provide a good service, and, yes, to make some extra cash, others decided that, and I quote, ‘I couldn’t be bothered’. Again, a stronger word was used.

It is unfair that some deride the industry which has helped stabilise the city through some lean years

What? You couldn’t be bothered providing a service? Couldn’t be bothered making some extra cash? Oh I see, it’s the idea that the regular Joe Public is being neglected whilst all attention is aimed at the high rollers. Well, in fact, the taxi companies make a point of servicing both their regulars and the visitors, being aware that once the Exhibition is over, life goes on.

It is unfair that some deride the industry which has helped stabilise the city through some lean years, when other cities have suffered high unemployment. The oil business is far from perfect and some feel that it should have been doing more for the city and the populace, but maybe history is to blame for that.

When the big companies first came here and wanted to build, the then council should have said, ‘OK, but first you must do THIS for the town’.

Is that too naive? I don’t think so. When Stewart Milne wanted to develop at Portlethen, Aberdeenshire Council insisted that his company build a new underpass and road system, which he did.

Contrary to this, many years ago, when a company moved into the big house on Howes Road and turned it into an office block, warehouse and yard, they applied to the council to build a road linking their new premises to Lang Stracht to save juggernauts trundling through the housing estate where children would be playing. Unsurprisingly, the council declined their offer.

I realise that this seems to be ending on a negative note, and that really was not my intention. I really wanted this to be a relatively positive piece. Hey, there’s that word again,

So what lessons should be learned from this week?

First of all, obviously, when organising something, make sure that it is well-advertised and that citizens and visitors are aware of it.

Secondly, organise events to start and finish at reasonable times and have them somewhere people passing by will come across them, like the top deck of St Nicholas Centre, or even Union Terrace Gardens.

And finally, make sure there are security or police at every car park exit until all the vehicles have departed.

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May 272013
 

By David Innes.

The March and April meetings of the nascent Dickens Aberdeen group saw lively discussions of Hard Times Parts 1 and 2 take place, and the rest of that less well-known Dickens novel will be discussed at the group’s meeting on Wednesday 29 May.
The meeting will run from 1900-2100 at Grampian Housing Association, 74 Huntly Street, at its crossroads with Summer Street.

There is free parking adjacent to the building. Everyone is welcome.

Dr Paul Schlicke, a driving force behind the group, has also informed us of his delight that negotiations are well advanced for Dickens-related activities in July.

Professor John Drew of Buckingham University, project director of Dickens Journals Online, and Dr Tony Williams, past secretary of the Dickens Fellowship, will be in Aberdeen on Tuesday 9 July. They will be bringing for display the fabulous exhibition of 19th century journalism devised by Anthony Burton, emeritus curator of the collection of Dickens manuscripts in the Victoria and Albert Museum.

They will be giving talks that evening. Further details will be publicised as they come our way.

Keith O’Sullivan, Senior Rare Books Librarian of the University of Aberdeen’s Special Collections and Museums has been in touch to enthuse about the Wanderlust exhibition the Exhibitions Gallery. Details below are from the University’s website.

The exhibition at the Gallery of the Sir Duncan Rice Library features vivid writing contained in some of the travel journals and explorers’ notebooks held with the University’s Special Collections.

Wanderlust describes a yearning for distant places; an irrepressible compulsion to discover the unknown. Travel journals survive in many shapes and sizes. Spanning four centuries, not only do these writings give evidence of that compulsion to go beyond the horizon, but they also open an intimate window into lost worlds.

Gallery Opening Times

Monday to Friday: 10:00 – 16:30

Saturday 4 May – 1 June, inclusive: 10:00 – 16:00
Saturday 8 June – 7 September, inclusive: 10:00 – 12:30

Sunday: 12:00 – 16:00

scc.events@abdn.ac.uk