Posts By Catherine Radosa

STOP INVASION OF UKRAINE

June 28 to July 5, 2022

Neringa Naujokaite

Lissabon, 2022

Alisa Berger

Emilia Olesia’s First Day of War

Follow Olesia’s activities on IG: https://www.instagram.com/olesiaonykiienko/

There she posts about the donations and acquired equipment. Thank you!

Donations Link to support Olesia’s work – Paypal: olesia.onykiienko@gmail.com

Valeria Troubina

Don’t look

Catherine Radosa

Libre cours, libre choix (vidéo HD, 1′, 2022)

SE Barnet

Invisible Forces, 2022
HD video  1’44”

May 17 to May 24

STOP INVASION OF UKRAINE

Katja Stuke

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Katja Stuke, A Tree in Medyka
(Google Street View 2012) May 16, 2022.
»The number of people entering Ukraine from neighboring Poland has exceeded the number of people crossing the border in the other direction, as the changing war situation prompts more people who evacuated to return.. […] People returning to Ukraine lined up at a customs checkpoint in Poland’s southeastern border city of Medyka on Saturday.« NHK May 15, 2022

Emma Woffenden

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Second Soldier. Drawing acrylic on paper

Manuela Morgaine

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Flowers and animals in wartime, postcard sent to the french institute of Kyoto during THE CROWN LETTER’s exhibition.

Catherine Radosa

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Plantes résistantes II (Resistant plants II)
(Triangle de Gonesse, participatory happening and photographic series)

Dettie Flynn

Feuilleton of spinning swinging wishing Girls XXIX
Dig for Victory
Creuser pour la victoire 

Liveful performance with camera 2min21sec

SubTitles:
Vous arrive-t-il de constater que votre longue attente n’a servi à rien ? 
Que les stocks de ce que vous voulez sont épuisés avant que votre tour n’arrive ? 
Ce n’est pas la faute du marchand de fruits et légumes. 
C’est à vous de jouer.
Creusez pour la victoire. Il y a un peu de terre qui vous attend quelque part. 
Et, sûrement, une heure dans le jardin ne vaut-elle pas mieux qu’une heure dans la queue?

Dig for Victory Ministry of Food propoganda during the Second World War – The British Library

Alisa Berger

Heinali Live from a Bombshelter, May 2022

January 18 2022 to January 25 2022

Kyoko Kasuya

はつゆめ  2022年1月   “First dream”, January 2022

Katja Stuke

Help Island 2009/2022
from the series »Lonely Planet«

Liza Dimbleby

Children Washing by James Ensor, 1886

Letter from Glasgow: The Room Inside

I used to be always on the move —  planning trips, looking for tickets, for timetables, was the regular punctuation of my life, but it was also a distraction and an anxiety. Two years of enforced relative stasis by pandemic and I am still drawing breath, relieved at not having to spring into step at my own or other’s demand.  
But I want to get to Belgium, there is a painting I would like to see in Ghent — Children Washing by James Ensor. I am not even sure if it is still there. Oddly enough this painting is one of the few things that binds me with obstinate allegiance not only to my house but to my room here in Glasgow. There is something about this painting, and about its relation to the room in which I sleep and read, that means I cannot imagine moving elsewhere, from this room, in this flat, in this city.

Click Here to Read More

Ruth Maclennan

Twilight, Kimzha

This winter among the trees of sub-arctic Russia I found light and heat became elusive, granular substances that take on indistinct but alluring personalities. The day’s light scatters quickly if you aren’t alert, and even if you are it is still always fading, dispersing like sugar in tea. The rainbow colours of afterglow on snow dissolve into the night and before they disappear they melt the edges of things, blur bodies and sharpen windows and other angles.  In my longing I found delight in the glitter of vestiges of sunlight catching the crystals of snow, or the lazy, sleepy blue that held on till I found myself tramping through shadows. I’d notice suddenly that my ears were tuning in to the loud crunch of my heavy lumps of cold feet and that the sound was all that was guiding me now.

Click Here to Read More

Catherine Radosa

Neroztaj #2

Anne Brunswic

Marcelle 6. Cigarillos

Elle tire sur son cigarillo Davidoff, moi sur le mien. Elle n’avale pas la fumée, moi non plus. Nous
fumons de concert, chacune selon sa partition.
Jamais de cigarettes, avec ou sans filtre. Jamais de tabac parfumé à la menthe, à la vanille. Pourquoi pas
au chocolat ou au nougat tant qu’on y est ? Jamais de substances allégées, light, édulcorées. Autant
d’escroqueries.
Il va de soi que Marcelle et moi, nous ne fumons pas par addiction. Une boîte de cigarillos est comme une
boîte de chocolats fins : on ne se jette pas dessus. On déguste. On soupire d’aise. Qu’il est doux de fumer
ensemble en causant de choses qui font plaisir ou sans causer du tout.

Click Here to Read More

January 18 2022 to Januaru 25 2022

Kyoko Kasuya

はつゆめ  2022年1月   “First dream”, January 2022

Katja Stuke

Help Island 2009/2022
from the series »Lonely Planet«

Liza Dimbleby

Children Washing by James Ensor, 1886

Letter from Glasgow: The Room Inside

I used to be always on the move —  planning trips, looking for tickets, for timetables, was the regular punctuation of my life, but it was also a distraction and an anxiety. Two years of enforced relative stasis by pandemic and I am still drawing breath, relieved at not having to spring into step at my own or other’s demand.  
But I want to get to Belgium, there is a painting I would like to see in Ghent — Children Washing by James Ensor. I am not even sure if it is still there. Oddly enough this painting is one of the few things that binds me with obstinate allegiance not only to my house but to my room here in Glasgow. There is something about this painting, and about its relation to the room in which I sleep and read, that means I cannot imagine moving elsewhere, from this room, in this flat, in this city.

Click Here to Read More

Ruth Maclennan

Twilight, Kimzha

This winter among the trees of sub-arctic Russia I found light and heat became elusive, granular substances that take on indistinct but alluring personalities. The day’s light scatters quickly if you aren’t alert, and even if you are it is still always fading, dispersing like sugar in tea. The rainbow colours of afterglow on snow dissolve into the night and before they disappear they melt the edges of things, blur bodies and sharpen windows and other angles.  In my longing I found delight in the glitter of vestiges of sunlight catching the crystals of snow, or the lazy, sleepy blue that held on till I found myself tramping through shadows. I’d notice suddenly that my ears were tuning in to the loud crunch of my heavy lumps of cold feet and that the sound was all that was guiding me now.

Click Here to Read More

Catherine Radosa

Neroztaj #2

Anne Brunswic

Marcelle 6. Cigarillos

Elle tire sur son cigarillo Davidoff, moi sur le mien. Elle n’avale pas la fumée, moi non plus. Nous
fumons de concert, chacune selon sa partition.
Jamais de cigarettes, avec ou sans filtre. Jamais de tabac parfumé à la menthe, à la vanille. Pourquoi pas
au chocolat ou au nougat tant qu’on y est ? Jamais de substances allégées, light, édulcorées. Autant
d’escroqueries.
Il va de soi que Marcelle et moi, nous ne fumons pas par addiction. Une boîte de cigarillos est comme une
boîte de chocolats fins : on ne se jette pas dessus. On déguste. On soupire d’aise. Qu’il est doux de fumer
ensemble en causant de choses qui font plaisir ou sans causer du tout.

Click Here to Read More

December 14 to January 4

Emma Woffenden

Details – WAVES OF CARE, a collective art work for TRIGGER 

Catherine Radosa

Campagne de Paris, paysage triangulaire (situation novembre 2021, Bernard Loup)
WAVES OF CARE, a collective art work for TRIGGER

Ruth Maclennan

Russkaya Banya, Ruth Maclennan, Albina Mokhryakov, Sofia Skidan WAVES OF CARE, a collective art work for TRIGGER

There are many rituals surrounding the Russian banya. As I was told it is just the place to bathe, in villages that used to have no running water. But it is also a place and time to take care of yourself and others. Beating each other with moistened venniki, often bunches of birch leaves, makes your skin tingle and increases the heat. The wooden house in the village I stayed in had two banyas (and no running water). There was a white banya (po belomu) where the wood-stove has a chimney, and an old-fashioned black banya (po chornomu) without a chimney where the smoke settles in the room and the soot cleans your skin.  The banya is also a place for foretelling the future. Sergei Kulikov, a historian I met recently, told me that the banya was traditionally seen as a profane, unclean place because of its pre-Christian, pagan associations with fortune-telling.  I made this film together with the artists Albina Mokhryakov and Sofia Skidan. 

Anne Dubos

WAVES OF CARE a collective artwork for TRIGGER.

The last person I cared about was my grand-mother.
The day she was sent to the hospice.
I did not care for her. I care about her.

How one can end up his/her life in such an impersonal place?
What brought an entire generation of humans to believe that was possible to erase olden days, older people, vulnerability?

I always wondered about what does it mean to be taken care of by strangers hands, when your life has been devoted to your family.
How could we do that to her?

I tried to help her escape.
I offered to stay with her at her place.

I was never heard.
And she complained to us: « I don’t want to stay here. How can you do that to me? You are my children?».

And I cried, silently.
And I feel ashamed.
I loved her.

Liza Dimbleby

Playing Shostakovich to Greenfield Park Care Home, Glasgow, August 2021
WAVES OF CARE, a collective art work for TRIGGER 
Thanks to Daisy Richardson for video footage

Letter from Glasgow: Waltz no 2. 

We used to play in pubs before the pandemic. Ten or twelve of us, some artists, a theatre worker, an academic, social worker and a psychologist. Now we are a touring band. We are quite in demand, at Care Homes and Hospital Departments, for ailments mental and physical. On Sunday we played our Christmas gig at the Neurological Rehabilitation Unit, at the biggest hospital in the city. The doors were opened wide on the small back garden and the sky above the helipad of the vast complex opposite was dense with rain that fell as a fine curtain and then more furiously as we played towards the distant figures in chairs and wheelchairs, looking out.

Click Here to Read More

Luise Schröder

Manuela Morgaine

I THOUGHT I WAS IN HEAVEN – WAVES OF CARE a collective artwork for TRIGGER.

It is said that Saint Nicholas resurrected three children, who had been murdered and pickled in brine by a butcher planning to sell them as pork during a famine. Coming back to life, one of the three sighed: “I thought I was in heaven!”

Aurelia Mihai

Aurelia Mihai LUPA – Traces of a Research II, 2014 – 2019
ERASE THE BORDERS a collective art work for Bienal Sur 2021 (Uruguay)

Ivana Vollaro


For Sudha
WAVES OF CARE a collective artwork for TRIGGER.

Dettie Flynn

Same Stars Shining on Sisters Heads
WAVES OF CARE, a collective art work for TRIGGER

Photograph & Audio

Château aux Ciel (Castle in the Sky) Champtoceaux 49 France

Jully 20 to Jully 27

 

SE Barnet

Time, Single channel video, 45″


Ana Mendes

Ana Mendes, Almost Light, drawing – ink on paper; 14.7 x 10.5 cm, 2021

Manuela Morgaine

WE ARE

Liza Dimbleby

Landscape Inside, Glasgow July 2021 

Letter from Glasgow: Staying Put

My children did PCR tests and took the night boat to Ireland with their father. I have stayed behind to try and work. Its a heatwave on the streets but I stay indoors, too familiar with the imaginary landscapes outside to be drawn out. The silence of the empty rooms in my flat makes a novel, larger landscape. I pull down the blinds to mute the bleaching harshness of light beyond the windows and make a glowing secret space. I can believe myself in Rome, Madrid or Budapest, in the enclosing solitude of another time and another country. It is enough for now.

Click to read more


Katja Stuke

Katja Stuke, No Tokyo, 2020
from the series: Supernatural

 

June 15 to June 22

 

Michelle Deignan

Near and Far
Single channel HD video, 1′ 05″, 2021


Ana Mendes

Ana Mendes, The People’s Collection, 2021, artist book, 10.5 x 14.8 x 15 cm © photo Ana Mendes

Catherine Radosa

Paysage triangulaire
Presentation at La Maison de l’Ours consisting of a performance, a video, a large-format painting on fabrics (10m x 1.5m; June 13, 2021, duration 1 hour).
At the invitation of curator Simona Dvořáková and Kristina Solomoukha and Paolo Codeluppi on the occasion of the exhibition Langue pmaternelle.
Photography: artist Ruda Samohejl

Liza Dimbleby

Other People’s Rooms (VII), Glasgow Street, 2021

Letter from Glasgow: Glasgow Street

For fifteen months I have been circling this small perimeter of the neighbourhood, finding spaces from which to take off into other imagined worlds. Overgrown gardens, back lanes, rooftops and windows become wide open fields, strange lands, remote castles and inviting interiors — my day dreams and diversions.. Never quite in step with the present, in spite of this long staying put, never quite catching up with the turns of the year — the blossom blown the day after you notice it properly, the leaves in autumn also. Staying put, for longer than you ever thought possible, does not deliver the solidity or permanence that you long for.

Click to read more


Kyoko Kasuya

Listen to the voices of the sea,
shortfilm, 5’43, 2019

 

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