- Alexander Kennedy
- 10 April 2008
The art of science
Curator Alex Frost talks to Alexander Kennedy about curating an exhibition of sculptures by 13 artists at Glasgow’s Collins Gallery
‘I was asked to do a solo exhibition at the Collins gallery for Glasgow international,’ says Glasgow-based sculptor Alex Frost, ‘but the idea of putting a group show together just seemed more interesting.’ Frost and Sorcha Dallas have brought together a host of established and up and coming young artists, in an exhibition that takes the gallery’s collection of scientific instruments and Frost’s interest in the development of digital technology as its starting point. ‘Sorcha and I came up with a list of artists,’ says Frost. ‘It’s down to her that we’ve managed to get such an fantastic selection of works for the show.’
There will be 13 artists exhibiting at the Collins, in an exhibition that focuses almost exclusively on sculpture. The list includes Frost himself, as well as a group of some well-known artists based in Glasgow: Torsten Lauschmann, Gregor White, Laura Aldridge, and Rob Churm. Some of these artists seem to instantly fit into Frost’s brief – an analysis of the relationship between technology through sculpture – so it will be interesting to see what artists such as Churm and Wright (better known for gestural marks and detailed neurotic drawings) will be presenting. Away from this local talent, Dallas and Frost have also managed to attract some international names: Richard Deacon, Roger Hiorns, Jason Meadows, Bernd Ribbeck, Pae White, Mary Redmond, Haegue Yang and Heimo Zobernig.
Some of these artists will be familiar, but many are young contemporaries of Frost, who are slowly coming to international attention through the biennale circuit, or whose talent has by been recognised by being exhibited at the Tate. The work ranges from Deacon’s sausage-shaped, late minimalist modular works to the White’s colourful plastic explosions, a wide range of sculptural approaches that could be thought of as a mini-history of late 20th century sculpture.
‘There’s no way we can show all of the collection or even make some sort of survey on the history of the uses of craft and digital technology in contemporary art,’ says Frost. ‘What we can do is show a selection of interesting artworks that we think will work well in relation to the items in the collection, objects that are interesting to us, coming from a non-scientific background.’
It seems that Frost brought this exhibition in through the back door of the Collins, a gallery that usually shows applied arts and craft in all its guises. As an artist whose work mainly deals with digital languages and modes of representation that side-step or filter the artistic intention through set processes, Frost was an interesting choice. And now, acting as curator with Dallas, it seems pretty likely that these issues will come together in the work presented.
‘The theme came out of some of my previous thoughts about the interrelation of developments in craft and technology,’ says Frost. ‘There are plenty of illustrations of this. On a more personal level I’ve tried to understand the more recent developments myself, for example, learning how to make use of computers at a very amateur level. A number of the other artists selected for this show share this curiosity or a similar scientific enquiry.’
‘run run’ is at Collins Gallery, until Sat 3 May.