Douglas Morland (b. 1974 in Glasgow, UK) lives and works in Glasgow, UK.
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.
Solo shows include: ‘The Death of Lady Mondegreen’, Gallery of Modern Art, Glasgow, UK (2015); ‘As Long as the Signal Is…’ The Briggait, Glasgow, UK (2013); ‘Snap Entr’acte Performance’ with Laurie Pitt, CCA, Glasgow, UK (2013); ‘Chinagraph Spill Cracked Oil Cracked Oil’, Glasgow Project Room, Glasgow, UK (2012) and many more.
Group exhibitions include: ‘Raoul Reynolds: Une Rétrospective’, La Friche la Belle de Mai, Marseille, France (2016); ‘Raoul Reynolds: A Retrospective’, Scotland St School, Glasgow (part of Glasgow International Festival of Visual Art) (2016); ‘East End Transmissions’, The Pipe Factory, Glasgow, UK (2014); ‘Time After Time’, (Part of GENERATION) Market Gallery, Glasgow, UK (2014); ‘Cut/Prompt 68 Square Metres’ (with Sam Derounian), Copenhagen, Denmark (2014); ‘Niteflights’ Fleming House, Glasgow, UK (2014); ‘time/zones’ (group) Akademie Der Kunste, Berlin, Germany (2012); ‘High-Slack-Low-Slack-High’, Glasgow International Festival of Visual Art, Glasgow, UK (2012); ‘Blind Plotting’ (collab. w/ Carrie Skinner), the Arches, Glasgow, UK (2012) and many more.
The Hidden Noise presents an ambitious new film installation and performance programme by Douglas Morland inspired by events surrounding the death of colliery worker Matthew Clydesdale in 1818. Hanged for murder, surgeons attempted to resuscitate his body using primitive electrical apparatus. The story has become part of Glasgow’s medical folklore, raising questions about the power, veracity, legibility and erasure of historical voices.
The artist and curator have collaborated on an events programme to be interspersed throughout the exhibition.
Supported by The Hope Scott Trust.
Fri 20 April – Mon 7 May
Mon – Thu & Sat 12 noon-6pm
Fri 12 noon-8pm
Sun 12 noon-5pm
Dr Elsa Richardson, Conal McStravick, and Shireen Taylor
Exquisite Corpse Roundtable Event
Developed in collaboration with Learning in a Public Medium, this event, chaired by Dr Elsa Richardson, will discuss the themes in Douglas Morland’s new film installation, For Matthew, exploring the competing journalistic, legal, medical and criminal discourses concerning the body at the time and in the present day. The event will take the opportunity to discuss these themes through alternative source material, particularly exploring how artists have established critical modes of reinstrumentalising discourses of the body in response to the women’s movement, the AIDS crisis and LGBTQIA rights.
Conal McStravick – ‘Archives Untitled: Staging the body and sense experience as resistance in the queer, feminist and AIDS activist archive.’
Shireen Taylor – ‘A Possibly Fictional Account of a Negotiation Gone Wrong’.
Tues 1 May, 6-8pm