Patricia Cain at Kelvingrove, Glasgow
[THIS WEEK] James Pallister on an exhibition documenting the construction of Zaha Hadid’s Riverside Gallery
It was good to see the painter George Shaw – whose current show at Newcastle’s Baltic was covered in this magazine by Andrew Mead earlier in the year (AJ 03.03.11) – on this year’s Turner Prize shortlist. It means you’ll have another chance to see Shaw’s enamel paintings of unloved, deteriorating wastelands and houses, or what the artist calls ‘Machines for dying in’. The Turner Prize show will be at Newcastle’s Baltic Gallery from 21 October 2011 until 8 January 2012.
Along with the Stirling Prize, which this year is hosted in Rotherham, it’s a welcome, albeit all too rare instance of the cultural booty of big ticket prizes being shared out a little further than the M25. A cynic might write this distribution down as a pre-2012 Olympics emollient, but it’s still a welcome one.
Now open until August in Glasgow’s Kelvingrove Gallery is Patricia Cain’s ‘Drawing (on) Riverside’. It’s the completed work of a project she discussed with architect and skilled draughtsman Alan Dunlop on these pages (AJ 21.10.11) last year. There are more than 100 pieces in the show, among them the 3m-high paintings of structural steelwork. There is also a 6.5 x 2.5m sculpture, constructed with Ann Nisbet of Dualchas Building Design. For Cain, this is the centrepiece. She and Nisbet used materials – a wooden structure plated in zinc – and methods commonly used in shipbuilding. The result, Cain hopes, is an ‘artwork which shows the collaborative and creative processes which happen in making architecture’.
The complex geometries of Zaha’s Riverside Gallery, with its column-less structure, are now hidden, but remain, meticulously documented, in Cain’s paintings.
For other, filmic, examples of documentary of transition, look up Peter Lesson’s snapshot of change in Liverpool’s Scotland Road, Us and Them.
Patricia Cain’s ‘Drawing (on) Riverside’, Kelvingrove Art Gallery and Museum, until 14 August 2011