The bogey, the term for a go-cart in Glasgow, has been made across generations by children to drive and play in. Given the DIY character of the bogey and use of scrap materials from old wheels and abandoned pushchairs, the premise of the exhibition, Blueprint for a Bogey, takes the absence of regulations concerning a bogey’s construction or play, to explore concepts surrounding play – the right to play, how we play, and the boundaries of play.
Attention is a collection of 130 silkscreen posters by Corin Sworn, Ciara Phillips and Nicolas Party, of which about 80 are on display. The choice of printing posters was inspired by Palle Nielsen, in particular his installation of printing equipment at a festival in 1969 in Denmark, which handed over the control of communication techniques to the public, and whose printed materials became the festival’s flyers and leaflets. With a visual imagery and language derived from safety literature during the artists’ childhoods in the 1980s, the appropriation provokes thought on the relationship between visual culture, regulations, and aesthetics, and the way that the playfulness is now harnessed back from a domain that has imposed boundaries and norms on the interactions within play.
Hazel stick throw comprises a series of photographs that documents one of Andy Goldsworthy’s ephemeral works, using the act of throwing, randomness, and the interaction of the sticks with gravity to create sculptures formed by the lines and directions of the sticks suspended in the air. Working with materials found in natural environments, Goldsworthy’s work conceives of play as a means of entering into, and experiencing the processes of chance, transience, growth and decay as inherent within nature.
David Sherry intervenes into conventional ways of acting and perceiving, on occasion subjecting himself to stipulated routines or instructions, as gestures which underscore the humor and vulnerability of human action. Coloured Hair Performance is a photograph of Sherry’s performance at the Basel Art Fair in 2009 where he lay on the ground with orange paint poured around the edges of his hair. His hair was then cut away from the paint two hours later, leaving an artwork on the ground.
For Blueprint for a Bogey, Sherry created Electrical Appliance, which he performed at various locations in the gallery. Sherry, connected to an enlarged electrical socket, lies inert almost as if waiting to be charged, challenging our notions of common phrases and objects through playful reinvention of their uses.