New Work Scotland Programme 2008

NEW WORK SCOTLAND PROGRAMME KELLY CONNOR / ALEX DORDOY ALEX GROSS & SANDY SMITH / LILA DE MAGALHAES

Alex Dordoy ‘Untitled (We can guide you through new codes and intersections)’ 2008, mixed media on found photo

FREE

(ISSUE 5) OCT 2008/JAN 2009

NEW WORK SCOTLAND PROGRAMME

WHAT IS NEW WORK SCOTLAND PROGRAMME? The New Work Scotland Programme (NWSP) is a major initiative launched by Collective in 2000. The NWSP identifies and

supports, through a policy of open application, some of the most promising new artists working in Scotland providing them with the opportunity to create new work and bring it to the attention of a wider public.

Eligibility is for artists in either their final year (undergraduate or postgraduate) at a Scottish art college or those Scottish based artists who are up to three years out of college. Priority is given to those who have not previously had a major solo show.

NWSP lies at the heart of Collective’s Professional Development Programme and creates a dedicated three month period for the support and development of new artists in Scotland through both exhibiting, writing and event opportunities.

Collective are committed to supporting new visual art through a programme of exhibitions and commissions.

NEW WORK SCOTLAND PROGRAMME 2008 2008 sees each of the artists utilising both galleries to fully demonstrate the breadth of their practice and are supported by a commissioning fee which is vital at such an early stage in their career.

SELECTORS: Suzanne Cotter (Senior Curator at Modern Art Oxford), Dr Simon Groom (Director of Modern and Contemporary for the National Galleries of Scotland), Mel Brimfield (artist and Associate Producer at Collective 2007-8) and chaired by Kirsten Body (Collective).

The four successful recipients are: Alex Dordoy graduated from the BA Fine Art course at Glasgow School of Art in 2007. Alex is currently showing

NEW WORK SCOTLAND PROGRAMME

at Grimm Fine Art in Amsterdam until 9 October, other recent exhibitions include; ‘Autarchy’ at SWG3 Studio Warehouse, Glasgow; ‘Black Aspirin’ at the Glasgow Project Rooms; ‘Mamones Ready to Go!’ at Norma Desmond Productions, Los Angeles and ‘Art La’ with The Modern Institute/ Toby Webster Ltd, Glasgow.

This collaborative exhibition from Alex Gross & Sandy Smith is their first in the UK and follows on from their 10 week research trip through the west of North America with stops in Las Vegas and Utah. Both are Glasgow School of Art graduates; Sandy Smith from BA Fine Art course in 2005 and Alex Gross from the MFA in 2006. Sandy’s recent exhibitions include; ’Incredible Permanent Gains’ at Krets Gallery, Malmo; ‘Studio Project 9’ at Market Gallery, Glasgow and ‘Fjorten Talenter’ at Galleri Brantebjerg, Denmark.

Alex has recently shown in ‘Out of the wrong comes the sweetness’ at LowSalt, Glasgow; ‘Cabbage Head’ at Glasgow Sculpture Studios and ‘NEUBAU’ at Galleri BOX in Akureyri, Iceland.

Lila de Magalhaes graduated from the BA Fine Art course at Glasgow School of Art earlier this year. Lila curated ‘Now I know my a,b,c’s’ (2008) for SWG3 and recent exhibitions include; ‘Gorge Yourself’ with Carolyn Barrett, Argyle St, Glasgow; ‘Salvador Deli’ and ‘No stone unturned, no maggot lonely’ at The Vic Gallery, Glasgow and an Artist Film & Video screening night at the Southside Studios, Glasgow in August 2008.

WHAT IS THE STUDIO VOLTAIRE RESIDENCY? Year on year we are developing and expanding NWSP to include more platforms to support emergent artists.

This year we are delighted to announce a pilot NWSP residency at Studio Voltaire, London funded by the Scottish Arts Council. The six week residency was awarded to Lila de Magalhaes to support the production of new work alongside mentoring from the creative team at Studio Voltaire. We hope to offer this opportunity again as part of next years NWSP call for submissions.

Studio Voltaire is the first and only artist-led gallery and studio complex in South-West London.

Established in 1994, the organisation has developed a reputation for supporting artists at a pivotal stage in their careers through an ambitious public programme of exhibitions, commissions, live events and offsite projects. www.studiovoltaire.org

NEW WRITING SCOTLAND PROJECT 2008 SELECTORS: Deborah Jackson (Centre for Visual & Cultural Studies, Edinburgh College of Art) and Dr Sarah Smith (Historical & Critical Studies, Glasgow School of Art).

Lila De Magalhaes

The New Writing Scotland Project is based on an open policy of submissions with eligibility restricted to final year fine art/ art theory graduates from across Scotland, along with recent graduates (2004-06) based in Scotland. The New Writing Scotland Project has grown out of the Collective’s New Work Scotland Programme and was initiated in collaboration with Edinburgh College of Art’s Centre for Visual & Cultural Studies to promote creative writing about the visual arts coupled with targeted support to the exhibiting New Work Scotland Programme artists - providing them with their first artists text. Priority was given to new, less established writer who have never been published.

This year we have an exciting new format, Kelly Connor was selected to act as Writer-in-Residence for NWSP. Kelly has provided the three following commissioned text for each of the selected artists.

This is Kelly Connor’s first writing opportunity as she has recently completed her MFA at Gray’s School of Art, Aberdeen. Other recent projects include exhibiting in ‘Now I know my abc’s’ (2007) at SWG3, a residency award from the Scottish Sculpture Workshop, Lumsden and she is co-founder of a new art venue ‘corse space’ which is near Alford, Aberdeenshire.

WHAT IS THE GUEST ROOM? Collective is committed to supporting a rolling series of producers and collaborations, and to facilitate this we are launching The Guest Room.

To coincide with NWSP’s focus on Scottish emergent art and practices we’ve invited three artist run initiatives; standy, ten til ten and echo to take up residence for four weeks each. They will programme as an autonomous space with their own series of exhibitions and events.

Lila De Magalhaes ‘A Hunter’s Poem’ 2008, film still

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slow tide of baby pink icing crowned with shiny glace cherries oozes and slips from the toilet seat, sliding down the ceramic in search of the lino. The showerhead is next to fall, it breaks out in the same rash. This is contagion - a cherry epidemic. These events play out in video work still in progress from installation artist Lila De Magalhaes whose practice combines large sculptural forms with film that she usually screens on the domestic T.V. monitor. De Magalhaes’ video work collides opposing worlds; differing realities are unexpectedly forced to occupy the same space. The glistening party food instigates a chain of mental associations and visceral reactions that are then rudely halted, made gross when forced into an antinomic collision with thoughts of piss infected floors and human shit that intervene. This meeting of ceremonial food and the grotesque provides a collective connectivity located in bodily function, which disrupts the rules that drive and sustain the ‘private, egotistic economic man’.

De Magalhaes’ objects and actors clown, creating an anti-authoritarian world-warp that strips away comfortable social niceties, revealing these manners as agents of regulation. The artist’s carnivalesque redeploys inappropriate and outlawed bodily functions in a dirty protest aimed at the elite agents of spectacle that exclude them - hers a base reuniting of alienated worker and product.

The artist’s props are domestic, close at hand readymades. The backdrops, scene and situation all routine

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realms of daily life. The work is derived from a study of living conditions, Man in his habitat. A habitat of regulated space that the artist ‘cheats’, creating contexts that override the power of the space as a framework that prescribes acceptable codes of conduct, codes that are absently conformed with. The work’s overplay of stereotype, a ridiculous revelation of governing pomposity. In this world Darwinian evolution is reversed, things break down, none of us are fit, just surviving.

system of T.V. and furniture sculptures that eternally feed back. The sculptures, still recognizable reproduction furniture, collapse into crystalline forms, which repeat as the furniture gives birth to itself. A 1940s wardrobe re-presents as a wooden multi-faceted diamond, no hanging space, no function, with a vacant useless centre that manifests and maintains its lack, its site of rupture, a more than necessary gash of ambiguity in the usually fully realised system of signification.

This world is brought to us via De Magalhaes’ film ‘The Firm’ (2008), set in a generic meeting space of muted walls, laminated table, paper and pens. The character is anxious, female, top of middle management. Her faith is with THE firm - ‘it’s the firm’ - it’s failing but it won’t crash, right? She has become the firm, she wears the firm; her costumed upper body clad in cones of rolled up sheets of A4. The improvised behaviour and costume violate regulating etiquette, unmasking usually inhibited content; material that is excessive and unreflected by the powers that produce the space. An excess that has become disconnected from feeling, become dead to experience, an excess that is usually repressed into the unconscious but that is brought to us here by the lapsing ‘neurotic’ female of the scene who is in overdrive. She engages through an exaggerated coquettishness, playfully reviving the lost content through her act of self-mockery that disturbs the systemically maintained equilibrium.

De Magalhaes twilight video world is a place where objects look the same as they do in reality but here they perform differently. This work sits amidst an autopoietic

In conversation with De Magalhaes she tells me that she believes in the equality of failure, as a range of experience that we have all shared. She quotes Beckett, stating: ‘Nothing is funnier than unhappiness.’

The humour in her work derives from acute embarrassment at the return of abject content. Her work is an irruption that disturbs the given order. The dark laughter generated by the likes of De Magalhaes’ Rat, who appears in the video ‘Rat’ 2007, is not for the politically correct. This is festive folk laughter, banned in the Middle Ages. Contagious collective laughter.

The time of this laughter is social, instilling it with the power to overcome death produced by non-recognition and with the means to bring down ‘earthly kings, of the earthly upper classes, of all that oppresses and restricts’.

Kelly Connor

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NEW WORK SCOTLAND PROGRAMME

NEW WORK SCOTLAND PROGRAMME

Alex Dordoy

Alex Gross & Sandy Smith

Alex Gross & Sandy Smith ‘Waiting for recurrence’ Mixed media installation part of Blockbuster, 2008, at Crawl Space, Seattle

Alex Dordoy ‘Zenith’ 2008, oil on canvas (Courtesy of Grimm Fine Art)

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hen I met up with Alex Dordoy he was considering the construction of several sculptures derived from the idea of the cowboy’s upturned wagon and its lost wagon wheel. Dordoy’s canvas based painting is usually coupled with stylised sculptures that he presents as autonomous objects or activates as painting support.

These crashed wagon sculptures are gently reminiscent of J. G. Ballard’s novel ‘Crash’ (1973) that describes an erotic melding of flesh and technology through accident, a dystopian, (porno?) graphic realisation of the reciprocal interconnectivity that sees man and technology produce each other. The potential of the accident is co-developed with advancing technology - an idea proposed by Paul Virilio. He suggests that with technologically delivered mobility comes the crash, that man has ‘first been mobile, then motorized’ and that here the body is the victim lost in accident scene, reducing man ‘to a few gestures, like channel surfing’. Dordoy’s work loses the cataclysmic consummation found through impact of accident that is pursued in ‘Crash’.

Channel surfing is the route to the dated scene that provides Dordoy’s stimulous. He takes us on a day trip that meanders through the late 60’s early 70’s Sunday matinee, revisiting the figures given to us through mainstream representation. TV archetypes that are deployed as missionaries for dominant modes of production.

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Dordoy’s painting collages fragments found in past popular culture that he revives as ‘retro’. The figures presented on Dordoy’s canvas are mythologised Western hero’s, failed agents in the search for utopia.

The artist is involved in a nostalgic search for the myth of ‘heroic individualism’. He says that he aims to reinvest the signifiers of this myth ‘with emotive potential’. One such agent found in Dordoy’s work is Quiller, Cold War TV Spy, described by his creator as alienated, ‘professionally neurotic and half in love with Death’... alone. Similarly the lonesome cowboy has also been a major figure for Dordoy. These figures in Dordoy’s work act as self conscious reflexive anchorage in his ‘process of production of representations that have no truth content’ that he employs to activate ‘representation against itself’.

Dordoy’s paintings host these iconic images but refuse to provide an associated narrative for the viewer, instigating a search for meaning that reaches beyond the familiar TV and cinematic representations cited.

The work holds a tension between the figurative and the abstract. The figured is not pursued into lifelike perfection, a perfection that would remove the ciphers of mediation from our perception. Instead the construction of the work is readily apparent. This, and the raw mark making refuse promotion of any kind of invisible authorship.

The figures in Dordoy’s work are only half given. They disappear in places into the ground that is itself a partial surface of roughly worked strokes. The dribbles and preparatory structure are not there to add to the compositional quality of the work.

Instead they visibly reveal the artist’s presence, his subjective traces remain and it is this subjectivity that anchors the abstract qualities of the work and refuses linear singularity that would instigate a search for the work’s creator and the particulars of his intention.

The blatancy of Dordoy’s mark making avoids absolute mimeses. Here there is no invitation to find the essence of the work or of the artist; the work does not attempt the status of ‘thing in itself’. Instead the work aims to make explicit the production values of artist, institution and through reflection, the viewer that bring the work within experience, underlining the idea that what we observe is not the way things are, but a representation, of the way things are; one that is determined through methodology, that is usually imperceptible and institutionally driven.

Kelly Connor

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Two men, two pairs of prescription sunglasses and a white van set out on a road trip through the vastness of North America. Alex Gross and Sandy Smith met by chance four years ago in Chicago, meeting up again as Students at Glasgow School of Art. They spent a year planning this trip; their first collaboration together. Setting out from Utah, they journeyed through the Western states, exhibiting work generated during the trip both directly in the landscape and within Gallery locations along the way including Las Vegas, San Francisco and Salt Lake City, before finally coming home with an exhibition of new work to the Collective Gallery.

Their first en-route exhibition was ‘Block Buster’ at Crawl Space in Seattle. Here a billboard of blue vinyl acted as sky standing over an elevated curve of glitter dredged papier mache that twisted a yellow brick road, precariously supported by a network of undersized timber supports, through the square pillars that support the Gallery space. A small TV monitor in the corner ran footage of expectant tourists waiting for the eruption of Old Faithful; a geyser in Yellowstone National Park. This work reflected on the artifice of tourists’ reality that is underpinned by the tourist trade activation of the sublime landscape as prop and lure.

This installation extended their previous individual work.

Smith creates immersive environments. For instance, his ‘Mauritian Sunset’ (2006) divided the Embassy

Gallery in Edinburgh with a wall of computers, each screen emitting a different colour, bathing the room in a pixilated sunset. Gross constructs wooden, openframed anthropomorphised architectural forms, such as ‘Gas station’ (2006), which was built mid-air, supported by Birch trees, contrasting the industrialized building materials of the form with the fragility of the organic supports that ‘sway with the wind’.

organic exploration, the artists are engaged in a constant forward movement generated by the trip, which attempts to keep the terms of encounter fresh.

The discovery of space and place by the artists positioned as tourists creates a sense of unrealised potential and the artists become the stereotypical ‘journeymen - experiencers of life.’

The artists’ shared interest in the ideals of modernist sculpture, architecture and design spawned the idea of a road trip. This trip proposes the insignificance of the artists in the enormity of the landscape, as a metaphor for the alienating tenets of modernism. The artists draw a parallel between the disavowal of external reality found in the blank white space that provided the backdrop for Modernist Sculpture and the vast empty desert landscapes.

Their site specific, ‘roving making’ leaves a trail of impermanent works in the landscape that will fail to time. This creative process is regularly punctuated with a return to the aforementioned gallery spaces where the art object repeats the alienation experienced by artist and intervention in the landscape. The artists and their product in landscape and the art object in gallery ‘fail’, the stripped back nature of these domains heightens the intensity and distance from life of the object and human in the two spaces. The blank surroundings clear the way and make large the human and art objects gesture, the artists emphasise and play the inability of the gesture to impact the non relational surroundings. The ineffectual action of artist and object introduces the ‘notion of beautiful, humanising failure and fragility’ to these otherwise self sufficient environments.

Gross and Smith’s premise is to pull the landscape into the domain of high modernist values. Their presence in these environs delivers an ‘invasive tourism’, a term coined by the artists, that involves an artistic play at being tourist with a deliberate impersonation of sweatyarmpit-in-offensively-loud-surfers-tie-dye-t-shirt with ‘Englishman abroad’ rolled-up trousers. This ironic repetition challenges the self contained, impervious completeness shared by both modernist values and the desert landscape. The dual exhibition process is an

Kelly Connor

(ISSUE 5) OCT 2008/JAN 2009 NWSP 05

NEW WORK SCOTLAND PROGRAMME

NEW WORK SCOTLAND PROGRAMME

LIFE AFTER ART COLLEGE Information for new Scottish graduates: This guide offers useful websites.

It is not exhaustive but aims to include a cross section of opportunities and projects (mainly!) within Scotland.

Competitions NEW WORK SCOTLAND PROGRAMME 2009 Deadline: Tuesday 3 March 2009 Selectors: Kitty Anderson (Associate Curator, Frieze Projects), Sarah McCrory (Curator, Studio Voltaire), Paul Rooney (artist) and chaired by Kate Gray (Collective’s Director).

Applications can be downloaded from the website as of January 2009 www.collectivegallery.net BLOOMBERG NEW CONTEMPORARIES www.newcontemporaries.org.uk EAST www.eastinternational.net ROYAL SCOTTISH ACADEMY www.royalscottishacademy.org/pages/scholarships_awards.asp JERWOOD CHARITY www.jerwoodvisualarts.org To check for more competitions and artists residencies look at: THE ARTISTS INFORMATION COMPANY www.a-n.co.uk Or to sign up to the SCOTTISH ARTS COUNCIL email newsletter contact: newsandopportunities@ scottisharts.org.uk

ONE ZERO www.onezeroprojects.com

LIMOUSINE BULL www.limousinebull.org.uk

OUT OF THE BLUE www.outoftheblue.org.uk

PROJECT SLOGAN www.projectslogan.com

PRINT STUDIOS

MOBILE PICTURE SALON www.mobilepicturesalon.co.uk

STIRLING

EDINBURGH PRINTMAKERS www.edinburgh-printmakers.co.uk

STANDBY www.standbyprojects.wordpress.com

THE CHANGING ROOM www.stirling.gov.uk/changingroom

GLASGOW PRINT STUDIO www.gpsart.co.uk

TOTAL KUNST www.theforest.org.uk/totalkunst

ST. ANDREWS

PEACOCK VISUAL ARTS (Aberdeen) www.peacockvisualarts.com

GLASGOW

FIFE CONTEMPORARY ART AND CRAFT www.fcac.co.uk

DUNDEE CONTEMPORARY ARTS www.dca.org.uk

A.VERMIN www.avermin.org

SCOTTISH SCULPTURE WORKSHOP (Aberdeenshire) www.ssw.org.uk

PHOTOGRAPHY FACILITIES / COURSES STILLS (Edinburgh) www.stills.org STREET LEVEL PHOTOWORKS (Glasgow) www.streetlevelphotoworks.org

FILM AND VIDEO FACILITIES GLASGOW MEDIA CENTRE www.g-mac.co.uk FILM AND VIDEO ACCESS (Edinburgh) Tel 0131 220 0220 EDINBURGH FILM WORKSHOP Tel 0131 656 9123 www.efwt.demon.co.uk

ARTISTS RUN INITIATIVES / WITH STUDIOS / RESIDENCIES / ORGANISATIONS SCULPTURE WORKSHOPS EXHIBITION OPPORTUNITIES W.A.S.P.S STUDIOS (Edinburgh, Glasgow, Dundee, Aberdeen): www.waspsstudios.org.uk COVE PARK (Argyll and Bute) www.covepark.org EDINBURGH SCULPTURE WORKSHOP www.edinburghsculpture.org GLASGOW SCULPTURE STUDIOS www.glasgowsculpturestudios.org

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EDINBURGH ECHO www.myspace.com/echoedinburgh EMBASSY GALLERY www.embassygallery.co.uk FOOLS IN PRINT www.foolsinprint.com

ARTPHARM www.artpharm.co.uk THE CHATEAU www.chateaugateau.co.uk INTERMEDIA @ CCA www.cca-glasgow.com GLASGOW INDEPENDENT STUDIOS AND PROJECT ROOM www.gis.uk.com/index.php LOWSALT www.lowsalt.org.uk MARKET GALLERY www.marketgallery.org.uk SOUTHSIDE STUDIOS / FRIDGE GALLERY www.southsidestudios.org STUDIO WAREHOUSE / SWG 3 www.swg3.tv TEN TIL TEN www.tentilten.co.uk TRANSMISSION GALLERY www.transmissiongallery.org WASHINGTON GARCIA www.washingtongarciagallery.com

Tessa Lynch, performance workshop from New Work Scotland Programme 2007

PROFESSIONAL PRACTICE THE CULTURAL ENTERPRISE OFFICE www.culturalenterpriseoffice.co.uk ARTIST PROFESSIONAL DEVELOPMENT NETWORK www.apd-network.info/index.html

FUNDING / GRANTS

Lila De Magalhaes ‘A Hunter’s Poem’ 2008, film still

Collective Gallery exterior during a preview

EDINBURGH, GLASGOW, ABERDEEN, DUNDEE AND HIGHLAND AND ISLAND CITY COUNCIL. The city councils above all have artists award schemes for individuals for more information contact your local council.

YOUNG SCOT ACTION FUND www.youngscot.org/actionfund SCOTTISH ARTS COUNCIL (Artist Film & Video/ Professional Development) www.scottisharts.org.uk ARTS TRUST OF SCOTLAND www.artstrustscotland.org.uk/info.htm DEWAR ARTS AWARDS www.dewarawards.org

DUNDEE

BAD BAD BOYS CLUB www.badbadboysclub.com GANGHUT www.ganghut.co.uk www.ssw.org.uk/ganghut/profile

Alex Gross & Sandy Smith ‘Untitled’ 2008, research trip documentation

GENERATOR www.generatorprojects.co.uk

ABERDEEN FOYER GALLERY www.foyerrestaurant.com/gallery.html

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NEW WORK SCOTLAND PROGRAMME

DIARY OF EVENTS We are delighted to announce that this year’s New Work Scotland Programme will feature an exciting and varied mix of; solo exhibitions, artist run projects, performances, screenings as well as ongoing discussions and professional practice events aimed at emergent artists.

All Collective events are FREE. Fri 26 Sept, 7-9pm: Exhibition Preview

Lila De Magalhaes (Main Galleries) StandBy (The Guest Room)

Standby was founded in 2006 by Edinburgh based artists Amy Thomas and Rachel Dornan. Standby’s all encompassing ethos fundamentally aims to help emerging artists and to broaden our perceptions of how art is viewed, whether that be through organising exhibitions, talks and workshops or launching publications. Often working out with the traditional gallery context utilising unusual, unused and borrowed spaces, has allowed Standby to develop an organic, site and time specific programme of events.

For The Guest Room, Standby will provide a month long programme of events developed specifically to help young and emerging local artists. For further information: www.standbyprojects.wordpress.com Sat 27 Sept - Sat 25 Oct: Exhibition

Lila De Magalhaes (Main Galleries) StandBy (The Guest Room)

Gallery Open Tue-Sat, 12-5pm

Thurs 30 Oct, 3-5pm: Panel Discussion

Social Organisations Of Countercultures

A panel discussion exploring counter-histories of selforganisation in Scotland and the legacies of such activities in shaping Scottish contemporary art practice.

The panel will be chaired by Deborah Jackson, lecturer at Edinburgh College of Art. Thurs 30 Oct, 6-9pm: Screening & Performance

Fools In Print

Fools In Print will be taking over the Collective for an evening of video and performance in conjunction with the launch of Issue 2. Issue 2: AKA Tomfoolery, featuring

6-8 artists, will be presented as 500 DVDs exploring how artists use a sense of play and pleasure in their work.

A booklet of written works will accompany the DVD Fools In Print has also invited special guest One Zero (Benjamin Fallon) to present the Caravan of Horrors in the Mobile Picture Salon (Ewan Sinclair and Joanne Smithers); on the eve of Halloween, the caravan will be transformed into a set for a low/no-budget horror film replete with zombies and spray cobwebs, screening artist moving image works amongst ‘Backyard Epics’.

Fool’s In Print is an artist-run press based in Scotland, edited by Lucy Keany. The press was established in 2008 to show visual and written works by an international cast of artists and writers, working off the premise that each issue will shift both in brief and format.

For further information: www.foolsinprint.com / www. onezeroprojects.com / www.mobilepicturesalon.co.uk Fri 7 Nov, 7-9pm: Exhibition Preview

ALEX DORDOY (Main Galleries) TEN TIL TEN (The Guest Room)

ten til ten is a project based in Glasgow and run by Lindsey Hanlon and Rocca Gutteridge. It aims to offer a thoughtful, considered and intelligent selection of curated exhibitions and events. Artists are chosen for their aesthetic and philosophical ideas and their capacity for exploring themes and concepts which engage with post modernism and a rethinking of conceptual art, whilst above all focusing on a poetic dialogue between the artist, work and audience.

For further information: www.tentilten.co.uk Sat 8 Nov - Sat 6 Dec: Exhibition

ALEX DORDOY (Main Galleries) TEN TIL TEN (The Guest Room)

Gallery Open Tue-Sat, 12-5pm Sun 16 Nov, 1-4.30pm

Starting Out:

Working as a Freelance Artist This workshop is delivered by the Cultural Enterprise Office and is aimed at recent visual arts graduates and emerging artists. The session introduces the basics of working as a professional artist. The session includes practical exercises and covers; defining your work, planning, legal frameworks such as self employment, and money matters like tax and national insurance.

Please book your place by contacting the Cultural Enterprise Office on 0844 544 9990 or email events@ culturalenterpriseoffice.co.uk.

Thurs 11 Dec, 6-9pm:

Artists DIY Soapbox:

Talk Event Do you know what’s going on at the grassroots in

Collective are committed to supporting new visual art through a programme of exhibitions and commissions.

22-28 Cockburn Street Edinburgh EH1 1NY Open: Tuesday – Saturday, 12 – 5pm tel: ++44 (0)131 220 1260 mail@collectivegallery.net www.collectivegallery.net

Staff Director: Gallery Manager: Programme Manager: Marketing/ Audience Development:

Kate Gray Kate Smith Kirsten Body Jill Brown

© Collective Gallery, the artists and the authors, 2008. All information provided was accurate at time of printing, please check our website for updates.

Scotland? Come along, find out and be inspired by some of Scotland’s newest and most exciting ventures. Also please get in touch with Kirsten Body at the gallery on 0131 220 1260 or email kirstenbody@collectivegallery. net - if you’ve got a project you’d like to promote for 10 minutes on our soapbox.

Fri 19 Dec, 7-9pm: Christmas Party & Exhibition Preview

Alex Gross & Sandy Smith

(Main Galleries) echo (The Guest Room) echo uses in-between spaces, extra places and un-seen locations to present a smorgasbord of contemporary art. echo encourages collaborations and new initiatives for emerging artists, providing a stage for experimentation and opportunities for a spectrum of art practices. echo is an artist run initiative presenting a series of events, dedicated to diversifying the role of contemporary art in Edinburgh and beyond. echo was established in October 2007 by artists Tonya McMullan and Paulina Sandberg. For further information: www.myspace.com/echoedinburgh. Mince pies, mulled cider, live music and much, much more.

Sat 20 Dec - Sat 31 Jan 2009: Exhibition Gallery Closed for Christmas and New Year from 21 Dec – 5 Jan.

Alex Gross & Sandy Smith

(Main Galleries) echo (The Guest Room)

Tues 27 – Thurs 29 Jan 2009, 10am-12noon: Advice Session

Collective Advice Bureau

We’re offering you a 30 minute slot to get advice and feedback from our staff and some invited guests on whatever projects you maybe planning. We would like to tailor the sessions to your needs to cover different topics, for example performative work, collaborative projects and residencies or anything else you’d like to talk about.

Please note this is more a brainstorming session than portfolio review and we are not soliciting applications for projects, but offering input, mentoring and expertise.

It’s free but please get in touch with Kirsten on 0131 220 1260 or email kirstenbody@collectivegallery.net to discuss what your interested in and we’ll try to match find the right guests for your session with us.

If you want to keep up to date with all the forthcoming events and/or receive information of how to apply for next years NWSP please sign up for e-invites and monthly e-newsletters via our website:

www.collectivegallery.net

Funded by:

In association with: