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The theme for this year’s Edinburgh Art Festival commissions programme has been Parley. As a result the programme has considered how art can be an agent of discussion, negotiation and debate. Various strands of event have been formed around this notion, led by our commissioned artists and guest speakers.

The first Parley Discussion, curated and led by Ross Sinclair, kick-started the festival as an open platform for exploration into discussion and performance with the audience being led through a series of conversations and collaborations. Live art was happening across Krijn De Koning’s Land as speakers such as Maria Fusco presented abstract narratives and explored the notion of Utopia. Performers such as Phoebe Amis lifted the experience with her incredibly high-pitched vocal abilities which echoed across the Sculpture Court. This certainly created an environment that took the viewers out of their initial comfort zones of experiencing visual arts. Lighthearted performances such as this were contrasted with the harsh social realism film Autumn Leaves, created by Kenyerse.  The whole experience felt like a whirlwind journey through discursive content which compliments Ross Sinclair’s commission Real Life and How to Live it in Auld Reekie, a series of informative graphics found all over Edinburgh.

Ross Sinclair performing at the opening Edinburgh Art Festival Parley Discussion. Photograph by Kat Gollock.

For the programme of talks that followed, each artist was partnered with a speaker whose specialty relates to the work in question without necessarily coming from an artistic point of view; this allowed for a huge scope of discussion covering social, political and historical contexts.

Robert Montgomery, the artist behind the Edinburgh Fire Poem, spoke with Ryan Van Winkle, poet, performer & podcaster, about their differing use and expression of poetry (Robert’s being bold, visual & public, whereas Ryan approaches the same subject with a personal caution, not intending for all his written words to be widely read).

Robert Montgomery, Edinburgh Fire Poem, 2013. Image courtesy of Dael Poulter.

Our final commission-based Parley was this week’s “in conversation” between Krijn De Koning, the artist behind the sculptural, architectural intervention Land in Edinburgh College of Art’s Sculpture Court, and Edward Hollis. Edward is based at Edinburgh College of Art and specializes in architecture so the conversation was particularly pertinent. They talked in depth about how artworks unite with the space they are located in; how they can expand the volume and impact of the chosen space. Uniquely, this conversation took place on the work in question.

Krijn de Koning and Edward Hollis in conversation on Land, one in a series of artist talks as part of Parley.

To see the work used physically and metaphorically as a platform for this conversation was perfectly representative of Parley. Krijn spoke honestly about all aspects of his work touching on the use, or lack thereof, of colour across his works as well as the physical process of transforming such a large piece from initial drawings and model works.

We are now sadly drawing to the end of our programme of discussions, but there is one remaining and we are certain to go out with a bang. Parley Discussion: Tae Think Again, Rethinking Identity in Contemporary Scotland, curated by Rachel Maclean and co-commissioned by Edinburgh Art Festival and Edinburgh Printmakers, is this Saturday.

Similar to our opening Parley Discussion, the afternoon will see a programme of performances and speakers. Speakers include Craig Coulthard, David Cameron, David McCrone, Duncan Petrie and Denise Mina and the event will be chaired by Jim Tough with an introduction from Alastair Snow. Expect to delve into the history and future of Scottish identity with the added bonus of a screening of Rachel Maclean’s recent and highly acclaimed work The Lion and The Unicorn.

Venue for the Edinburgh Art Festival Parley Discussions. Krijn de Koning, Land, 2013, co-commissioned by Edinburgh Art Festival and Edinburgh College of Art. Photograph by Kat Gollock.

Parley Discussion: Tae Think Again, Rethinking Identity in Contemporary Scotland (curated by Rachel Maclean), Saturday 31 August, 2-5pm, free.

Edinburgh College of Art
74 Lauriston Place
EH3 9DF

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EAF Film Club has seen a varied programme of screenings curated by organisations from across the country this year. There have been serious, thought-provoking films, there have been refreshingly lighthearted ones, but what has particularly stood out so far is the use of performance and interaction to heighten the experience, encouraging spectators to become participants.

This is in keeping with this year’s Film Club theme, “Interval As Integration”, focusing on encouraging interaction between the artwork itself and the audience as well as between artist spaces, artists, curators and the viewer.

The first week saw a takeover by The Royal Standard from Liverpool who showcased a selection of films under the title ‘I like the way you move’. Candice Jacobs’ I get Things Done felt somewhat like an endurance test, looking into power structures and work place monotony. This was counteracted later in the evening with the playful, interactive nature of Lucy Pawlak’s Arriving Without Leaving.  Complete with goody bags, Pawlak’s film instructed the viewers through a series of tasks; rubbing peaches on their hands was just one of these. Both bizarre and wonderful it united the audience in the experience, breaking the structure of passive viewing and reminding us of the potential madness of the everyday.

Generator Projects from Dundee showed work by many different artists. The name says it all with Dorian Brauns’ Give Away Wooden Propellers. The audience were invited up on their feet; playful chaos followed.  Ben Skeas’ Trace was striking, filmed in two locations over the course of the year, focusing on nature but full of imagery that was not recognizably so, cleverly manipulated and calming to watch.

Last week The Telfer Gallery presented Bruce Asbestos’ Social Media Takeaway, a flamboyant expression of multi-media art, focusing on the role of social networking in society. Though hilarious and lighthearted, it also reflected on how social networking has taken over, explained in a whirlwind of performance and film.

The Film Club takes place in New Media Scotland, complete with cushions and a handy bar for the intervals. Our concluding Film Club is today (28 August) at 7.30pm and is curated by Circa Projects from Newcastle. Expect to see works by Steina and Woody Vasulka, Zoe Williams and many more – and all for free! To book your place please follow this link: http://eaffilmclubcircaprojects.eventbrite.co.uk/

New Media Scotland
1 Crichton Street, Edinburgh, EH8 9AB
www.mediascot.org

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In his work Land, Krijn de Koning makes familiar works disappear from view, or manifest in surprising ways, in a series of platforms encasing several iconic works from Edinburgh College of Art’s cast collection.

Venus de Medici, photograph by Kat Gollock

The Venus de Medici cowers in the corner. The Nike of Samothrace is buried up to her thighs, her wings at head height. Discobolus roots around underneath the raised platform’s plywood floor. The Venus de Milo and Spinario also make appearances.

Nike of Samothrace, photograph by Kat Gollock

The Sculpture Court, photograph by Kat Gollock

Krijn de Koning’s structures offer new possibilities to navigate and experience the space they inhabit. This new work has been developed for the Sculpture Court at Edinburgh College of Art, who are co-commissioning this work. Typical of his practice, Land initiates a direct dialogue with the hosting space.

A site for several Parley events during the festival, de Koning’s latest work offers an active platform for framing questions, and excavating and exploring ideas.

Talk on the platform, photograph by Kat Gollock

Parley events still to come:

Krijn de Koning in conversation with Edward Hollis
Krijn de Koning will discuss his work and its implications with architect, teacher and writer Edward Hollis, author of ‘The Secret Lives of Buildings’ and ‘The Memory Palace: A Book of Lost Interiors’.
27 August, 6-7pm, free

Parley Discussion: Tae Think Again, Rethinking Identity in Contemporary Scotland (curated by Rachel Maclean)
Responding to the upcoming 2014 referendum on Scottish Independence, this symposium curated by artist Rachel Maclean intends to delve deeper than a simple yes/no debate and look at the broader social, cultural and historical background to a discussion of contemporary Scottish national identity. The event will begin with a screening of the artist’s recent work The Lion and the Unicorn.
31 August, 2-5pm, free

Talk on the platform, photograph by Kat Gollock

Read more at www.edinburghartfestival.com.

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Contemporary composers with a range of musical styles and interests have been commissioned to produce new pieces for Sarah Kenchington’s Wind Pipes for Edinburgh, an extraordinary new musical instrument created from almost 200 decommissioned organ pipes and installed in Trinity Apse, a 15th Century Kirk. The final concert on 26 August includes performances of works composed by Brian Irvine and eagleowl and friends.

When I first encountered Sarah’s magnificent piece I was struck by its gentleness; its vulnerability, its reliance on the efforts and attention of others to live and speak. Like a giant mechanical wheezing sage it has a kind of wisdom that reminds us of ourselves. It wants to breathe and in its voice is the sound of time, acceptance and ritual.
- Brian Irvine, composer

Brian Irvine is Northern Irish composer whose body of work reflects an obsessive love of music creation in all its forms. It includes operas, orchestral works, large-scale community oratorios, film and dance scores as well as numerous ensemble, solo, chamber pieces. Together with his own 12-piece ensemble (BBC Radio 3 music award winners) he has toured extensively throughout the world. For the last four years he has been the Associate Composer with the Ulster Orchestra in Belfast and is currently Visiting Professor of Creative Arts at the University of Ulster.

eagleowl and friends performing on Sarah Kenchington’s Wind Pipes for Edinburgh, a 2013 Edinburgh Art Festival commission. Photo: Kat Gollock.

Having honed their craft over the last 8 years, slowcore miserabilists eagleowl released their critically acclaimed debut album this silent year on Fence Records earlier in the year. For this project they will be collaborating with friends from other Edinburgh acts including Broken Records, Meursault and Nap Sholty.

This concert is from 7-8:30pm on 26 August at Trinity Apse, Chalmers Close, 42 High St, EH1 1SS. Tickets are £7.50.

Here’s a clip of composer Daniel Padden performing part of his composition for the instrument earlier this month. Filmed by Daniel Warren.

Read more at www.edinburghartfestival.com.

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Artists Tom Nolan and Catherine Payton are this year’s Edinburgh Art Festival Tourists in Residence, offering visitors to Edinburgh the unique perspective of artists based in the city. This collaboration takes the shape of several tours written by the artists. Our Tourists in Residence have also created their own map featuring selected monuments in Edinburgh – both real and imaginary – which can be used for self-guided tours.

The Debtor’s Day Off

Collectively embodying the famous opium-eater Thomas De Quincey, the group will depart from Holyrood Palace, which was formerly designated a debtors’ sanctuary, one in which De Quincey took refuge from the bailiffs on several occasions. Leaving the sanctuary on a Sunday (the day when historically no arrests were permitted in the city) the walk will follow the length of the Royal Mile before ending at De Quincey’s grave in St Cuthbert’s Kirkyard at the west end of Princes Street. The walk, one regularly taken by both Catherine and Tom, will take in many of Edinburgh’s most famous sites but we can expect attention to be drawn to some of the more obscure reference points which will serve as departure points for an associative narrative reflecting some of Edinburgh’s public histories as well as references more particular to our Tourists’ private histories and with frequent reference to De Quincey, the protagonist of our walk.

This tour will take place on Sunday 1 September.

Other tours include A symposium (with free tea and coffee) – held at IKEA after the 8 mile stroll there – and A dissociative walk which explores Edinburgh’s split personality.

Selected Monuments of Edinburgh

A guide and aid to the self-declared, subjective monuments of the city. These spaces form departure points, portals: they are thin places, open to fluctuation in meaning and purpose. They are radically open to mis-, re- and un- interpretation.

-    Tom Nolan & Catherine Payton

This aid will be available at the EAF Kiosk on George Street and can also be downloaded here.

Read more at www.edinburghartfestival.com.

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