gair dunlop
Since 2002
Works in Newport On Tay United Kingdom of Great Britain and Northern Ireland

PORTFOLIO (3)
BIO
gair dunlop and dan norton work both separately and in collaboration on a wide range of projects.

Their collaborative work has included 'Cumbernauld: town for tomorrow' at www.cumbernauld.nu
and 'Console' a commission from FACT Liverpool.

gair dunlop works across a range of media, and his projects have included a Daniel Langlois funded residency in Nova Scotia, a Wellcome Trust commission to celebrate the 50th anniversary of the discovery of DNA, and curation. He lives in Glasgow, Scotland. His website is at www.gairspace.org.uk

dan norton works with computers, sculpture, images music and performance. His work has been shown in galleries, at the Venice Biennale, in clubs, and now at the FILE festival in Sao Paolo. He lives in Glasgow, Scotland. His website is at www.ablab.org

The artists began collaborating after meeting on the postgrad course in Electronic Imaging at Duncan of Jordanstone, Dundee.
Discussions (4) Opportunities (0) Events (0) Jobs (0)
DISCUSSION

new strands for an established Media Arts Masters Course


MSc Media Arts and Imaging at Duncan of Jordanstone College, University of Dundee

CALL FOR APPLICATIONS

Applications are now being sought for this interdisciplinary and forward-looking course.

Several strands of study are available: all are dedicated to producing challenging and creative skilled practitioners. Masterclasses, an international lecture programme, collaborative work and dialogue form the basis for production and reflection. Each strand benefits from the involvement of renowned artists, practitioners and experts.

Electronic Imaging
This programme brings together research into technology, ideas, culture and creativity. Digital film, interactive artworks, curation and online productions are some of the outcomes.

Screendance
The first decade of the 21st century sees the convergence of dance and the moving image manifested in many different forms and contexts, from single screen video dance works to pop promos, documentation to feature films, live performance with technology and net dance. All require a critical and technical understanding of and experience in both dance and the media arts.

Animation and Visualisation
Over three semesters a varied, yet complementary, series of modules cover areas of professional practice ranging from the application of contemporary technologies to production and post-production. The Programme offers the opportunity for animators to develop their skills in 2D traditional and 3D computer animation through the execution of their own projects.

3D Computer Animation
The MSc in 3D Computer Animation enables students to develop advanced skills, knowledge and understanding within the field and is designed to prepare graduates as highly skilled professionals in the Animation, Computing, Visual Effects, Interactive and Visualisation industries.

for more information and how to apply, visit
http://www.imaging.dundee.ac.uk/main/programmes-in-brief/20040720170357/

or contact Gair Dunlop, MSc course leader, on 01382 388944
gdunlop@dundee.ac.uk

DISCUSSION

URGENT: Threat to Glasgow arts infrastructure


>Subject: Fwd: Tramway
>Date: Thu, 18 Sep 03 14:33:46 +0100
>From: Malcolm Dickson <info@sl-photoworks.demon.co.uk>
>To: "Ambit" <ambit@mediascot.org>
>
>
>Dear All,
>
>Sorry if you have already received this news but its importance
>necessitates as many relevant people being infomed as possible.
>
>In the last two weeks, Glasgow City Council has announced to its
>staff at Tramway that, pending the outcome of a capital lottery
>application to the Scottish Arts Council, Scottish Ballet will
>relocate its entire operation into the Tramway and Tramway 2, the
>unique large scale exhibition space, will close in order to provide
>Scottish Ballet with a rehearsal studio/workshop space.
>
>Needless to say there is a high level of concern being expressed not
>only from the Visual Arts community but also from performance
>companies who have used the exhibition space for large scale
>performance works.
>
>We need to gather together as many people nationally and
>internationally as we can who will, when the moment comes, write to
>Glasgow City Council, Scottish Arts Council, Scottish Ballet and the
>Scottish and UK press. I would be grateful if you could identify
>and/or contact people to let them know of this development and let
>the following people know who they are:
>
>toby webster toby@themoderninstitute.co.uk
>Francis McKee francis@glype.demon.co.uk
>and myself s.reid@gsa.ac.uk
>
>I have attached a briefing document and chronology of Tramway
>exhibitions since 1990 to give you an idea of what would be lost.
>
>Many thanks
>
>Seona Reid
>
> Tramway 2 Briefing paper
>
>Proposal
>
>Glasgow City Council is proposing that Tramway 2, the unique large
>scale exhibition space on the ground floor, is given to Scottish
>Ballet on a permanent basis as a rehearsal studio. Scottish Ballet
>will move its entire operation into Tramway and a capital lottery
>application is being submitted to the Scottish Arts Council for an
>October deadline to support the conversion of disused Tramway
>stables into office and other accommodation for the Company. The
>current performance activity in Tramway 1 and the workshop activity
>in the stables will continue unchanged. Only the visual arts space
>is proposed for this fundamental change of purpose. The Tramway
>staff were informed of this last week.
>
>There has been no consultation about this and the proposal is at
>odds with Glasgow City Council1&#8260;4s own visual arts strategy published
>in January 2001 which was the subject of consultation. That document
>identifies the future of Tramway as part of a ?citywide contemporary
>art strategy for emerging, mid-career and established artists3&#8260;4 That
>document goes on to describe Tramway in the following terms:
>
>?The unique scale and architecture of Tramway allows for exhibitions
>of work which could not be shown in, or created specifically for,
>any other venue in Scotland and the UK3&#8260;4
>
>Tramway, although suffering recently from a lack of financial
>commitment from Glasgow City Council, remains one of the most
>important visual arts spaces in the UK and recognised to be so by
>major artists and curators across the world. It is the biggest
>visual arts space outside London and one of few in the UK where
>artists can make international careers. To close it would
>fundamentally diminish the City as an international centre for the
>visual arts and at a time when Glasgow's visual arts community is
>acknowledged to be so dynamic and successful. Glasgow is
>acknowledged to be one of the most important cities in Europe for
>the production of art and Tramway is an essential and irreplaceable
>element within that visual arts ecology.
>
>Scottish Ballet is aScottish Opera/ Scottish Ballet1&#8260;4 ? legally one
>company with one board. The Chief Executive is Christopher Barron
>and the Ballet Director is Ashley Page. Ashley Page has been
>appointed to regenerate the ballet company after a period of decline
>in artistic standards and has re-shaped the Company over the last
>year during which time the company has not performed. It makes its
>debut performance at Tramway 1 on October 2, 2003.
>Arguments Against What is Proposed
>
>Summary:
>
>O Glasgow (and Scotland) has an international reputation of the
>highest order for contemporary visual arts.
>O Tramway 2 is a key part of the visual arts ecology- does not only
>exhibit but also commissions.
>O It is the only space in Scotland where both locally based and
>international artists can work on a monumental scale.
>O It has launched careers of major Scottish based artists now
>working internationally and has brought international artists to
>Scottish audiences
>O It attracts international curators to work in Glasgow
>O It attracts major press and media coverage which enhances
>Glasgow1&#8260;4s reputation as a cultural and creative city.
>O Since Tramway's re-launch in June 2000, the venue has presented 13
>major exhibitions presenting the work of over 100 artists of
>international standing. These exhibitions have often shown work by
>artists who have not exhibited previously in the UK and, in many
>cases, have presented new work which was specifically produced for
>exhibition at Tramway.
>O Tramway is unique and irreplaceable. A dance rehearsal space just
>needs to be large, warm and with a sprung wooden floor ? it could be
>anywhere.
>
>
>
>Highlights of the programme at Tramway between 1990 and 1999 when
>Tramway underwent capital development with an SAC Capital Lottery
>grant:
>
> Andy Goldsworthy Snowballs in Summer
> David Mach Here to Stay
> Bruce McLean Vertical Balcony
> Temperamenti Contemporary Art from Northern Italy
> New North New Art from the North of Britain
> Tony Cragg Solo show
> Read My Lips New York Aids Polemic
> Douglas Gordon 24 Hour Psycho
> Alfredo Jaar (un)framed
>Christian Boltanski Lost Property
>Christine Borland From Life
>Julian Opie Imagine you are Walking
>Trust International show including Marina Abramovitch and Ulay,
>Maria Eichorn, Willy Doherty, Stan Douglas etc
>Stephanie Smith
>and Edward Stewart Solo Show
>Alan Sekula Fish Story
>Jason Bowman Untitled (The Diary of Anne Frank)
>Yoshiko Kamikura Interior/After Shooting
>Marina Abramovitch Performances 1976-1988
>
>Highlights of the international programme at Tramway since re- launch in
2000:
>
>The group exhibition Mirror's Edge - Tramway was the only UK venue for the
>Show and the only venue in Scotland that was able to house a wide
>range of work (including large scale sculptural work, installations
>and projections) by 27
>leading international artists. The show was curated by Okwui Enwezor: an
>international curator responsible for Documenta in 2002 (major art event
>in Kassel every 2 years). This exhibition brought new work, some
>produced at Tramway specifically for the space, by leading international
>artists such as Thomas Hirschhorn, Steve McQueen and Thomas Demand.
>
>Exhibition with Pierre Huyghe and Philippe Parreno: these
>French artists had not shown in the UK outside London until this 2000
>exhibition. A new work was produced. Both artists are amongst the most
>critically acclaimed artists of their generation: in 2001, for example,
>Huyghe represented France at the Venice Biennale
>
>Only Scottish showing of 336 Pek - amazing video work by Portuguese artist
>Joao Penalva - again, represented Portugal at 2001 Biennale - shows
worldwide.
>
>The solo exhibition of Swiss artist Pipilotti Rist in 2001 included
>a commission for
>new work for Tramway 2. This was the artist1&#8260;4s first solo exhibition
>in the UK for several years.
>
>?When I first approached her gallery in Zurich I was told that she
>receives on average up to 50 invitations for shows worldwide a week
>- she agreed to do this exhibition as she knew of Tramway's
>reputation and wanted to work in the space.3&#8260;4 Alexia Holt
>
>Greyscale/CMYK: group show profiling work of artists from the Nordic
>countries - 40 artists showing in Tramway 2 within an architecture
>designed specifically for the space by international architectural
>company
>
>Cave, by the Finnish artist Salla Tykka in 2002/2003. Tramway commissioned
>The third and final film in a trilogy of works, the first of which was
>internationally praised following exhibition at the Venice Biennale in 2001
>
>Tramway's 'international pulling power' extends beyond the artists.
>It has been able to attract leading international curators to
>produce shows for Tramway - Enwezor, Andrew Renton and Ami Barak -
>Ami Barak is organising a major show with 30 international artists
>for April 2004; he currently works as the man responsible for
>contemporary art projects in Paris. He agreed to do this show as,
>for him, Tramway is a 'mythical space' . When such individuals visit
>Tramway they also make contacts here, see the work produced by
>Glasgow artists etc.
>
>Tramway plays a vital role in terms of international exchange
>
>Highlights of work by Scottish artists at Tramway 2- launching
>international careers:
>
>The programme has also focused on the presentation of work by emerging,
>young Scottish artists which is shown in an international context.
>By positioning
>such work in an international context, the profile of these artists is
raised,
>dialogue with artists from other cultures and backgrounds is facilitated
and
>the international quality of work by local artists is highlighted.
>
>Since June 2000,over 50 Scottish artists have shown at Tramway. Many
>artists were offered commissions to produce new work. Both the
>Project Room Gallery and Tramway 2 are used for these shows. The
>importance of many of these commissions to the future careers of the
>artists cannot be underestimated : it is widely acknowledged that 24
>Hour Psycho consolidated Douglas Gordon's practice to date and
>presented his work on an ambitious platform - it was his first solo
>show and a launch pad for a future international career. Christine
>Borland, Jackie Donachie, Roddy Buchanan all had their first solo
>shows here. In this vein, recent Exhibitions in Tramway 2 such as
>HK, by Joanne Tatham and Tom O'Sullivan, and a solo Show with Martin
>Boyce, have served a similar function. HK led to a solo show at
>Cubitt Gallery in London and participation in Zenomap at this year's
>Venice Biennale; Martin's exhibition at Tramway is about to be shown
>at the Lyon Biennale.
>
>Tramway is currently the only venue in Glasgow that has consistently
offered
>commissions for the production of new work to artists as a key element of
>its artistic policy.
>
>Partnership with Glasgow School of Art, is also unmatched: it stages
>the MFA Degree Show; offers commissions to recent graduates of both
>BA and MFA courses; works with the School of Fine Art on the
>development and realisation of the GFT Friday Morning lectures;
>provides studio and residency space to post-graduate students.
>
>Tramway is the only venue in Glasgow to offer residencies to artists (over
>the summer months): this year, 4 artists - one from new York - were given 3
>months in Stable 3.
>
>Performing space
>
>Tramway 2 was conceived as a flexible, public space and is used not only
for
>visual arts but also for large-scale performances which could not be housed
>within Tramway 1. These have included over the years the following
companies:
>
>Brithgof
>Cone Gatherers/Test Department
>La Fura dels Baus
>Fierce/Motionhouse
>Boilerhouse
>Stewart Laing
>Grace Surman
>Positive Profile
>Arguments may be presented about the role of T2 not being realised
>and about its low attendance figures. The international quality of
>the visual arts programme speaks for itself, but the standing which
>Tramway has in the eyes of the UK and international press and media
>is also a major ingredient in promoting Glasgow as a creative city:
>
>The visual arts programme has maintained a high level of exposure in
>key national, UK national and international press. Salla Tykka's
>show was given a double page spread in the Guardian tabloid this
>year (notoriously difficult to get the reviewer out of London).
>Tramway exhibitions are covered in all the major art periodicals
>and have received consistently excellent reviews. In a recent
>article in the Herald, on the arrival of the Fruitmarket's new
>Director, it was noted that although the Fruitmarket was perceived
>traditionally by some to be a 'jewel in the crown' of Scotland's
>visual arts venues, it was in fact, Tramway and DCA that fulfilled
>this role in terms of international work and quality of exhibitions.
>Given the significant difference in the levels of funding and
>staffing between DCA and Tramway, it is remarkable that this status
>has been maintained. The current budget for visual arts programming
>is only

DISCUSSION

world wide walks


world wide web=world wide walks

graphics shape our lives on and off line. What sort of place is made when we treat the worlds of the graphic and the instruction as entire universes, self contained and self sufficient? PROPOSED is an open collaborative project, as international as possible, taking walks across real places, reducing the graphic elements encountered to a 360 by 240 quicktime at 2 seconds per frame, then putting them up as records of transits and graphic encounters.

The rules? You have to be able to see each sign from the one before. Visual hopscotch. What will our towns cities and landscapes look like? And what will they look like together? What can we do with them? One possibility would be to crush them small and send to the Electrohype Classic II exhibition in Malmo. Other ideas will develop... interested? samples below; not streamed movs as yet but soon.
This could be quite interesting and quite unpredictable!
http://www.gairspace.org.uk/htm/walks.html

DISCUSSION

cumbernauld: town for tomorrow


Whatever happened to Modern Living?
www.cumbernauld.nu
Cumbernauld, town for tomorrow. A New Town to hhouse the new youth...
an interactive re-animation of a modernist utopia
Optimism and apocalypse in the Cold War Boom were intimately entwined. The engagement of architects and planners was now with the technological sublime as expressed in the accelerated needs of defence industries and their increasingly consumerist workforces...