Tagged With_Exhibitions

Alt-w | Edinburgh Art Festival 2014

Donna Leishman, Front (2014)

1st to 30th August 2014, Tue-Sat 10am-4pm.
Evolution House, 78 West Port, Edinburgh EH1 2LE

An exhibition of new work by ~ in the fields, Chris Helson & Sarah Jackets, Hadi Mehrpouya & Robert Powell, Donna Leishman and Calum Stirling, all commissioned by New Media Scotland’s Alt-w Fund.

In Help Me Obi, Helson and Jackets have built a seemingly impossible machine, a 360º video hologram to investigate remote relationships, intimacy and dislocation. Mehrpouya & Powell have also created a vision of the world in miniature. By rearranging sculpted pieces on a board, players can endlessly influence the microcosm contained within a wooden casket.

Masters Festival | Edinburgh Art Festival 2014

Masters Festival

16th-24th Aug, Fri-Tue 11am-5pm, Wed-Thu 11am-8pm.
Edinburgh College of Art, 74 Lauriston Place, EH3 9DF

The Masters Festival is one of the main contributions of Edinburgh College of Art to the Edinburgh Art Festival. This exhibition and series of events is by postgraduates from the School of Art, School of Design, and the Edinburgh School of Architecture and Landscape Architecture.

ECA's Sculpture Court has been turned into an events space for talks and performances as well as exhibitions from a variety of programmes. An installation from staff and PhD students can be explored through a postcard display, encouraging you to take some of the work away with you.

Yann Seznec | Edinburgh Art Festival 2014

Yann Seznec, Currents (2014)

31st July-31st August 2014, Mon-Sun 10am-6pm.
Police Box, Easter Road (corner of Albion Road), EH7 5QJ

Constructed entirely from discarded computer fans, Alt-w alumnus Yann (Secret Sound of Spores) Seznec’s new work 'Currents' is a physical and sonic experience, drawing on real-time weather data from around the world to move air around the visitor.

Currents expands Seznec’s interest in technology as a tool, to consider how it shapes our environment. Frequently discarded, the fans point to our obsession with change, as well as the realities of a global economy that make it cheaper to produce anew rather than repair.