dal 26/07/2017 al 02/09/2017

infoWednesday - Saturday, 11 am - 5 pm.

For the 2017 Edinburgh Art Festival Ingleby Gallery reaches the half way point of its year-long marathon and per se and – a sequential exhibition where one work is paired with another for two weeks at a time across a stretch of twelve months.

Having begun with Mark Wallinger’s epic film The End, a thread has been woven through the work of such diverse artists as Albrecht Dürer, Katie Paterson, Callum Innes and Agnes Martin. In each case there’s a link between the two works on show, but there is also a no-less intriguing connection between the works that are not together, made by the work that comes between: a continuum perfectly illustrated by this summer’s sequence.

At first glance the large abstract paintings of James Hugonin, the small-scale still lives of Giorgio Morandi, and Ragnar Kjartansson’s film of a rock band playing the same song over and over again for six unbroken hours, may not appear to have very much in common, but bringing them together reveals an unmistakable connection of spirit.

Fittingly, for an exhibition that is in itself something of a durational challenge, the half way point brings us to a sequence of artists whose very different work and approach is nonetheless linked by their dogged pursuit of ever-varying repetitions of the same subject.

All are the products of an unusual single-mindedness: Morandi working in semi-monastic isolation in Bologna in the middle years of the 20th century, painting the same sets of jugs and vessels over and over again; Hugonin working today - equally isolated from the wider world- high in the Cheviot hills between England and Scotland, working and reworking the possibilities of sequence, series, repetition and variance; and the Icelandic artist Kjartansson whose unique approach to collaborative and durational performance has firmly established has reputation as one of the leading performance artists of the present day.

Kjartansson’s film A Lot of Sorrow depicts the performance orchestrated by Kjartansson at MOMA PS1 in 2013 in which he asked the American rock band The National to play their song Sorrow repeatedly for six hours straight. Described by the New York Times as “Minimalist in structure: yet unimaginably expansive” it is a masterpiece of endurance art - soothingly melancholic and strangely hypnotic. It will be screened in full daily* from 8 August, the first time that Kjartansson’s work has been seen in Scotland.

Image credits from top:

-Ragnar Kjartansson, A Lot of Sorrow, 2013. Single-channel video. 6 hours and 9.35 minutes. Performance by The National of their song Sorrow. The performance took place at the VW Dome, MoMA PS1, New York as part of Sunday Sessions. Photograph: Elisabet Davidsdottir. Courtesy of the artist/ Luhring Augustine, New York/ i8 Gallery, Reykjavik/ Ingleby, Edinburgh.

- Giorgio Morandi (1890 – 1964), Natura Morta 1953 . Oil on canvas, 33.5 x 43 cm. Private collection. Photograph: John McKenzie.

- Installation view of and per se and: part X - Agnes Martin & James Hugonin. Ingleby, Edinburgh (12 June - 22 July 2017).

and per se and

dates and events:

part XI:

James Hugonin & Giorgio Morandi

(26 July - 5 August)

Private view: Saturday 29 July 10.30 am - 12.30 pm

part XII: Giorgio Morandi & Ragnar Kjartansson

(8 August - 19 August)

part XIII: Ragnar Kjartansson & St Sebastien

(22 August - 2 September)

Image: Ragnar Kjartansson. A Lot of Sorrow, 2013. Single-channel video. 6 hours and 9.35 minutes. Performance by The National of their song ‘Sorrow’.

Performance at the VW Dome, MoMA PS1, New York as part of Sunday Sessions