18th April – 7th May 2018
In 1818, colliery worker Matthew Clydesdale was hanged for murder on Glasgow Green. With his body moved to Glasgow University’s public anatomy theatre, surgeons attempted to resuscitate him using primitive electrical apparatus. Accounts of the macabre experiment vary wildly – from one medic’s sober, detailed summary, to another journalist’s hysterical description of the dead man rising to confront doctors and audience. Inspired by these accounts, the artist’s film with curated performances and events will seek to investigate the power, veracity, legibility and erasure of historical voices.
Morland works across a variety of media including sculptural installation, performance, sound and video. He is primarily interested in the transmission and reception of information and the ability of a material to mediate between these two poles. Works have alluded to the early, faltering days of TV and radio broadcast – with the studio functioning as a kind of séance room. Sculptural forms are consciously arranged in a theatrical manner to suggest fractured tableaux of ritual props or artefacts, allowing for a playful and highly theatrical meditation upon the relationship between language, image and object.
The programme will be presented as an immersive stand-alone dual-screen video and audio installation running for the duration of GI2018 with ancillary events interspersed throughout. Check back for updates on upcoming events, or follow us on social media.
The exhibition is supported by The Hope Scott Trust and Glasgow International 2018
Image: Douglas Morland, Broadcast Rites, production still, 2015