23 Jan 2019
Katherine MacBride’s new exhibition presents a series of large-scale textile works and interpretative tools which form spaces within and outside the CCA gallery, alongside a series of events and a new performance encompassing questions about how an imagined Europe based on feminism and queer care might behave.
MacBride’s work explores different forms of hospitality, thinking about how listening and attentiveness can happen in conflicted spaces and times. She is interested in how the structures of CCA can offer different modes for interpreting and accessing artworks, beyond pieces of paper or wall texts, and how the work can involve itself in more material ways of speaking and performing. While her interests focus on relational entanglements, listening across difference and working creatively towards an ethics of inseparability and interdependency, the work also poses questions about the spaces of CCA, and how it can think and host differently.
Having been breathed in / patriarchy over and out brings together a series of large-scale textile works – soft and tactile architectures, day beds, and quiet acoustic interventions – across the gallery and Saramago Café Bar. Making use of different sustainably-sourced fabrics, plant- and mineral-based dyes, and remainder materials, the works hold a range of sensory capacities and ethical considerations – installed as spaces for encounter, response, and rest. Inherent to MacBride’s practice is her aim to make work that exists for people with a range of experiences, ages and capacities, and doesn’t demand prior knowledges of the languages of artistic research and presentation.
A key part of the exhibition is a new performance on 16 February, a speculative re-memory of a porous Europe based on feminist solidarity and queer care, making reparations for its colonial violence and ecological wastage. The performance centres on four female characters: Sappho, the ancient poet; Lena Platanos, the electronic musician who wrote songs for children’s radio; Melina Mercouri, the actor who was stripped of her Greek citizenship during the dictatorship and subsequently became minister of culture in the 1980s socialist government in Greece, and Maria Spentza, the modernist painter who made ceramic domestic artworks in the 1960s. The performance is made with access consultation from Collective Text, in collaboration with Angelica Falkeling, Anna Frei, Clara J:son Borg, and Raluca Croitoru.
Additionally, three events with Azahara Ubera Biedma, Emma Haugh and Naomi Pearce will make space for embodied and embedded forms of shared study – thinking and doing together. A mixtape compiled by Amal Alhaag and Maria Guggenbichler will live within the exhibition.
Little Frances and Her Carp, an event with Naomi Pearce on 23 February will reflect on wider discussions in contemporary art around feminist ways of working together, invisible labour, infrastructure and gender. This event is intended to open up space around where art exists, and who does this art, with a focus on expanding the notion of artistic practice to activities that are often feminised and relegated to supporting role status but are in fact central to artistic production and distribution. Pearce will produce an audio text which responds to the exhibition; a written transcript will also be available.
Independent researcher, dancer and choreographer, Azahara Ubera Biedma, will host intra-actively, a discussion- and movement-based workshop on 2 March, to experiment with Azahara’s current methodologies of Manada. Manada is a tool-box of methodologies that is activated with different groups and situations, in workshops, laboratories, exhibitions, and in hybrid spaces, to create and collaborate in the creation of collective knowledge through a technological, transfeminist and posthumanistic approach to the body. As a basic group practice, it is used to open up spaces of trust, care, and physical comfort with others, in order to create a sense of temporal community.
Emma Haugh, a visual artist and educator based in Dublin and Berlin, will hold one of her Reading Troupe workshops at CCA on 9 March, titled '...there is magic loose in the world...', a reading with Samuel R.Delaney's 'Return to Nevèrÿon' series. The Reading Troupe is a nomadic and mutating practice of performative and theatrical reading techniques. Incorporating improvisation, collage, fortune telling, psychogeography and collective cut-ups, the workshops are contingent to time, place and people. Weaving together installation, performance, publishing, and collaborative workshop techniques, Emma is interested in re-orienting attention in relation to cultural narratives and develops work from a queer/feminist questioning of what is missing?
CCA Curator Ainslie Roddick said: “We are excited to work with Katherine because of the way she thinks not just about materials, forms and affects but the wider infrastructure in which her works exist. She thinks carefully about how to construct spaces and encounters that might support different kinds of experiences with artworks. Her show is the first of many this year asking different questions about the gallery, the building and our methods. I am especially looking forward to the performance and events programme which is key to the ethics of her practice.”
The exhibition takes the second half of its title from a song by Planningtorock, and is kindly supported by The Mondriaan Fund.
having been breathed out / patriarchy over and out
Sat 9 February – Sun 24 March // Preview: Fri 8 February, 7pm-9pm
Tue-Sat: 11am-6pm // Sun: 12noon-6pm // Free
Centre for Contemporary Arts (CCA), 350 Sauchiehall Street, Glasgow, G2 3JD
Performance, Sat 16 Feb, 8pm, Free but ticketed / All ages
Little Frances and Her Carp, event with Naomi Pearce, Sat 23 Feb, 11am-6pm,
Free (unticketed) / All ages
intra-actively, workshop with Azarara Ubera Biedma, Sat 2 Mar, 2pm,
Free but ticketed / All ages
Reading Troupe #13…there is magic loose in the world... workshop with Emma Haugh, Sat 9 Mar, 2pm, Free but ticketed / All ages