Glasgow International Festival of Contemporary Art

Anticipate, sublimate

A photograph with a circular area of translucent neon blue in the centre with a black and white partially visible room interior in the background with a chandelier suspended from the ceiling on the right hand of the image.
a photograph taken from above showing two people sitting on opposites sides of a black table.  Their arms reach towards the centre of the table and between them they hold an image of an eye. In the room surrounding them sits some potted plants and two lava lamps
A photograph with an area of translucent neon blue in the centre, in the background are a pair of outstretched arms with palms facing upwards.
A photo with a grainy texture in black and white of showing a view through a concrete structure which is painted with graffiti.
Dates and Opening times

Fri 7 – Sun 23 June

Fri 7 June, 10am – 5pm
Mon – Fri, 12 – 5pm
Sat & Sun, 10am – 5pm

Venue

83 Portman Street
Kinning Park
G41 1EJ

Presented by

Glasgow International; curated by Mason Leaver-Yap

Supported by

Glasgow International with funds from the Scottish Government’s Festivals EXPO Fund. Additional support from The Vega Foundation and Assumption Studios.

Accessiblity

Film work is captioned. Further access information will be available in due course.  

Anticipate, sublimate brings together the work of artists and friends Alexis Kyle Mitchell and Ima-Abasi Okon for the first time. Presenting their moving image and sculptural installations in parallel, this two-person exhibition curated by Mason Leaver-Yap considers acts of preservation and rituals for personal and collective sustenance. Anticipate, sublimate prepares for uncertain futures and imagines transformative ways of living through and with one another.

Co-commissioned by Glasgow International for its exhibition premiere, Alexis’s The Treasury of Human Inheritance 2024, is an hour-long film about the experience of living with and alongside disease and disability. Tracing patterns across the biological, physical and spiritual realms, The Treasury combines documentation of Glasgow’s abandoned urban architectures teeming with natural growth; celluloid film hand-processed in genetic material; somatic and religious rituals for death and life after death; family home movie footage; and an analogue synthesiser soundtrack made through a collaboration with Luke Fowler and Richy Carey that mimics inheritance patterns of genetic disease.

Ima responds to Alexis' film by revisiting her installation: 120 minutes congregants’ politic of sermonary configurations, 10 x 90 sec of/on murmurings, 15 mile progression of agency of l ife of free-from of lavender of metabolic capacity of, of, of, of, of of of of the feeling that it is suddenly and inexplicably very easy at least for a while, of of, of, of, of, payout community sustenance of ,,,,,,,,,,,,,,,,,,,,,,,,,, of heart rate, of elevation gain of no on The Mountain Top! Of E-eee-lapsed time of of, of, of, of, elevation loss of distance of Hibiscus&Ginger of love of of of of inactive glutes of zoning/redlining of elecampane, on, on, on, on, on,,,,,,,,, c_a_d_e_n_c_e on on on/off off off Est. <a G-I-F-T>, (2022). This sculptural work comprises a locally manufactured and preserved ox-tail stew, displayed alongside certificates that verify the organic material is fit for human consumption. Ima’s work explores the interactions between metabolic and linguistic effects on materials, bodies, and procedures. The work highlights relationships with time, forms of individual and collective nourishment, and how institutional structures seek to administrate paths towards the sharing and ingestion of knowledge.