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On the waves of the air, there is dancing out there

Carrie Skinner

22nd April 2018 -
22nd April 2018

Sunday 22nd April, 6 – 8pm

Free, not ticketed

For those attending, arrive from 6pm to commence at 6.30pm

*Please be aware there is no interval, no access to any toilets on site during the performance and that there is no seating for this performance. If you have any accessibility requirements or would like to discuss this further please contact*

For those watching online, visit player below.
Livestream will be available Sunday 22nd April, 6 – 8pm

on the waves of the air, there is dancing out there will begin suddenly like the first act in a chain reaction, and then after all this action, they just drift back to the street and everything seems, simpler. I don’t know if you get my meaning here, but it should feel like…it should feel something like, a movie.

on the waves of the air, there is dancing out there will be transmitted to audiences simultaneously online and gathered at The Telfer Gallery.

Developed and produced by Carrie Skinner, Richy Carey, Lindsay Douglas, Michael Ebert-Hanke, Andy Edwards, Alexander Storey Gordon, Rachel Smith and Jen Sykes. With Romany Dear, Sinead Hargan, Ross Mann, Paul Ross, Dave Simons.

Thanks to Marc Cairns, Declan Dineen, Patricia Fleming, Ashanti Harris, Kinning Park Complex, André Lubitz, Natalia Palombo, Jana Robert, The CCA, The Glasgow School of Art Students’ Association, George Thompson and Jen White.

Commissioned by The Telfer Gallery and Glasgow International, part of the 2018 Supported Programme and supported by The Fenton Trust.

on the waves of the air, there is dancing out there continues in a form until Monday 7 May at The Telfer Gallery (Mon-Sun, 24 hours).

Image credit: Michael Ebert-Hanke and Carrie Skinner

Suggestions and Encounters: Physical or Otherwise

Leontios Toumpouris

9th Feb 2018 -
4th Mar 2018

Following on from his 2017 residency at The Telfer Gallery, Leontios Toumpouris presents his first UK solo exhibition under the title ‘Suggestions and Encounters: Physical or Otherwise’.

Preview: Friday 9th February, 6-8pm

Open: Thursday – Friday 4-8pm, Saturday-Sunday 12-4pm, or by appointment

The show will be accompanied by a publication featuring commissioned and re-edited essays spanning academic, theoretical and experimental responses to notions associated with Toumpouris’ practice.

Publication Launch: CCA Clubroom, Sunday 18th February, 4pm

Supported by:
Many Studios
East End First Saturdays

Funded by:
Cultural Services | Ministry of Education and Culture, Cyprus
Hope Scott Trust

Polyester Breeze

Byzantia Harlow


Polyester Breeze

Byzantia Harlow

Tiffany: Jake, I really wanna talk to you about what happened last night.

Jake: What, now?

Tiffany: Yes! Jake, I’m sorry, O.K. I… I’ve.. I’ve been trying to talk to you about it all day. I even tried to talk to you about it this morning. Listen, when I started this whole thing, I thought that we understood that it wasn’t, you know, you know, more than what we had decided.

Jake: I know I tried to make it work for a little while but then I just realised, just how special you are. I feel like… I don’t know… I feel different when I’m with you and every time I try to think about why that is… I … We’ve got to keep moving…

Tiffany: Jake! Wait… wait. What were you going to say?

Jake: I think I was gonna say… I let things get outta hand and I fell in love with you, and I know that that’s stupid, and I know that that’s not really what you want.

Tiffany: (sigh) I haven’t slept with anyone else, O.K Jake. I don’t know why I wanted you to think that, I think I just enjoyed… you being jealous. I really do care about you O.K. and I think that I may be falling in love with you. I don’t wanna be with anyone else. I wouldn’t mind making it official.

Jake: Really?

Tiffany: Yes.

Jake: You really feel like that? No Lie?

Tiffany: I really feel like that

(Tiffany and Jake kiss)

Tiffany: Wait… where’s Dana?

Dana: Over here

Jake: Wait… where’d you come from?

Dana: Here

Tiffany: I didn’t see you there?

Dana: (smirking) Hmhm

Jake: Oh shit. (gets machete out and cuts the air as alien disappears and reappears) Mrgh! Mrgh! Urgh! COME ON MOTHERFUCKER!!! Urgh, urgh. COME ONNNNN!!! COME ON! Argh!

(cuts off Tiffany’s head by accident)


(alien rips off his arm)


Polyester Breeze, Byzantia Harlow’s first solo show and first time exhibiting in Glasgow, takes inspiration from DVD only ‘mockbuster’ Aliens versus Avatars, found on a market stall for one pound. Nominated on Youtube for ‘Best fight scene ever’ public reactions included:

“Ok, seriously, is this a school project? The Amazing Bulk was more impressive than this…”

“I thought this was fake but it’s actually a real full length movie production”

‘This is a Z-movie Not a C’

‘These actors make pornstars look good’

Polyester Breeze, a multi media installation of sculptures and printed material will include cast and modeled replicas of street rubbish resembling molten, oozing outer-space junk. Alongside these elements, a ‘knock off’ film made by Harlow will be presented on multiple TV screens. The film work stars traders from London’s Bethnal Green Road Market alongside the artist and members of the public and features soundtrack and dialogue ripped from Aliens versus Avatars. A small number of limited editions of the artists’ film will be available to purchase for one pound at the Barras Market. These satellite editions will be circulated by traders at the Barras Market labeled as Alien versus Avatars DVDs – a ‘knock off’ of a ‘knock off’ blending seamlessly into the daily market action.

Polyester Breeze continues Harlow’s long-term interest in deconstructing and reconfiguring the infrastructures of street markets, exploring the thin edge between the desired and the discarded. Harlow’s work focuses on aspects of the ‘veneer’, analysis of social situations and subversion of expected interactions. Pivoting on points of value and authenticity Polyester Breeze investigates blurred lines of commodity, branding, the unique object, the mass produced and cultural identity

Preview: Saturday 10th June, 1-4pm
Open: 11th June – 2nd July
Saturday & Sunday, 12-4pm

Byzantia Harlow, b. 1986, London.

Harlow completed an MA in Painting from the Royal College of Art in 2015.

There are three strands to her work; material & sculptural concerns, performative and collaborative elements (usually occurring in or gleaned from public spaces) and written components. Participation with local audience is key to the work as Harlow has an interest in artworks as a prompt for social interaction, artworks that form relationships rather than solely operating as objects.

She recently completed a residency with solo presentation, Grey Market, at Chisenhale Art Place, London receiving Arts Council England funding for the project through Grants For The Arts. In April 2016 she completed a Residency with solo presentation, Spirit Line, at The Luminary, St. Louis, receiving Arts Council England funding through the Artists International Development Fund. Past group exhibitions include: Bloomberg New Contemporaries at Bluecoat, Liverpool Biennale and the ICA London; There will be nothing left to suck, curated by the Dow Collective at Bank Space Gallery, London; ON & OFF, Proyectos Medellin Gallery, Mexico City; Not Every Thread Ties Down, Your Split Ends Are Showing, curated by Leo Cohen & Lucy Rollins at DKUK, London; Which One Of These Is The Non­Smoking Lifeboat, Pangaea Sculptors’ Centre, London and That I Am Now, And So It Is, Chalton Gallery, London.

Harlow has organised and curated collaborative projects Rushgrove House Project and Franchise. She has been nominated for several prizes & commissions including: Fig­2 at the ICA: Open Call for Students (shortlisted), Deptford X 2016 (nominated by Fatos Ustek), The Red Mansion Art Prize (nominee), Deutsche Bank Award for Creative Enterprise commission (finalist). Harlow has given presentations on her work at Tate Britain, London, Plymouth Arts Centre, Plymouth and The Luminary, St Louis.

Harlow was awarded Arts Council England funding in 2017 through the Grants For The Arts for a period of research and development which included a residency to Rupert, Lithuania and will culminate in a solo exhibition, No one will drink the water of your well if you yourself do not drink it, at Chalton Gallery, London in September 2017.

DSC_0846 DSC_0782 DSC_0865 IMG_3477 Untitled-1 Untitled

Images: Byzantia Harlow

Landscapes, People, Buildings

Ewan Murray

8th April 2017 -
30th April 2017

Landscapes, People, Buildings
Ewan Murray

Landscapes, People, Buildings is an exhibition of new work by Ewan Murray that examines the material qualities and illusionistic potential of painting. Ewan thinks of painting as a way to structure and find meaning in the things that we see. An explorative studio practice and engagement with the history of the medium are central to the development of his work. His paintings are often small in scale, and pay close attention to formal editing processes such as cutting, erasure and collage. The works in the exhibition consider the construction of traditional easel painting supports and set up dialogues between abstract marks, depictions of figures, architecture, and pictorial space.

Friday 7 April, 6 – 9pm

Exhibition open:
Saturday 8 April – Sunday 30 April
Fri – Sun, 12-5pm or by appointment

Ewan Murray is a Glasgow based-painter, born in Falkirk in 1991 and now living and working in Glasgow. Following his studies at The Glasgow School of Art between 2009 and 2013 he has exhibited across the UK with recent projects taking place at Hospitalfield, Arbroath and The Walker Art Gallery, Liverpool.

This exhibition forms the first in our 2017-18 programme. The Telfer Gallery would like to thank Perpetuant Designs in acting as our new graphic design partner, and providing us with a fresh visual identity as we continue and expand on our mission within the new programme.

The Telfer Gallery is supported by Many Studios CIC

Circuits of Bad Conscience

Kimberley O'Neill

10th Feb 2017 -
4th Mar 2017

The Telfer Gallery presents

Kimberley O’Neill – Circuits of Bad Conscience

Kimberley O’Neill is interested in the dynamics of power, energy and gender within media networks. Considering the ways in which mainstream media perpetuates dominant ideologies, her work speculates on how female energy is stymied and exploited by these circuits. Over the course of her residency at The Telfer Gallery, O’Neill has examined her own complicitous and ambivalent relationship to media, questioning how ideological power is engrained on the body as media-made-flesh. For the exhibition O’Neill will present a new video work built around a science fiction scenario where characters are formed from the cross-fertilisation of personal experiences, historical figures and commercial materials.

Friday 10 February, 6 – 9pm

Exhibition Open:
Saturday 11 Feb – Sunday 5 March
Friday – Sunday, 12-5pm
or by appointment

Kimberley O’Neill is a Glasgow based artist, who graduated from Glasgow School of Art, 2005 and gained an MA from the Royal College of Art, 2007. Recent activity includes: Line of Sight, group exhibition, Reid Gallery, Glasgow (2016); Conatus TV, screening & event, part of Edinburgh Art Festival, Edinburgh Sculpture Workshop (2016); Nos Algaes, Tramway, Glasgow (2014) & Amygdala N.O.S, South London Gallery (2015) collaborative performances with Cara Tolmie and France Lise McGurn. O’Neill is short-listed for the Margaret Tait Award 2017.


Circuits of Bad Conscience

Thank you to Glasgow Life and MANY Studios CIC for supporting Circuits of Bad Conscience.

Telfer (1 of 7)

Telfer (2 of 7)

Telfer (3 of 7)

Telfer (6 of 7)

Images: John McDougall

No Place Like Home

Oliver Hickmet & Elaine Tam

12th Nov 2016 -
4th Dec 2016

Friday 11th November, 6-9pm

12th November – 4th December
Thursday – Sunday, 12pm – 5pm

‘No Place Like Home’ is a collaborative exhibition featuring film by Oliver Hickmet and text by Elaine Tam. Exploring destination concepts through their packaging or presentation, the exhibition investigates how these spaces are cultivated and their layers of history reformed in a time of instant leisure. Through looking at how lifestyle models are engineered into sites, and the ways in which locations are scripted, ‘No Place Like Home’ questions how we relate to our environments through our constructed gaze.

Oliver Hickmet lives and works in London. His work deals with the construction of mediated experience by exploring the invented spaces we move through in our everyday lives, and the study of the fantasies created around them. His practice aims to decode the condition of places within their networks, exploring how they are mediated via technology and in what way such apparatuses are reconfiguring our own orientation and lived experience. Recent exhibitions include Disappearing is a Trick, Novo Mesto, Slovenia (2016), Hummm, Hilbert Raum, Berlin (2016) and For You! I Would Do Anything, Tritongatan5, Sweden (2015).

Elaine Tam is an independent curator from Hong Kong, now based in London. She uses curation as a space for conceptual and aesthetic experimentation and enquiry. Her current research interests revolve around the status of the art object through a close reading of OOO (Object Oriented Ontology), and its discursive relevance to the dematerialization of art since the advent of digital technologies. She completed her studies at Goldsmiths University in 2013, and now works in Curatorial at White Cube.

Image credits: Oliver Hickmet

Memories Are Made Of This

Luca George

24th Sept 2016 -
16th Oct 2016

Saturday 24 September – Sunday 16 October, Thursday – Sunday, 12-5pm

Friday 23 September, 6-9pm
Drinks kindly provided by Caoruun Gin, with thanks to the team at The Drink Cabinet. 


The Telfer Gallery presents Memories Are Made Of This, a solo exhibition of new work by Luca George.

Looking back on his past as a breakdancer George revisits his fear of being happy slapped and continues his search for a cultural position in the world.

Throughout his teens George was part of the The Original Prankster Crew, a successful breakdance group, more popularly known as The OPC. Together with The OPC George took part in breakdance battles across the UK and also travelled to the USA where they performed in Boston, Rhode Island and New York.

After a former crew member sent him a Dropbox folder containing a profusion of videos and photos from the crew’s heyday, George has brought together a multi-media installation that questions the effect breakdancing has had on his life and on all of those involved.

Memories Are Made Of This continues George’s long standing attempt to parody his very existence. Intertwining memories with hopes and dreams George spoofs the fetishisation of subculture, nostalgia and class through drawing, sculpture, performance and video.

Born in Brighton, Luca George graduated from Sculpture and Environmental Art at The Glasgow School of Art in 2013. He now lives in London and plays semi-professional football for Luton Town FC. Selected exhibitions, performances and projects include Gold Panning at The Market Gallery, Glasgow, 2015, Dante’s Diabolo, Jupiter Woods, London, 2015, The Beginning of Everything, Palazzo Fontana, Venice, 2015 and I Am The Wheel, CCA, Glasgow, 2015.

Image credits: Luca George


The Telfer Gallery: Open Call 2017


The Telfer Gallery: Open Call 2017

Deadline: Monday 8th Aug, 2016

Disciplines: Creatives of all disciplines across Fine Art and Design are eligible to apply.

Location: Glasgow, Scotland, United Kingdom

Deadline: Monday 8th  Aug 2016

Duration: 7 weeks (Incl. 2 weeks install, 5 weeks exhibition run and deinstall)

Eligibility: Artists based in Scotland, UK and internationally more than 2 years out of education (Undergraduate and Postgraduate) who have previously not had a significant solo show in Glasgow. Collaborative duos are eligible however group (3+ persons) shows are ineligible.

Support: The Telfer Gallery is an unfunded volunteer run space. As such, we provide support to artists throughout the development of their exhibition including install, critical dialogue and sourcing funding. We aim to support our space and programme through funding bids and will always aid any exhibiting artist with this process.

Programme Description: The Telfer Gallery is currently accepting proposals for exhibitions of new work and unrealised projects for its 2017 programme.

The programme selected by the committee will take place between May and November 2017.

Please familiarise yourself with the The Telfer Gallery’s previous programming.

Deadline: The deadline for your submission to the open call is Monday 8th August 2016. The committee will consider submissions between August and September and all applicants will be informed of a decision by October 2016.

For information on how to submit please visit

Application: Please submit one PDF containing; 500 word proposal; 7-10 images of previous work; artists’ CV (If collaborative duo send separate CVs) – please title the document with your full name

Please submit to: with your full name and Open Call in subject line

The Telfer Gallery: Graduate Open Call 2017


The Telfer Gallery: Graduate Open Call 2017

Deadline: Monday 8th Aug, 2016

Disciplines: ​Creatives of all disciplines across Fine Art and Design are eligible to apply.

Location: ​Glasgow, Scotland, United Kingdom

Deadline: ​Monday 8th Aug 2016

Duration:​ 7 weeks (Incl. 2 weeks install, 5 weeks exhibition run and deinstall)

Eligibility: ​Graduates from both Masters and Undergraduate Programmes, who completed their studies with the last 2 years, are eligible to apply. Group shows also accepted. Selected artists will not have had a supported solo show in Scotland previously.

Support: ​The Telfer Gallery is an unfunded volunteer run space. As such, we provide support to artists throughout the development of their exhibition including install, critical dialogue and sourcing funding. We aim to support our space and programme through funding bids and will always aid any exhibiting artist with this process.

Programme Description: The Telfer Gallery is currently accepting proposals for exhibitions of new work and unrealised projects for its 2017 programme. The programme selected by the committee will take place between May and November 2017.

Please familiarise yourself with the The Telfer Gallery’s previous programming.

Deadline: ​The deadline for your submission to the open call is Monday 8th August 2016. The committee will consider submissions between August and September and all applicants will be informed of a decision by October 2016.

Application: ​Please submit one PDF containing; 500 word proposal; 7­10 images of previous work; artists’ CV (If group shows send separate CVs)

Please submit to:​ submissions@the-­

Apart Together

Hamish Chapman, Joanne Dawson, Hannah Reynolds

11th June 2016 -
10th July 2016

Saturday 11 June – Sunday 10 July
Open Thu/Fri 13.00–17.00, Sat/Sun 11.00–17.00


grad show RGB

We are excited to announce our exhibition ‘Apart Together’, a collaborative exhibition by Hamish Chapman, Joanne Dawson and Hannah Reynolds. This show follows on a year from the group’s graduation from The Glasgow School of Art in 2015.

‘Apart Together’ plays host to new works made by the group collaboratively, there is no single authorship. They have drawn upon typical attributes of film, Glasgow’s cinematic representation and archetypal picture-house interiors, to create an installation embedded in the city’s history. It references Glasgow’s history as a ‘cinema city’ and the notion of cinema as a destination in its own right. Third Places, Oldenburg argues, are essential for living a healthy life. These spaces create balance between the generally isolated home life (first) and the workplace (second). They are a neutral public space for a community to connect and establish bonds. Domestic furnishings one would associate with the home (the first place) curtains and carpets for example, are exaggerated and lavishly embellished in the picture-house interior. This familiarity brings about a sense of comfort. The surroundings put an audience at ease, in pursuit of collective escapism.

Whilst the need for a means of escape was a far greater in the Glasgow of the 1930s and 40s, the city’s insatiable appetite for cinema still exists today. It could, of course, be said that the term ‘third place’ is more likely to be associated with a ‘virtual’ space in today’s society and so this installation documents that shift in attitude to film-viewing.

Image credit: Joanne Dawson & Hamish Chapman

The Horizontal Window

Sam Smith

8th April 2016 -
8th May 2016

We are excited to announce our exhibition ‘The Horizontal Window’, comprising of new work by London based artist Sam Smith, as part of Glasgow International’s Supported Programme.

Working across video, sculpture, performance and installation, Smith’s work draws heavily upon the language of cinema; he uses techniques such as framing, montage and composition to explore the mediation of form through the camera lens. Within both his videos and performance, Smith makes subtle software interventions drawing the viewer’s attention to a shift in cinematic vocabulary, adapting historic modes of moving image to incorporate a move away from an anthropocentric vision.

‘The Horizontal Window’ is conceptualised as a multi-faceted project that explores the window as a framing device in Modernist architecture and how it can be related to the language of the cinematic frame. For his project at The Telfer Gallery, Sam Smith will present a large-scale architectural installation that will act as a site for a new video work and performance.

Top image:
The Horizontal Window (2016) video still

Courtesy the artist and 3+1 Arte Contemporânea, Lisbon, Portugal

Saturday 9 April 2016    6–9pm

Scheduled performances:
Saturday 9 April 2016    7.30pm
Saturday 23 April 2016    4.30pm

The Horizontal Window

Sam Smith (b.1980 in Australia) lives and works in London, England.

Recent solo projects include ‘Slow Form’, Centro de Artes Visuais, Coimbra, Portugal; ‘Slow Fragmentation’, Screen Space, Melbourne; ‘NOTES’, Australian Centre for Moving Image, Melbourne (all 2015); ‘The Performative Minute’, KW Institute for Contemporary Art, Berlin; ‘Notes on the Apparatus’, selected by Vdrome for the Artists’ Film Biennial, Institute of Contemporary Arts, London; ‘Frames of Reference’, The Royal Standard as part of their Liverpool Biennial 2014 programme; and ‘Form Variations’, Künstlerhaus Bethanien, Berlin (all 2014).

He participated in ‘Your Time Is Not My Time’, De Appel Arts Centre, Amsterdam; ‘TOMROM’, Sandefjord Kunstforening and Larvik Kunstforening, Norway; ‘this place is really nowhere’ at Jupiter Woods, London; Framework 6: parallelisms, insitu, Berlin; and ‘How far is here’, MAGO, Norway (all 2015). He was selected for ‘FOKUS 2015’, Nikolaj Kunsthal, Copenhagen (2015) and ‘Les Rencontres Internationales Paris/Berlin/Madrid’ (2014-2015). From 2013 to 2014 he was part of the International Studio Programme at Künstlerhaus Bethanien, Berlin.

Gallery Opening Hours:
8–25 April (during Glasgow International):
Mon–Wed & Fri      12pm–5pm
Thu      12–7pm
Sat & Sun      11am–5pm

26 April–8 May:
Thu & Fri      12pm–5pm
Sat & Sun      11pm–5pm

Images credits: Sam Smith and Ashleigh Thomson


Abigale Neate-Wilson

27th Feb 2016 -
13th Mar 2016

BACK OR AGAIN is the culmination of Abigale Neate-Wilson’s project This Is Not A City, which she has conducted as part of her year-long residency at the Telfer Gallery. Using the science fiction novel as a foundation for her research, Abigale has considered how visions of the city are articulated within literary, linguistic, technological and psychological landscapes.

Documented on her own journeys around Glasgow, Abigale has collated an extensive archive of images of the urban terrain. Paying specific attention to the strata that accumulate through the rise, decline and regeneration of the city, the prints produced for this exhibition examine the layers of texture and surface sedimented in the post-industrial cityscape.

As well as examining the large-scale, architectural elements of the city’s lifespan, the work also considers the marks inscribed on the urban landscape by its residents. Those playful moments of interaction — like the symbols scratched into a dirtied window or graffitied on a pebbledash wall — point toward the city as more than a material phenomenon, but a complex network of histories, subjectivities, and possible futures.

BACK OR AGAIN invites the viewer to map their own psychogeography of the city: removed from the material sphere of the urban environment, the images and objects propose a new visual vocabulary to assemble a speculative fiction of Glasgow.

This exhibition is supported by Hope Scott Trust.

Preview: 26 February 2016, 6-9pm
Open: 27 February – 13 March 2016
Thu/Fri 13.00-17.00 and Sat/Sun 11.00-17.00

Abi Poster A3 FC
The Telfer Gallery is proud to be hosting Abigale Neate-Wilson for the first exhibition at its brand new Ross Street location in the Barras Market.

Abigale Neate-Wilson moved from London to Glasgow in 2009 to study Painting & Printmaking at the Glasgow School of Art. Since graduating in June 2013 she has successfully continued to live and work in Glasgow.

As part of her year-long residency with The Telfer Gallery, Neate-Wilson hosted a round table discussion, supported by the Telfer Gallery and the Scottish Book Trust, in the garden of the Scottish Book Trust, as a part of the Edinburgh Arts Festival 2015. Invited speakers were Ken Macleod, Johnny Rodger and Dr Sarah Lappin.



Bounds. Ends. Limits.

Ben Skea

21st Nov 2015 -
6th Dec 2015

‘Bounds. Ends. Limits.’ is a solo exhibition of new work by Glasgow-based artist Ben Skea. Utilising a multi-faceted approach, incorporating moving image, sound and 3D printed sculpture, he examines the materiality of the artefact and the way in which it can function as a cultural stimulant. Skea is interested in how an object or event is read by the viewer and the opposing responses it can evoke. 2D printed imagery is reordered and reconstructed into 3D forms within the computer to explore how thoughts can transfer between physical objects – an information exchange that can challenge the rigidity of boundaries.

Ben Skea poster website2
Ben Skea, who works and lives in Glasgow, studied Fine Art Printmaking at the Glasgow School of Art and Electronic Imaging at Duncan of Jordanstone College of Art & Design. He works primarily with moving image and sound. His recent work has become interdisciplinary, encompassing sculpture and experimental animation. Skea has an interest in the unknown spaces in-between physical objects and the interconnectivity of all objects in nature.

After having shown work in group shows and screenings in amongst others New York City (USA), Lucca (IT), Edinburgh and Dundee, ‘Bounds. Ends. Limits.’ Will be Skea’s premier Glasgow solo exhibition.


To Be Is To Do, To Do Is To Be, Do Be Do Be Do

Charlie Godet Thomas

19th Sept 2015 -
4th Oct 2015

Friday 18 September 2015
Generously sponsored by Tennent’s Black

Saturday 19 September — Sunday 4 October
Thurs – Sun, 12—5pm (or by appointment)

Poets work with two materials, one’s black and one’s white. Call them sound and silence, life and death, hot and cold, love and loss: any can be the case but none of those yins and yangs tell the whole story. What you feel the whiteness is right now – consciously or some way beneath that plane – will determine what you do next. Call it this and that, whatever it is this time, just don’t make the mistake of thinking the white sheet is nothing. It’s nothing for your novelist, your journalist, your blogger. For those folk it’s a tabula rasa, a giving surface. For a poet it’s half of everything (1).
(1) Glyn Maxwell, On Poetry (London, Oberon Books 2012), p.11

Inspired by the un-inked page, the blank screen, the untouched canvas, the white ‘readiness’ of the seemingly un-pixellated infinity of a page without text, To be is to do, To Be Is To Do, To Do Is To Be, Do Be Do Be Do creates a dialogue that will explore the way in which strategies for writing are used to create new visual forms. A selection of new works by Charlie Godet Thomas, which make myriad use of fiction and poetry, are a continuation of the artists preoccupation with the way in which written forms can be appropriated and used as strategies for making.

Taking on a topic that has long been a concern for writers and visual artists alike, this exhibition will remind us that if we resist the convention that art is a wholly separate discipline to writing and remind ourselves that much exists in-between, we can create all manner of forms from that ‘clean slate’.

The Telfer Gallery is delighted to present the work of Charlie Godet Thomas to a Scottish audience for the first time. Due to the delay in relocating to our new gallery space at MANY Studios in The Barras the exhibition will take place at our current gallery space located in the Merchant City.

Charlie Godet Thomas (b.1985) lives and works in London, UK. Having obtained a BA in Fine Art (Sculpture) at Manchester School of Art in 2009, he graduated with an MA in Fine Art (Sculpture) from the Royal College of Art, London in 2014 where he was awarded the Bermuda Arts Council Scholarship and the Peter Leitner Scholarship.

Past exhibitions include:
A Method for Writing/A Method for Making (solo show), BALTIC Center for Contemporary Art, Newcastle, An Evanescent Fix (group show), Vitrine, London, In Comes the Good Air, Out Goes the Bad Air, In Comes the Good Air (solo show), Cactus, Liverpool and END (group show) also at Cactus, Liverpool. He is represented by Vitrine Gallery, London.





le-rapport-darty_godard_1989 website


‘To Be Or To Do, To Work And Not To Make?’
Saturday 26 September 2015
Kinning Park Complex
40 Cornwall Street
Glasgow G41 1AQ

Starting with the provocation that “one shouldn’t make a living from making work”, curators Bloomfield and Farrer present a public conversation and screening event to look at how the economic practicalities of making a living might feed into the form and content of art. Programmed in response to Charlie Godet Thomas’ forthcoming exhibition at the Telfer Gallery To be is to do, To do is to be, Do be do be do, the event interrogates the connections between being and doing, between making a living and making work.

Screenings will include films and extracts from contemporary artists such as Patrick Goddard; case studies of historical films like Jean-Luc Godard’s Le Rapport Darty (1989); and ‘provocations’ from the curators drawn from interviews conducted by with artists in London, Glasgow and Europe with the intention to open up a discussion on the tensions arising during the event.

To be or to do, to work and not to make? is the first public event of Bloomfield and Farrer’s ongoing research project on self-sufficiency and autonomy.

Tickets for this event are £1.50 and can be ordered via Eventbrite.


John Bloomfield (London) and Cicely Farrer (Dundee) have collaborated on curatorial projects and research since November 2013. Their first project Objective Considerations of Contemporary Phenomena, an exhibition of contemporary art, philosophical and art writing and historical film, which addressed failures in language, took place at MOT International Projects in London in Winter 2014 with support from Arts Council England.

Bloomfield graduated with an MA in Film Studies from UCL, earning a distinction. He has curated numerous film and moving image related projects including a programme of workshops at Birkbeck University, Godard as Curator (Nov–Dec 2014) with Alex Graham, which included a UK premiere of Godard/Mieville’s Reportage Amateur: Maquette Expo and Gailleurd/Bohler’s Le Désordre Exposé at Tate Modern; a six-week community cinema,Cinema6, with artist John Hill; a programme of film, performance and talks for Flat Time House in London, The Best Scene Is Off-Screen (April–July 2015); and several film programmes with The Screen Shadows Group.

Farrer (visit website here) graduated from the Royal College of Art Curating Contemporary Art programme in 2013, receiving a distinction and has curated numerous independent projects including recently A Non-Utopian Kind of Girl (Oct/Nov 2013), with online magazine Pearrls and No one lives here at Royal College of Art (March 2013). She has written for various publications including Frieze, ‘this is tomorrow’, Arta, Pearrls, Bloomsbury peer review journal Textile and Generator Projects’ Publishing.

Both curators also have jobs—John Bloomfield works as an editor at Black Dog Publishing in London and Cicely Farrer is Curatorial Assistant at Cooper Gallery, Duncan of Jordanstone College of Art & Design in Dundee.

This Is Not A City

2015 Programme Artist in Residence: Abigale Neate-Wilson

2nd Feb 2015 -
29th Jan 2016



“Shall we come to a reality like this visioned city of the Future?”
Fritz Lang, Metropolis

Abigale’s research for her residency at The Telfer Gallery will journey through visions of the city. Utopian and dystopian, the imaginary urban is a complex universe of opposites, not much unlike the real cities we live in today. As sites of civil progress and technological advancement, it is no surprise that the city is a landscape most frequented by science fiction authors, who often imply that our habitation of them is the ultimate finality.

“The City is as old as time and continuous with it.”
J.G Ballard, The Concentrated City

Using the model of the science fiction novel, Abigale will specifically focus on how these visions are articulated through language, and how the built environment is as much a product of the mind as it is an extraneous phenomenon. The city can be seen as a kind of language, and like language, it is a constructed means of imposing rationality upon the world. If this language can be refracted through the lens of fictional alternatives, can different perspectives be generated? If so, the author assumes a responsibility, imbued with the power to manipulate reality, as Ballard suggests, “it is now less and less necessary for the writer to invent the fictional content of his novel – the writer’s task is to invent the reality”.

This is not a city. This is a mind-scape, a digital network, a microcosm, a morphopolis. This is at once the past, the present and the future. This is both real and un-real, fiction and actuality, utopian, dystopian and heterotopian.

Abigale will host a series of interactive events over the course of her residency, including; an online ’round table’ discussion in which invitees will contribute to conversations surrounding this subject, a live and dynamic conversation curated in partnership with Scottish Book Trust for Edinburgh Art Festival 2015.

27 August 2015:
This Is Not A City:
The Telfer Gallery & Abigale Neate-Wilson at Edinburgh Art Festival 2015
This event will reflect how the urban environment is mapped through language, and how this language is mutating as a result of contemporary techno-culture.
Speakers are:

Ken MacLeod
Ken MacLeod is one of the most significant Scottish writers to emerge from science fiction in the last twenty years. His novels have won the Prometheus Award and the BSFA Award, and been shortlisted for the Hugo and Nebula Awards. Loaded with satirical wit, his stories are complex explorations of future politics, bio-ethics and technology, casting a modern eye on the utopian form. He lives and works in Edinburgh.

Dr Sarah Lappin
Dr Sarah Lappin (BA Columbia, MArch Princeton, PhD University of Ulster, RIBA) is an architect who teaches in the school of planning, architecture and civil engineering at Queens University Belfast. She is co-founder of the All-Ireland Architectural Research Group, and is the current chair of the Steering Group of the Architectural Humanities Research association. Outside of her research into identity and architectural history of the twentieth century, she co-directs the project Recomposing the City with Dr. Gascia Ouzounian. This project invites the sonic arts into urban spaces, addressing the power of collaborative engagement between sound artists and architects to produce new design and practices of spatial understanding.

Johnny Rodger
Johnny Rodger is a Professor of Urban Literature at the Mackintosh School of Architecture, Glasgow.  He is a published author of both fiction and critical writing, a frequent contributor to architectural press and a founding editor of The Drouth (2001), Scotland’s literary arts quarterly. His field of enquiry engages with a cross-disciplinary criticism of architectural and social space, literary analysis and the layers of civic, historic and political structures that form Scottish cities. He has also collaborated with composers, animators and musical theatre, including work with National Youth Theatre of Scotland (2011) and the Scottish Opera (2006).



Studio work in the form of prints and publications which will be developed to support this period of research. The culmination of this research project will be presented at The Telfer Gallery in early 2016.

if any, before

Francis Caballero, Tim Dalzell, Caitlin Merrett King

6th June 2015 -
21st June 2015


Friday 5th June, 6 – 9pm
Generously sponsored by Tennent’s Black

After Party:
5th June, 9pm till late
Brutti Compadres
3 Virginia Court

Saturday 6 June – Sunday 21st June
Thurs – Sun, 12 – 5pm (or by appointment)



A few minor details:

If doubtful remember, one colour-coded chit each/ keep your cloth stapled to the table.

Of course/

Any man who sings is a pleasure to his friends but any man who chants is not a pleasure to his associates.

But beware//

(Before) any salty tongues glimmer… ball and fingers must find where the orange is sweet.

Lifting its title from a subordinate clause in a popular game manual, ‘if any, before’ is an exhibition of new works by Francis Caballero, Tim Dalzell and Caitlin Merrett King – recent graduates from The Glasgow School of Art and recipients of The Phoenix Bursary. The artists share a spontaneous approach to making and a focus on hyper-real representations and simulations of the everyday.

if any, before website

Francis Caballero graduated with BA (Hons) Painting and Printmaking from The Glasgow School of Art in 2014. He is a member of Glasgow-based collective Fanfare and was involved in the organization and exhibiting of Perm, a recent series of five one-night-only, solo shows. Recent Exhibitions include Fanfare II, Veneer Gallery, Glasgow (2014), School of Fine Art Showcase, McClellan Galleries, Glasgow (2014). Gjallarhorn and the 10 Fight Losing Streak, The Old Hairdressers, Glasgow (2015).
Nurturing a literary sensibility in his painting, Caballero finds inspiration in the turmoil of the working environment. Often the use of large, breezily painted surfaces act as flatbed for smaller icons, contained in their own display. The resulting pairing of studies demonstrates an on-going intrigue towards the meeting points of figuration, formalism and nonchalance. Reworked canvasses and indecision play large roles in the activation of his work, with drawn and premeditated elements meeting to characterize the muddied process of making.
‘Big Green’ (provisional title of work) expands on Caballero’s dialectic with the studio. Its starting point draws from conversation around the Subbuteo playing surface, widely known as a tabletop game simulating team sports, most notably football. The cloth used in the game acts as simulation of a marked field, in which pieces can be rearranged and manipulated on. The canvas shown in if any before mimics the Subbuteo cloth, interrupted instead by heads-up display of drawing and menu screen motif, by gauntlets and turkey.

Tim Dalzell graduated with BA (Hons) Sculpture & Environmental Art from Glasgow School of Art in 2014 and has since continued to work in Glasgow. After graduating he co-founded the YAKA collective. Dalzell was recently selected for the New Contemporaries exhibition at The Royal Scottish Academy and was awarded the Sir William Gillies Bequest Award. He has also been selected for a follow up exhibition ‘New Scottish Artists’ (2015) opening at The Fleming Gallery, London in May 2015.
Dalzell is interested in how the development of virtual space accessed through mediums such as the internet, games consoles and 3D modelling software has, in recent years provided the opportunity for the creation of entirely new environments and situations. He’s particularly drawn to those that create a psychedelic atmosphere through their inability to truly replicate the ‘real’.
‘What Monkey’s Can Teach Us…’ Dalzell’s new work for the Telfer Gallery, will explore the narrative of the humble ladder, primarily in relation to video gaming. Since the release of Donkey Kong in 1981, the ladder has been consistently used as a tool to explore and progress through endless virtual environments. Though the ladder features in the vast majority of map-based video games, its operation has regularly been made awkward through poor design and failure to truly replicate reality. The frustration of manoeuvring characters to an exact position to attach to a ladder, only to seconds later plummet to an inevitable death, thanks to the slight mistouch of a button, has become all too familiar. How often in real life are we required to climb ladders 500 metres high?

Caitlin Merrett King graduated with BA (Hons) Painting and Printmaking from Glasgow School of Art in 2014, completing a semester at Maryland Institute College of Art, Baltimore in 2012. Earlier this year she co-curated Perm, a series of five solo one-night-only exhibitions at The Old Hairdressers in Glasgow. She is also a member of the Glasgow-based artist collective Fanfare. Recent exhibitions include Key Lime Pie, Glasgow Open House Festival (2015); Faux Sho, curated by (It’s all) Tropical, Assembly House, Leeds (2015); Bacon Scissors, The Old Hairdressers, Glasgow (2015); Voidoid 002, Voidoid Archive, Glasgow (2014).
With a hyper conscious awareness of modern art practice and the performance of being an artist, Merrett King is interested in object relations, i.e the ability of objects to convey meaning, indicate character or pertain to a specific cultural significance. She investigates the initial material experience of ‘things’ in terms of desirability, functionality, with the ‘thing’ itself often acting as an autonomous character within an constellation of other objects/players. These interests manifest themselves as textiles, sculpture, film and installation works.For this group exhibition at The Telfer Gallery, Merrett King will present a new soft sculpture which takes power-up items from video game culture as an aesthetic starting point. An interest in the digital simulation of the everyday and our interactions with consumer leisure objects informs the work.




Post-Point, and/or, The Sequential Tangential Potential

Beth Kettel

25th April 2015 -
10th May 2015

Post-Point, and/or, The Sequential Tangential Potential opens with a performance at Wasps Artists’ Studios on Hanson Street as a one-off event, followed by an exhibition preview at The Telfer Gallery.

A basketball point guard (position) guards her point (crux) whilst the players (objects) act as props and prompts for narrative route. Using a series of hypothetical moves and plotting (↥.↜.↷.⇣) of players, the plot develops, diverts and unravels. Strategies of meaning making, interpretation, obscurity and attention are all put into play.

Using autobiographical responses, the point guard plays through associations and difficulties with making sense in a world of information overload, predictive text and suggested viewing: stressing connections between dispersed elements and ideas.

Textual ideas expand into physical and live components, which utilise performance, object, installation, voice and moving image.

Beth Kettel high res website

As well as the polysemy, obscurity and potential of objects and language, Manchester-based Beth Kettel is interested in the infrastructure of showing artwork. Allowing access to the inside and outside structures of the work: publicising the layers and complexities.  She borrows formats and structural devices from elsewhere such as song writing, theatre, recipes and sport.

For the first exhibition of its 2015 programme, The Telfer Gallery is collaborating with Wasps Artists’ Studios for an opening night at two locations: a one-off performance by Kettel at Wasps’ Hanson Street Gallery after which her exhibition will open at The Telfer Gallery on Miller Street.


What Does Nothing Do?

Scott Massey

12th Jan 2014 -
12th Dec 2014

2014 Programme Artist in Residence

Throughout 2014 Scott Massey has been working with The Telfer Gallery on a project asking “what does nothing do?” The project has developed from a talk in which Massey described buying magic spells off of Ebay. The talk dealt with the process of the purchases, concentrating on the faith and trust aspects of the transactions. It also discussed the objects that had been bought and speculated on the effect they had had. The project has also resulted in presentations of work during Annuale 2014, Edinburgh and at CCA, Glasgow. This December the project will culminate in an online project as Massey explores the research question through the online/offline relationship between objects and information.

Online project launch and performance

‘Originally the written word was secondary to the spoken word. The spoke word implied a relationship of mutual trust. Now the spoken words is secondary to the written word, a contract must be recorded in writing. In a time where everything one does is recorded digitally the performative utterance becomes an act of resistance.’

Friday 12th December
6-9pm, performance at 7pm

For the culmination of his year long research project with The Telfer Gallery we are delighted to host a launch event for Massey’s project on eBay. Here he has put up for sale 52 items related to his practice – the notes, ideas, sketches, recordings, websites and dead ends that have occurred while he has been asking the question “What does nothing do?”. The project has moved from it’s beginning of Massey buying magic spells off of eBay to him putting the marginalia of his practice up for sale on it. This creates an archive of material and allows for it to circulate and be exchanged. A new performance by the artist will also take place during the launch.

Ebay has been used as a way to archive and distribute a year’s worth of making and thinking, allowing these things to circulate and be exchanged. Massey has been interested in the idea of a dead end in a piece of work and how this can be put to use; an ecology of “stuff” is created and distributed through an existing online network.

Every 15 minutes from 18:00 until 20:00 on Friday 12th December new items will be going online. These can be accessed by going to Massey’s ebay shop at:

Items are available to bid on until Friday 19th December at 18:00.

Scott Massey is an artist based in London. He graduated with an MA in Fine Art from Chelsea College of Art and Design in 2011. He has recently presented work at CCA Glasgow; Annuale 2014, Edinburgh; the Duncan of Jordanstone College of Art, Dundee; Granby Park, Dublin; TAP, Southend and Nurtureart, New York. This year he has also been on the Outpost/FKSE exchange residency to Budapest and on a research residency to Hospitalfield, Arbroath.


Small Decors

Elizabeth Corkery

8th Nov 2014 -
23rd Nov 2014

Elizabeth Corkery’s work investigates the potential convergence of spatial and representational experience. Using the garden – an evocative and heavily represented site – as her thematic foundation, she proposes a structure for simultaneously looking at the representational view of the garden whilst physical being in a staged, “garden” scene.

For her forthcoming exhibition Corkery turns this attention to winter gardens. Specifically addressing Glasgow’s famous Kibble Palace and drawing comparisons between its modularity, pre-fabricated structure and capacity for miniaturisation to the tradition of the toy theatre – a folly that was enjoying a concurrent rise in popularity during the Victorian era. Winter gardens allow for a kind of global miniaturisation, creating an artificial proximity between plants that would otherwise exist in far-flung corners of the world. In addition these are fascinating structures in terms of their connection to exhibition, theatrical display and role as precursors to contemporary environments such as shopping malls and even museums, both perhaps the most highly trafficked tourist destinations of our current time.

Curiously hinging between interior and exterior space and transcending climate and seasonality, winter gardens generate a sense of spatial fluidity akin to the moveable theatre set. For Small Decors, the gallery space is loosely treated as a stage, however the perspectival requirements of the proscenium are undermined, instead allowing for multiple, perhaps conflicting views of the constructed “decor”. Originally trained as a printmaker much of Corkery’s work connects conceptual concerns of repetition, reproduction and simulation with spatial investigations that initiate a slippage between the conventionally two-dimensional nature of print media and a more volumetric architectural space.

Small Decors draws inspiration from the spatial potentiality of toy theatre designs, where within the two-dimensional printed page lays great possibility of depth, perspective and temporal action.

Friday 7th November, 6-9pm

Saturday 8th November – Sunday 23rd November
Thursday – Sunday, 12-5pm

Related Events:
Saturday 8th November, 1.30-3.30pm
‘Impressions of an Icon’
A workshop with Elizabeth Corkery introducing techniques of lino-cutting and print-making

GoMA are teaming up with The Telfer Gallery to celebrate the opening of ‘Small Decors’. In collaboration with GoMA, Corkery will host a unqiue lino-cutting and print-making workshop which will explore the conceptual themes of her work and her practice as a print-maker. Participating printer-makers will respond to the iconic architecture of GoMA through exploration, sketching and producing hand-cut linoleum prints from their very own renderings.

FREE. Suitable for 16+ and any children must be supervised by an adult.
Please arrive at Glasgow Gallery of Modern Art (GoMA) for 1.15pm.

Supported by MANY, Hope Scott Trust, Glasgow Gallery of Modern Art (GoMA) and Stolichnaya


Who built the access road?

Nick Thomas

13th Sept 2014 -
28th Sept 2014

Friday 12th September, 6 – 9pm

Saturday 13th September – Sunday 28th September
Thurs – Sun, 12 noon – 5pm (or by appointment)

The exhibition takes the form of a short filmic portrait of the Uists, focusing on the missile testing facility which has been situated on the island since the late ’50s, drawing on research undertaken by Thomas whilst on the islands.

There is also a consideration of the Catholic iconography of the area and its historical role – as devotion and public art – in the initial ideological conflict around the site. Thomas attempts to look at how technological change, religion, landscape and politics might interact with each other in a particular historical moment (or moments).

Supported by Many, Hope Scott Trust, Arts Trust Scotland & Stolichnaya

Naked since 1480

Sally Hackett

30th May 2014 -
15th June 2014

Friday 30th May, 6 – 9pm

Saturday 31st May – Sunday 15th June
Thurs – Sun, 12 noon – 5pm (or by appointment)

Drawing from the themes and motifs of Hieronymous Bosch’s “Garden of Earthly Delights” (1480), Sally Hackett reconfigures The Telfer Gallery and this nude masterpiece into a utopian paradise.

Sally Hackett graduated in Illustration from Duncan of Jordanstone College of Art in 2012 and has been receiving significant recognition for her work since.

Supported by Many, Hope Scott Trust, Arts Trust Scotland & Maxxium


colocation, time displacement

Yuri Pattison

2nd April 2014 -
27th April 2014

colocation, time displacement

colocation; The provision of computing services in a third-party colocation centre, Being in more than one place at the same time (a physical location and virtual location or multiple telepresence appearances)

Time displacement in sociology refers to the idea that new forms of activities may replace older ones.

John Titor is the name used on several bulletin boards during 2000 and 2001 by a poster claiming to be a time traveler from 2036.

“My “time” machine is a stationary mass, temporal displacement unit manufactured by General Electric. The unit is powered by two, top-spin, dual-positive singularities that produce a standard, off-set Tipler sinusoid. I will be happy to post pictures of the unit.”

Titor made numerous predictions about events in the near future, starting with events in 2004. He described a drastically changed future in which the United States had broken into five smaller regions, the environment and infrastructure had been devastated by a nuclear attack, and most other world powers had been destroyed.

Bahnhof is a Swedish Internet service provider founded in 1994 by Oscar Swartz in Uppsala and was the first independent ISP in Sweden. Today the company is represented in Stockholm, Göteborg, Uppsala, Borlänge, and Lund.

Pionen is a former civil defence center built in the White Mountains Södermalm borough of Stockholm, Sweden in the 1970s to protect essential government functions from nuclear strike. The address of the Pionen data center is Renstiernas gata 35 and 37.

It was converted into a data center by the Swedish Internet service provider Bahnhof. It opened on 11 September 2008 and Bahnhof continues to use the facility today. Because of the facility being buried under the mountain, secured by a 40-centimeter thick door, and only reachable by an entrance tunnel, the data center is capable of withstanding a hydrogen bomb. The Pionen data center is also a colocation centre.

In December 2010, it was revealed that, having been kicked off their servers at Amazon, the controversial website WikiLeaks had also placed their data with Bahnhof. Jon Karlung, chairman of Bahnhof, one of the companies providing server space to the whistleblowing website, gave press interviews in the light of the new controversy created by Wikileaks leak of information relating to the Afghan War, even showing journalists the two servers on which the data was held. By the chairman’s own admission, the data centre is essentially like any other, and WikiLeaks is treated just like any other client Bahnhof provides server services to.

Content from Wikipedia licensed under CC-BY-SA

colocation, time displacement (video & digital elements) was commissioned by Temporary Arts Project (TAP) for Migrating Origins, a project curated by Warren Harper and James Ravinet.

With thanks to Bahnhof AB, Sweden.


Yuri Pattison, b. Dublin, Ireland. Lives & Works in London & Berlin.


Wednesday 2nd April , 6 – 9pm

Thursday 3rd – Sunday 27th April
Thurs – Sun, 12 noon – 5pm (or by appointment)

With thanks to TAP, Autodesk & Maxxium



2014 Programme

Coming Soon

April 2014 -
Nov 2014


One Touch

Mathew Parkin

12th Oct 2013 -
3rd Nov 2013

Mathew Parkin is interested in the potential for interactions with digital culture to confuse the actual or apparent authenticity of an individual’s taste and desire.

Taking its name from the 2000 debut album by British pop group Sugababes, the show will present sculpture, video and performance existing as gestural reference points and surfaces. Using the reference point of the Sugababes- a group with a constant name and brand but shifting line-up of members- in his work as a stand-in for the problems of contemporary authenticity.

Parkin aims to place this exhibition within a context of unstable images and objects; acting as a temporary user rather than an author of certain queer histories and desires, including the scally archetype of queer culture and the use of webcams in creating online personas.

Preview: Friday October 11th, 6-9pm

Open: October 12th – November 3rd, Thurs – Sunday, 12-5pm

With thanks to Arts Council England and Glasgay Festival 2013



We end up always using the same things

Federico Del Vecchio

31st Aug 2013 -
22nd Sept 2013

“The everyday is the place where repetition and creativity confront each other: ‘humble and sordid’ and simultaneously the time and the place where the human either fulfills itself or fails.”

Through the writings of Maurice Blanchot and Henri Lefebvre, Federico Del Vecchio will explore and question the ‘everyday’. The everyday is the site of a fundamental ambiguity: it is both where we become alienated and where we can realize our creativity. Blanchot closely follows Lefebvre, who argues that the everyday is the place ‘where repetition and creativity confront each other: “humble and sordid”’ and ‘simultaneously the time and the place where the human either fulfills itself or fails’. His research focuses exactly on this moment where the object is no longer part of the everyday, but in the process of becoming an art object, and tries to explore what factors contribute to this potential of transition.

Federico Del Vecchio

Preview: Friday August 30th, 6-9pm

Open: August 31st – September 22nd, Thurs – Sunday, 12-5pm


Social Media Takeaway – Special Episode ‘Networked’

Bruce Asbestos

19th Aug 2013 -
21st Aug 2013

The Telfer Gallery presents…
Bruce Asbestos Social Media Takeaway – Special Episode

In collaboration with Edinburgh Art’s Festival Film Club
Presented Wednesday 21st August, 7.30-10pm

Inspace, 1 Crichton Street, Edinburgh

Limited free tickets!

The Social Media Takeaway is Bruce Asbestos’ series of short, whirling and buoyant videos made for YouTube. Tirelessly inventive, the Social Media Takeaway is reflective of his approach to art that is intrinsically multi-media, collaborative and positions artwork firmly in the public domain. His YouTube Channel uses the quick fix, low-brow, throw-away nature of YouTube as site for narrative, pop, performative and discursive work.

This episode shot on location will visit in various ways the rise of passive and automated networks and networking, described, in Bruce’ s own style.

Each episode features planned events, guests, music and games combined with spontaneous actions, mini lectures and ‘#tweetline’ script lines generated by his twitter followers.

Bruce will be screening back-to-back all current episodes of Social Media Takeaway and producing a special episode titled ‘Networked’ for the EAF Film Club on 21st August.

EAF Film Club

“Every Wednesday evening during the festival we’ll be presenting emerging artists’ film, video and performance. Each EAF Film Club evening is curated by an artist-run organisation from outside of Edinburgh whom we’ve invited to select work around the theme of Interval As Integration.”

7th August – The Royal Standard
14th August – GENERATOR Projects
21st August – The Telfer Gallery
28th August – CIRCA

You can join in by tweeting lines for the next episode @bruceasbestos using the hashtag
#Tweetlines look like this

Responses and content can be suggested by tweeting @bruceasbestos using the hashtag #AsbestosTV

You can also suggest content and #tweetlines on Facebook starting a comment with #AsbestosTV or #tweetlines

Photography by Kat Gollock


Social Media Takeaway – Special Episode ‘New Friends’

Bruce Asbestos

19th June 2013 -
22nd June 2013

The Telfer Gallery presents…
Bruce Asbestos Social Media Takeaway – Special Episode
‘New Friends’

In collaboration with Embassy Gallery & Annuale 2013
Hosted by Talbot Rice Gallery, Edinburgh
Filming from Wednesday 19th June – Friday 21st June
Presented Saturday 22nd June,

The Telfer Gallery present Bruce Asbestos and his new project Social Media Takeaway; a series of short, whirling and buoyant videos made for YouTube for their contribution to Embassy Gallery’s Annuale 2013

Tirelessly inventive, the Social Media Takeaway is reflective of his approach to art that is intrinsically multi-media, collaborative and positions artwork firmly in the public domain. His YouTube Channel uses the quick fix, low-brow, throw-away nature of YouTube as site for narrative, pop, performative and discursive work.

Each episode features planned events, guests, music and games combined with spontaneous actions, mini lectures and ‘#tweetline’ script lines generated by his twitter followers.

“I wanted to see what was possible with YouTube, Facebook and Twitter. Social Media Takeaway is a natural progression from the performances that I have been making in galleries and YouTube videos”
(Bruce Asbestos)

In August 2013 The Telfer Gallery will subsequently present Social Media Takeaway in its entirety for Edinburgh Art Festival’s Film Club – for which Bruce will also be producing ‘Special Episode: Networked’.

The Social Media Takeaway is recorded each Tuesday at Derby Museum and Gallery from 18th May – 11th August.

Each week a new episode is produced in the space with the resulting film published a week later both online ( and in the gallery space.

At other times the temporary TV studio lays dormant but for the props, evidence of the previous shoot and four very green ‘green screen’ walls.

You can join in by tweeting lines for the next episode @bruceasbestos using the hashtag
#Tweetlines look like this

Responses and content can be suggested by tweeting @bruceasbestos using the hashtag #AsbestosTV

You can also suggest content and #tweetlines on Facebook starting a comment with #AsbestosTV or #tweetlines


Jeni Allison

31st May 2013 -
30th June 2013

“Garba (ગરબા in Gujarati) is a form of dance that originated in the state of Gujarat in India. The name is derived from the Sanskrit term Garbha (“womb”) and Deep (“a small earthenware lamp”). Many traditional Garbas are performed around a centrally lit lamp…”

During a two month residency in Gujarat, Jeni Allison spent time working and learning alongside artisans, exploring the links between textile, dance and tradition.  In particular she explored how women make, why women make and in what context women make. The outcomes are often painstakingly intricate embroideries and bandhani work for wedding and festival clothing, as well as dowries and presents for in-laws. These age-old traditions are steadfast, Rabari women make both bride and groom outfits for weddings, and will often spend months or years on these pieces. However divorce rates in the area are increasing dramatically, often instigated by women, who before marriage will never have met their husband.  There is a feeling, amongst younger Rabari’s, that marriage is a choice, however the textile traditions which precede it are not.

This exhibition and programme of associated events focuses on the relationship between textile and ceremony within artisan cultures in Gujarat, and will open with a live off-site performance, drawing on festival culture in Gujarat. The performance will take place within Virginia Court, and will be a reconstruction on the traditional Garba. A static installation will remain in The Telfer Gallery for the duration of the exhibition, which will have been created in situ the month prior to the exhibition launch. Traces of this process will remain.

During the duration of the exhibition Jeni Alison will run workshops and host events in the gallery focusing on textile tradition in Gujarat (Bandhani, Shibori and natural dye), as well as sharing her experiences in the region.

Preview: Friday May 31st, 6-9pm (live performance in Virginia Court at 6pm)

Open: June 1st – 30th, Thurs – Sunday, 12-5pm

Workshops / Events:

6th June – Shibori Workshop (free)

Gujarati Shirbori and Bandhani (a form of tie-dye) are used in festival veils for women, as well as everyday wear (saris etc. The tying process tends to be done by women, whilst the dying is carried out by men, however this is changing. Whilst in Gujarat I met a young women of 19 who was learning to dye herself. She is the first women that I met (or heard of) that intends to make a career out of producing dye related textile. During this workshop we will learn the basics of tying and binding fabric for dying.

13th June – Shibori & Natural Dye Workshop (free)

Gujarati Shirbori and Bandhani (a form of tie-dye) are used in festival veils for women, as well as everyday wear (saris etc. The tying process tends to be done by women, whilst the dying is carried out by men, however this is changing. Whilst in Gujarat I met a young women of 19 who was learning to dye herself. She is the first women that I met (or heard of) that intends to make a career out of producing dye related textile. During this workshop we will learn the basics of tying and binding fabric for dying. We will also explore natural dyes, and discuss where these dyes come from and what their environmental impact is.

27th June – Film Screening & Discussion of ‘The Stitches Speak’ (free)

Rabari women are generally illiterate, and textile (especially embroidery) serve as the only non-oral history of their movement, linage and customs. We will show the film Tanko Bole Chhe which was made with the women I worked with in Gujarat. We will also discuss how textiles serve as an archive for women.

“Tanko Bole Chhe (The Stitches Speak) is an animated documentary which celebrates the art and passion of the Kutch artisans associated with Kala Raksha. The film traces multiple journeys made by the participants towards defining their identities and towards forming the Kala Raksha Trust and the School for Design.

The film uses their narrative art of appliqué and embroideries through which they articulate their responses to life, and events as traumatic as the earthquake and as joyful as flying a kite. Through conversations and memories four voices share their involvement in the evolution of a craft tradition.”






Day In Day Out

Jon Thomson, John Nicol, Gwenan Davies, Carla Novi, Ross Sinclair and Alex Allen

28th Mar 2013 -
29th Mar 2013

Collaborating with Jon Thomson, John Nicol, Gwenan Davies, Carla Novi, Ross Sinclair and Alex Allen, The Telfer Gallery asked members of the public to join the artists for a series of jaunts into their day to day practice.

This offsite 24 hour event was made in collaboration with the GoMA ‘Objective’ project.



6.30pm, Thursday 28th of March Meet at: Verge Gallery, 1226 Govan Road, Glasgow

It’s been a long day at the easel, the weather has been unbearable and the night has come. I reach for a long over due Govana Libre and squint at my painting. After draining the mug, I walk home through the Clyde Tunnel and descend along its subterranean route indulging in the latest menshies.



3pm, Thursday 28th of March Meet at: The Duchy, 23/25 Duke Street, Glasgow

Join the artist at the venue of his latest exhibition I Tried To Give Up Drinking With Guitars Instead of God, where Sinclair will be documenting the show with you as ‘the audience’. In the spirit of all great album releases, there may even be some free CDs and badges up for grabs.



1pm, Thursday 28th March Meet at: The Briggait

Following an artist’s talk on his current show at The Briggait, Alex Allan coordinates a day-long event. Beginning with an impulsive wander and ending with a piece of collaborative writing.

A wee jaunt; a sort of condensed research trip taking in daily life around the city – a bite to eat, a wander round some shops. Those taking part will be encouraged to record the day and the surroundings as they see fit, while engaging with others in the group throughout to gain a perspective of how other people look at, and experience, the city. We will then proceed towards writing a collaborative short story about the day’s events. It will be as mundane or as outlandish as people want to make it, depending on the participants’ writing styles. Sound recordings, photographs and factual evidence of the day will comprise one part of the outcome while the more creative, mind-led overview of the experience will be communicated through the finished text.

‘Objective’, is  a city wide conversation on sculpture curated by the Gallery of Modern Art (GoMA). Sixteen venues featuring multiple events and performances to celebrate, discuss and challenge sculpture during March and April 2013.





Katie Johnston, Martin McGuinness, Alison Whyte

8th Dec 2012 -
14th Dec 2012

If I tell you what it is you are looking at I will prohibit you from seeing the truth.

With ever increasing global communications we are constantly being bombarded with information. Politics and news stories come at us from all directions and advertising floods almost every form of media with psychological tactics used to influence our thinking. The speed and pressure with which we deal with this information can be dizzying and brings uncertainty, confusion and misconception.

The ability to instantaneously share digital information allows us to interact with various formats of information in a collaborative manner but this often results in excessive reproduction leading to misinterpretation of the original ideas. Our aim for this exhibition is to explore the idea of communication and influence whilst considering how it affects the human condition.


Into the Hands of Housewives and Children

Jamie Fitzpatrick

17th Nov 2012 -
23rd Nov 2012

“We can predict that the 21st Century will see the domestication of high biotechnology in the same way that the Physics enjoyed through the 20th Century, once the public, in forms of breeders, enthusiasts and children, have access to this biological technologies.

The redesign of nature will become ‘creative’, an art form as subjective as painting or sculpture. Biological evolution will be replaced instead by Cultural evolution.

Our accessibility, as seen now, will not pass genes down but rather across, much more like our formative pre-Cambrian days; genetic freedom will be the new Open Source sharing used to traverse the boundaries of species.” – Jamie Fitzpatrick


A Billow, a Hunch

Emily Shepherd

8th Sept 2012 -
21st Sept 2012

A conversation of video, air, and paper.

Accepting the ungraspable, ‘A Billow, a Hunch’ seeks a reflexive response to the stark, unearthly condition of Orford Ness, Suffolk.


MESH Print Club

MESH Print Club (NL)

20th Aug 2012 -
24th Aug 2012

Mesh Print Club is a Rotterdam based print studio, founded in 2010 by Sander van Loon, Merijn van Essen and Rens van den Berge. It provides a platform for experimentation and exchanging knowledge of various print techniques. Mesh currently has around 70 members, amongst which graphic designers, illustrators and fashion designers.

The Telfer Gallery is proud to host its first international collaboration which will comprise the exhibiting and selling of 14 of Mesh’s finest screenprints.



The Telfer Gallery and Test Space Leeds

25th July 2012 -
29th July 2012

The Telfer Gallery hosts Exchange an interactive exhibition and series of events produced in collaboration with Test Space, an arts organisation based in Leeds, as part of the Merchant City Festival 2012.

Exchange will wholly embrace the spirit of the Merchant City Festival, showcasing artists and illustrators from Glasgow and Leeds who will create new work, live from The Telfer Gallery throughout the exhibition, inspired by the festival theme; “Let the games begin”..

Exchange will encourage contributing artists to step beyond the gallery walls and engage with the public through the streets of Merchant City whilst inviting festival goers to take part in arts workshops for children and adults that explore material and experimental art techniques, creating their own work inspired by the exhibition and the festival.



Analogue Social

23rd June 2012 -
29th June 2012

The Analogue Social concept was designed to invite engagement and collaboration between members of the design community in Scotland.AS 01 is the first exhibition from this initiative. The exhibition seeks to develop the concept further by placing members of the group in pairs to work together towards a new piece of work. The social and collaborative ethos of the AS group will form the main theme of the exhibited work.

The Telfer Gallery space will be used to form an exhibition without a main highlight but will instead showcase new collaborations within the Scottish design community. Each collaborating group will be provided an equal platform, placed on the same level in spite of name, age, recognition or professional status.

The aim of AS01 is to raise the profile of the AS collective within the design community in Scotland. To invite participation in an analogue social network through collaboration and creativity. This is an exhibition to highlight and amalgamate a new movement.


The Listener

When The Moon Hits Your Eyes

12th May 2012 -
18th May 2012

One night in March, When The Moon Hits Your Eye performed a series of actions that seen the moon as their primary subject for the inspiration of works, using its magical attributes to relay communications back to each member of the group.

Stephen Kavanagh used a set of mirrors that will reflect written messages in his study onto the surface of the moon where they will be absorbed.

David Cass painted a series of small-scale painted literal depictions of the night time sky and full moon, which will be installed in a labyrinth of drawers, shelves and a desk.

Rebecca Cusworth explored ideas surrounding divination and magical thinking, through a colourful performance piece which will channel eastern nomadic shamanism in the moonlit streets of her hometown.

Fiona Jarrett rid her fears by sending messages to the moon scrawled on paper lanterns, creating a collection of drawings to emulate her emotions during the experience.

And adorned in reflective costume, Ashley Nieuwenhuizen created a series of performative photographs and a film that will depict her consumption of the glistening moon, throughout its turning.

Although separated by distance, the series of events will once again unite this group of artists, where the moon, standing as an all seeing eye, will become the essence of communication, and the artists, a part of its constellation.


Aesthetic Error

Kel Glaister

20th April 2012 -
27th April 2012

“A constellation of objects in a room. A set of constellations of objects in a room. A set of constellations of objects in a room and just outside the room.

Aesthetic Error is a group of sculptural works that aims at a void that signifies precisely the non-being of what it represents. Because nothing so testifies to an artist’s lack of genius as resorting to allegory.” – Kel Glaister


Colour Deaf

Sisi Lu, Steven Morrison and Kayus Banks

28th Nov 2011 -
16th Dec 2011


Colour Deaf are a cross-disciplinary collective that hope to offer audiences an alternative experience in visual art and live music through installation art and sonic design. Their concepts are pushing the boundaries of current sonic and visual interaction by introducing the element of audience participation that is not normally applied in a live performance environment.

The aim of this project is to create a total artwork that encourages the viewer to interact with the exhibition/performance, ultimately testing the parameters of audience interaction and artist performance. A conceptual orchestra of new media will be conducted by the audience: with visual projections; electronic audio; and the audience interaction acting as instruments – controlling their experience and commitment they have to their relationship/engagement with the artwork.

The climax of this conceptual karaoke will be accompanied by a live performance alongside moving visual, and live feed of the audience, where the audience will indirectly become participants, as they react to the energetic performance and the sounds and visuals created.

Colour Deaf are Sisi Lu (Ftjelly), Steven Morrison (Dandy Riots) and Kayus Banks (Young Fathers).


One Night Stand

Stuart McAdam, Magdalen Chua, Sarah Laing, Mitch Miller and Minka Stoyanova

25th Nov 2011 -
25th Nov 2011

The residency programme, One Night Stand, questioned the established modes of arts presentation by exploring the given parameters of the exhibition format, and how, as a social and cultural index, it comes to condition and shape the form of contemporary artistic and creative practices.

The ‘opening night’ was a critical gesture, and was not determined by a limited scope of interactions generated by dominant systems of value and control:

A situation was occasioned, which existed for the duration of one evening and was occupied by a distinct system of relations.