Katie Paterson & Albrecht Durer: and per se and, Parts III & IV
Ingleby Gallery, Edinburgh; Part III, until 15 April; Part IV from 19 April
www.inglebygallery.com
IT BEGAN with “The End”, which was, as gallery director Richard Ingleby remarks, “as good a place to start as anywhere.” This “End” was Mark Wallinger’s 11 minute rolling list of credits, running on a 35mm film – requiring some help from The Filmhouse to set it up in the gallery – to the sound of the Blue Danube. Coinciding with the artist’s double exhibitions at The Fruitmarket and Dundee Contemporary Arts, it set up an exhibition in series of 27 works shown in overlapping succession, running for the next year whilst the Ingleby Gallery is temporarily back in its original home – which is also the owner’s.
It’s a neat idea, making the most of the relatively small one-room space in the Carlton Terrace townhouse as they prepare to open a new, bigger venue. The title of the whole is “and per se and”, taken from the character once considered the 27th letter of the alphabet. Each work shown is “somehow triggered by the one that has gone before”, and so on in rolling succession.
Wallinger’s film was initially joined, after a couple of weeks, by a rare complete edition from 1511 of Albrecht Durer’s The Apocalypse, opened on the page engraved with the Four Horsemen of the Apocalypse. Two weeks on the Wallinger has been replaced by the excellent Katie Paterson’s early All the Dead Stars, a work which charts the 27,000 stars which have died in our Universe since such records began. The Durer was turned to the print for The Opening of the Fifth and Sixth Seals (The Stars Falling From Heaven) – what else?
You have until tomorrow to enjoy the 500 year old Durer, whose importance in the history of printmaking is undisputed. Next week it will be replaced by the nine volumes of Lawrence Sterne’s “The Life and Opinions of Tristram Shandy”, volume one turned to the famous black page, on the death of the author’s “poor Yorick”. An image from Paterson’s History of Darkness will make up the neatly abstract pairing. With its wonderful emphasis on a small number of works – whose pairings may or may not be obvious – repeat visits over the next year will be a must.
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