Jim Moir (aka Vic Reeves) explores Video Art, revealing how different generations ‘hacked’ the tools of television to pioneer new ways of creating art that can be beautiful, bewildering and wildly experimental.
Siri wakes to find herself trapped inside a brutalist candy-coloured dreamhouse. Despite the cutesy decor, the place is far from benign, and she and her inmates are encouraged to compete for survival while being watched over by surveillance cameras, 24/7. Presiding over the group is an authoritarian diva who speaks entirely with the voice of Kenneth Clark from the 1960s BBC series Civilisation. As she forces the women to go head-to-head in a series of demeaning tasks, Siri, with the help of fellow inmate Alexa, starts subverting the rules and soon reveals the sinister truth that underpins their world.
Celebrating Billy Connolly's 75th birthday and 50 years in the business, three Scottish artists - John Byrne, Jack Vettriano and Rachel MacLean - each create a new portrait of the Big Yin. As he sits with each artist, Billy talks about his remarkable life and career which has taken him from musician and pioneering stand-up to Hollywood star and national treasure.
Simultaneously sumptuous and gorgeous, garish and grim, this is a re-working of Pinocchio for the neo-liberal era. Rachel Maclean’s dark fairytale, which represented Scotland at the Venice Biennale 2017, depicts a brash and baroque binary world of poverty and riches where the prospect of easy wealth tempts even good boys like Pic into bad ways. But if everyone believes the lie, what’s the problem?
A supersaturated satire with a look into the land of data-addicted monk-like figures and dance-crazed rabbits.
Feed Me is a larger than life fairy tale, part TV talent show, part thriller, video game in which Maclean plays all the parts
Rachel Maclean is a multi-media artist born in 1987 in Edinburgh. Using film and photography, she creates outlandish characters and fantasy worlds which she uses to delve into politics, society and identity. Wearing colourful costumes and make-up, Maclean takes on every role in her films herself. She uses computer technology to generate her locations, and borrows audio from television and cinema to construct narratives with a comedic touch. Maclean lives and works in Glasgow.
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