Like Home

In our home town of Berlin, Catherine Marshall visits an exhibition that explores notions of place and home through the work of different artists:

In a grand corner apartment block in Berlin’s Mitte near Friedrichstraße, eleven artists with a connection to South America and Berlin have set up temporary home, or ‘Like Home” as the exhibition is titled. It is organised by the project Loop Raum, and the focus of the work is on abstraction, patterning, repetition and colour. Visiting it transported me back to the time of abundant unrenovated spaces in Berlin, where you might come across pop-up exhibitions in unusual places and have the pleasure of discovering the unexpected. Stepping into the the first-floor apartment where the exhibition is held, the space exudes the former grandeur of its Grunderzeit architecture with its high ceilings, intricate stucco and beautiful parquet flooring. At the same time, the rooms are damp and cold in places, the corridors are quite spooky and maze-like and plaster lies exposed with remnants of wallpaper from bygone years. We start to explore.

Carla Guagliardi / "O Lugar do ar" (The place of air)

Carla Guagliardi / "O Lugar do ar" (The place of air)

In the first room, we see a delicate kinetic sculpture of iron rods supported by rubber bands that crisscross the entire room by the Brazilian artist Carla Guagliardi.  A piece called "O Lugar do ar" (The place of air), its structure imposes a new language over the room with its potential to shift and change shape. It's material and formal abstraction is incongruous to the historicist style of the room, yet it reinvents it. It is not solid and fixed, yet it has a strong presence. When we endeavour to make a new city feel like home, we wish to carve out a space for ourselves, both physically and mentally. Due to economic necessity, a transient way of life can also become a permanent state.

We turn the corner down a long corridor where a small drawing by Columbian artist Carlos Silva from his ‘Mazy Drawing’ series hangs. Its overlapping squares of blue ink appear to have been made with a scraping technique. The wall it hangs on carries its own marks: Swathes of white filler on plywood and torn wallpaper edges. The work draws attention to the layers of workmanship and materials of the flat itself. In this show, many of the artworks resonate with the apartment itself, its ghosts and history, making us question who might have lived here. It reminds us also that home is never static, is not just located in place but also in time. 

Carlos Silva / "Mazy Drawing II"

Carlos Silva / "Mazy Drawing II"

Leaving the corridor, Chilean artistGonzalo Reyes Araos’ grid-like “RGB Painting” revels in glitches that might appear on a computer screen, except that this is reproduced here meticulously in paint. It’s as if the romantic landscape genre of the eighteenth century practiced by artists such as Caneletto has been updated. Instead of architectural ruins we have crumbling technology. Have we passed the threshold where our home screens feel more like home than our actual home?

Other works in the show play with optical illusion, geometric forms and seem to want to reach beyond the boundaries possible between four walls or even within the limits of their own frames. Carla Bertone’s colourful painting ‘Turgoxid’ looks as if origami paper has been folded and refolded in a quest to reach the limits imposed by the square, if there are any. Maria Muroz’s “Lemniscata” is a play on the mathematical symbol of an infinity loop. Close up, however the progression of colour through the figure of eight is not so straightforward. New angles and colours become apparent, questioning our own logic.

When you move city or country or live between places then perhaps there is ‘no place like home’. Instead it is something better, a plurality of homes, experiences, memories, friends and origins. We have moved on from Dorothy’s trance-line repetitions of “there is no place like home” as she returns to her Kansas’ origin. We prefer the uncertainty of Oz, and its new possibilities. In ‘Like Home’ I felt these artists might enjoy that notion too.

The exhibition ‘Like Home’ has been extended to July 21 and has been expanded to include an additional fifteen more artists. It can be seen at GLINT, Glinkastraße 17, 10117. The show was originally paired with another project called ‘No Place’ with the joint title ‘No place/ Like Home’

End of the Line

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By Catherine Marshall:

This is a story of a rather unusual bus journey to the end of the line in Edinburgh, a discovery of an industrial museum witness to centuries of change and my own transition in moving to a new city and country.

I have always been drawn to the theme of transition both in my private life – often moving flats, cities, countries – and in my photography – which often features urban spaces undergoing change. When I first moved to Edinburgh from Germany, I had a reverse culture shock. I had to relearn a British culture that I had left behind fifteen years ago. To be honest I was happy that I had washed up in Edinburgh and not South of the border. It felt closer to Europe, the tenement-style buildings also reminded me of Berlin. As an English person, it was also nice to still feel foreign, to learn Scots phrases, hear poems read in Gaelic and learn about Scottish culture through my sons' school education. 

When it came to taking photographs and negotiating the city I was less comfortable. I almost felt that as an English person I didn't have the authority to go out there and reframe the landscape through my camera. Apart from that, I had no idea of the geography of the city and didn't know where to start. Then I came across came across (g)Host City, a kind of sound-map of Edinburgh to download where you can hear a story or a poem set in a particular location of the city. I decided to take an 'unreliable bus tour' by Japan-dwelling Scot, artist and musician, Momus. It gave me the framework (and courage) to set off to those mysterious sounding destinations on the front of buses I had seen in town: Wallyford, Ocean Terminal, Hyvot's Bank and Bonally. I cannot really describe the surreal, dark and funny tours he gave, as that is something to discover for yourself.

On one journey I wasn't sure if the bus had actually reached the end of the line. It seemed to circle back so I just decided to get off. The audio tour had ended, my google maps app was not working and suddenly I found myself off map. Two bus stops stood baldly on opposite sides of the country road, the only punctuation marks in an otherwise unreadable flat landscape. Should I go left or right or take the bus back? I decided to follow my nose. Walking down a winding B-road I saw another marker in the landscape, an exclamation mark of an industrial chimney stack. I was alone, not having seen another pedestrian since I had left the bus, and was glad to see some sign of civilisation. A pit head winding-gear came into view. As I walked closer I saw a bricked wall with tiles with illustrations of former industries; fishing, pottery, coal, and brickworks. Through serendipity I had found the Prestongrange Industrial Heritage Museum located on the north-east coast of East Lothian. For centuries this area was the centre of intense industrial activity, with a busy harbour, Morrison's Haven. Now you can just see where the harbour used to be, a rectangular outline on the grassy bank, marked with a sign on the ‘bygone years’, the sign itself nearly faded away through the erosion from the sea air. 

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At the museum I found myself donning my headphones again, this time to listen to an audio-tour of the outdoor exhibits narrated by the late artist John Bellany who grew up nearby, conjuring up, not so different from Momus, an alternative world to the one you see with your own eyes. From Bellany’s stories of Prestonpans you visualise a lost industry; the smoke billowing from the Beehive Kilns that once produced bricks for the buildings of the New Town. Or you find yourself at its mid-eighteenth century heyday with ships loaded with salt, oysters, ceramics, sulphuric acid and coal, or bringing silk, furs from Canada, whalebone and French brandy in return. In the nineteenth century, Irish workers, who first arrived in the West of Scotland, are brought with their families and their traditions to the East by new investors, Summerlee. These new owners also improved workers' conditions, installing indoor plumbing to the mining workers’ housing. Electric generators replaced the steam engines in the powerhouse and electric street lighting was brought to the area. Today the powerhouse houses art exhibitions. I was so taken with the museum, and the fact that I was free to wander with my camera making my own discoveries of an overgrown railway bridge and train tracks in the surrounding forest, that when I returned to the visitor centre the assistant said that she had been thinking of sending out a search party. 

As I left Prestonpans, walking west along the coastal path towards Musselburgh, I came across a quite alien landscape. This was not the Edinburgh that I could have imagined existed when I had set out on my 'unreliable bus tour' that morning. I had found, however, something equally strange. A vast cracked grey landscape stretched out before me towards the sea, made infinite by the fog that was closing in. These are called 'lagoons', a salubrious name for a place where Scottish Power deposited waste ash from the now closed Cockenzie power station. 

In these coastal areas, the delicate balance of man and nature is most apparent. The oysters that the Edinburgh population once enjoyed with their French Claret disappeared towards the end of the nineteenth century overfishing, new dredging methods and pollution from sewage and industrial waste. As industry disappears, nature reclaims, and also in this case offered opportunity for recreation. Bellany recounts several generations of Prestonpans children using the disused harbour as their own swimming pool after the 1930s, conveniently heated by the water dispersed from the pit boilers. Now this coastal area is a destination for walkers and bike enthusiasts. There are also plans to create a nature reserve on the site of the lagoons. Although the lagoons in themselves are dead, they have provided a sanctuary for both sea and wading birds and there are three hides for birdwatchers in the area. In the photographs I took that day, I was drawn to the themes of transition and change, nature reclaiming land itself. But I also wondered about the transitions that families had to go through in the passage of time when industries that had sustained them for so long, came to an end.  

About the author:

Catherine Marshall is an artist and writer based in Edinburgh. She studied photography at the London College of Communication and Glasgow School of Art. She has lived in different countries and cities including Berlin, which she made her home for a decade.

www.catherine-marshall.com

Edinburgh and Elsewhere at the Artists' BookMarket

We are extremely pleased to be taking part at the Artists’ BookMarket at the end of this month, a two day celebration of books and artist-led publishing that is hosted by the Fruitmarket Gallery in Edinburgh. We are being represented on a stall titled ‘Edinburgh and Elsewhere’, and as well as the many different stalls featuring a wide variety of artists and publishers, there are also talks and workshops to take part in.

‘Edinburgh and Elsewhere’ at the Artists’ BookMarket brings photography, illustration and publishing together with a special emphasis on place in all its forms, including the imagination. Edinburgh-based artist Catherine Marshall will be launching her book Fleetway, an imaginative story based on a failed roll of photographic film taken at the Cammo Estate in Edinburgh. Elaine Robson will be showing her artist book inspired by Japanese urban landscape and found text, Under City. As the Scarrow press co-founder, she will also present the contemporary photography 'zine Simulacra.

Husband and husband team O'Brien & Chiu will showcase their illustration and photography projects. 'Drawings in a Time of Dreaming' by Gerald O'Brien, features tiny mixed-up buildings and invented structures, humorously subversive in their resistance to daily life norms and expectations. In 'An Unexpected Return on my Journey to the West', Yi-Chieh Chiu embarks on a personal photographic journey in his partner's home country. He finds an Ireland suffused with colour and abstraction, finds poignancy in the everyday; a way back home even as he is far from his real home in Taiwan.

We are extremely pleased and proud to be in such company, and we think that if you are going to be anywhere close to Edinburgh on the 25th and 26th February you should certainly check it out.

The Artists’ BookMarket at the Fruitmarket Gallery
25-26 February 2017
Sat: 11am – 6pm
Sun: 11am – 5pm
Free Entry
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