The Art World's Response to Public Engagement
Gi: The Glasgow International Festival of Contemporary Visual Arts
Ahead of presenting the Turner Prize to Damien Hirst in 1995, musician Brian Eno made a speech in which he berated the art world for its failure to address the big issues of the day. Invoking geneticist Richard Dawkins as an example, he said that science was doing the job art should: firing the public imagination by starting important conversations. That these conversations often became full-on domestic rows was even better in Eno's eyes.
As the days count down to the launch of Gi, the third Glasgow International Festival of Contemporary Art, it's worth recalling Eno's complaint. For those intending to view Gi's manifold attractions - perhaps Jim Lambie's massive new show at the Gallery of Modern Art (GoMA); Catherine Yass's multi-screen installation High Wire at the CCA; or The Other Church, Wilhelm Sasnal's sensational film about murdered Polish student Angelina Kluk - it might even make a useful yardstick against which to measure it all.
Fine by me, says festival director Francis McKee. As far as he's concerned, the work which will be presented across the city's art galleries over the 18 days of Gi is highly relevant both to Glasgow and the wider world beyond. It contains ideas and it will start fires. Moreover, art made by Glaswegian or Glasgow-based artists is necessarily infused with the spirit of the city and the invited guests such as Yass and Sasnal have been asked to make work which engages with some aspect of the place. Using art as a mirror to view your country and your culture is "a very basic curatorial passion", McKee adds. "It's very exciting. To be able to say, Here are artists in the city, making work about the city and for the city, making work about you and about me' is an amazing thing."
Art as Social Commentary
Catherine Yass's High Wire is a case in point. Filmed in July 2007 at the iconic Red Road flats, it shows an attempt by French tightrope-walker Didier Pasquette to walk between the buildings. Yass, who was nominated for the Turner Prize in 2002, has long been obsessed with notions of height, space, scale and perspective. But as well as seeing the dramatic possibilities of the film, she was alive to the neatness of the metaphor: Pasquette becomes a sky walker symbolising the utopian ideal the Red Road flats were supposed to bring about.
Yass used five cameras, one perched on Pasquette's head. The Frenchman, who had previously set a world record when he walked across the river Thames, was to make the attempt on Saturday, July 21, but on the day, and 90 metres up, weather conditions were too bad. So he tried again on the Sunday, despite the vicious crosswind. Thirty metres out, however, he realised he was in danger of falling. He had no safety net. Unable to turn round, he had to reverse the way he came. The vagaries of the Scottish summer weather meant the 2000 assembled onlookers were disappointed. He didn't cross and he didn't fall. But Pasquette's failure gave Yass's film an even sharper focus. Like the utopian dream itself, the sky walk had failed. The metaphor became even neater.
For Francis McKee, Yass's piece is an eloquent comment on the huge social, economic, and architectural changes Glasgow has undergone over the last two decades - changes that have resulted in a great deal of art being created in response. So while a modern history of Glasgow would feature the end of the shipyards, the Bruce Report, the experiments with modernist architecture, gang violence and sectarianism, a parallel narrative exists in the work of Ken Currie, Peter Howson, Roddy Buchanan, Toby Paterson, and Martin Boyce. In part, those changes explain why Glasgow has produced such an extraordinary crop of artists over the past two decades and why Glasgow School of Art graduates have dominated the Turner Prize and Beck's Futures shortlists.
In that sense, McKee likens Glasgow's journey to the one Beijing is experiencing today. "I visited Beijing in 1992 and everyone was still wearing blue boiler suits and cycling everywhere. Now the city has been completely transformed and a way of life has vanished, just as in Glasgow heavy industry vanished almost overnight. It was quite a traumatic event but I think that's good for art. It then goes into that gap and thinks Where can we go next? What's happening here?'"
Glasgow International Festival of Contemporary Art 2023
Hotels for Art Enthusiasts
As the city of Glasgow gears up for the 2023 edition of the Glasgow International Festival of Contemporary Art, visitors from near and far are starting to plan their itineraries. Along with a variety of exciting art exhibitions and installations, attendees will be seeking comfortable accommodation to enhance their experience. Luckily, Glasgow offers a range of hotels to suit all budgets and preferences.
1. Luxury Stay: The Blythswood Hotel
For those looking for a luxurious stay, The Blythswood Hotel is a top choice. Located in the heart of the city, this stylish five-star hotel offers spacious rooms, award-winning dining options, and a serene spa where guests can unwind after a day of exploring the art festival. With its central location, The Blythswood Hotel provides easy access to the festival venues and other attractions in Glasgow.
2. Boutique Charm: Hotel du Vin
If boutique charm is more your style, Hotel du Vin is the perfect choice. Situated within a converted iconic building, this four-star hotel boasts individually designed rooms that combine modern amenities with vintage touches. The hotel's cozy bistro and vibrant bar provide the perfect atmosphere for mingling with fellow art enthusiasts and discussing the day's exhibitions.
3. Comfort and Convenience: Radisson Red
For those seeking comfort and convenience, Radisson Red offers a contemporary and vibrant hotel experience. Located in the heart of the city's creative quarter, this stylish hotel features modern rooms with cutting-edge technology. The hotel also offers a rooftop bar, perfect for enjoying panoramic views of Glasgow while sipping on a refreshing cocktail.
4. Budget-Friendly Option: CitizenM Hotel
Travelers on a budget will find the perfect option in CitizenM Hotel. This trendy hotel offers stylish and compact rooms equipped with all the essentials for a comfortable stay. The hotel's modern communal spaces, including a 24-hour grab-and-go food and beverage area, create a social atmosphere where guests can connect with other festival attendees.
With a range of hotel options to choose from, visitors to the Glasgow International Festival of Contemporary Art 2023 can ensure they have a comfortable and relaxing stay while immersing themselves in the vibrant art scene of the city.