Modern & Contemporary Art Exhibitions in Glasgow

To become 2: Certainties of Doubt is the second chapter of a long-term co-creation project led by artists Eden Dodd (Glasgow, UK) and L. Camus-Govoroff (Paris, FR), with curator Flora Fettah

Lawless's work is architectural in suggestion, exploring the unrepeatable image as it dissolves into more elusive forms. Working with found and recycled materials, including postcards and paper, she embraces an open and experimental approach to printmaking.

Martin Boyce’s exhibition title is an invitation, one which casts the galleries as a liminal interior, a place both eerie and incomplete. It also points to a movement from interior to exterior, one concurrent with a change from natural to manmade. Boyce produces a simultaneity of conditions, somewhere between home, stage and landscape. Each artwork has a double-life, nodding to elements in the environment and industrial design, to the real and fictional: a sculpture registers as a coat stand and an orrery; steel chain resembles the branches of a tree; glass lanterns are cherry blossom; a fireplace becomes a theatre. The main space is populated with sculptures, text, and panels softly coloured in muted hues of rose, lemon yellow and teal, and often rendered in perforated steel or thin glass, lending the room a sense of openness and lightness. The four corners of the main space are occupied by steel letters that spell out the words: Atomised Bones Stars and Dust. The phrase recalls the concise language of advertising but is underpinned

For VAN, Zayd Menk works with a decommissioned vehicle, intercepted on its way to scrap. Three hundred years ago on land the fastest speed we could go was the speed of a horse; three hundred years before that, and before that, and before that… the speed of a horse. A message could not outrun its messenger. This exhibition considers speed, arrest, progress and its obsessions. Fixed and frightened forms rebelling

A new body of work by Glasgow-based visual artist working across painting, collage, printmaking, installation and digital imaging.

Andrew Kerr’s practice is rooted in drawing. His pencil drawings, exploring letterforms, text and shape, provide both pictorial ideas and a technique which move into painting. In Capture Builthis, there are pairs of paintings which share a common origin, following the approach of his drawings where the same word or set of forms are repeated and reshaped across different sheets. This intuitive method, one which relies on following an unfolding process rather than a strict logic, extends into Kerr’s investigations of sculpture and architecture too. Shapes chime between the dancing vessels, column-like emblems, and pleated spaces in the paintings and the interventions in the space. Set design formed a key part of the output of many artists in the 20th century, with the interplay between the fine arts and performing arts producing experimental results both on the canvas and stage. In the lead-up to the exhibition, Kerr chanced upon theatre commissions by André Derain (1880–1954), Balthus (1908–2001) and Alberto Giacometti (1901–1966), delighting in the teasing of perspective and confident artifice found in their designs. The notion of mise-en-scène as

To celebrate the bicentenary of the Royal Scottish Academy, GPS presents an exhibition of work by four RSA Academicians: Robbie Bushe, Rachel Maclean, Barry McGlashan and Caroline Walker.