Glasgow International Festival of Contemporary Art

I’m attended as a portal myself

B+W close up image of a man in his 50s with sandy hair playing violin and looking intently at the music.]
B+W image of an older white man holding a guitar in profile and in sharp focus, another white male behind him playing the accordion in medium focus, a third white male behind him playing the violin out of focus.]
Dates and Opening times

Fri 7 – Sun 23 June

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


5 Florence Street
G5 0YX

Presented by

Bobbi Cameron & Owain Train McGilvary

Supported by

Creative Scotland and Scottish Sculpture Workshop; Counterflows Festival; Travelling Gallery; Hospitalfield; CHARTS Argyll and the Isles; Arts Council Wales,the Elephant Trust and Assumption Studios. Additionally supported by Glasgow International with funds from the Scottish Government’s Festivals EXPO Fund.


Good Access: The venue has ramped or level access and/or lifts to access upper floors

Toilets: Accessible Toilet

I’m attended as a portal myself is a two-person show by artists and close friends Bobbi Cameron and Owain Train McGilvary. In sister rooms, they present two moving image works connected through an architectural intervention. The exhibition finds resonance between their collaborative approaches, opening portals between rural cultural memories, forgotten pasts and imagined worlds.

Working with cinematographer Margaret Salmon, composer Richy Carey, movement artist Aniela Piasecka and shamanic practitioner Ruth Mcauley, Bobbi’s debut 16mm film work ‘for the first words of a dreamworld’ uses deep listening practices, field recording and celtic shamanism as a celebration of non-linear and multi-versal communications.

Owain Train McGilvary’s video Seeing Red reanimates North Wales’ only gay bar, destroyed by arson a decade ago, interviewing erstwhile patrons and assembling an informal archive from digital remnants. This bilingual tribute is supported by a suite of elegiac drawings, offered in memoriam of lost queer histories.

Together, Bobbi and Owain explore the possibilities of the moving image to convene with history, finding richer realities remediated by translation, queerness, and transient forms of communication.