in the guise of the commonplace

A black-and-white image with a horse one the centre left, in the background is a large open field.

A grainy analogue image of a fence in the foreground with a distant blue-tinged horizon behind it. Highlights of a second image are overlaid, though the details are indistincy. The diamon pattern of the fencing dominates the composition.

A grainy magenta-tones street image showing shopfronts with graffities shutters and people walking past. The image is hazy and blurred, with the word "FRANCE" clearly visibile on a building in the top right corner.

Dates and Opening times

Fri 5 - Sun 21 Jun

Mon – Sun, 11am – 6pm

Venue

Market Gallery, 13 Ross Street, G1 5AR

Participants

Mira Adoumier Carine Doumit

Presented by

Hannan Jones, Mira Adoumier & Carine Doumit

Supported by

Creative Scotland; Hope Scott Trust; and Office for Contemporary Art Norway. Additionally, supported by Glasgow International with funds from the Scottish Government's Festival EXPO Fund.

Accessiblity

Level Access, Step Free: The venue has ramped or level access and/or lifts to upper floors

Accessible Toilets: The venue has a wheelchair accessible toilet

Gender Neutral Toilets: The venue has toilets not separated by gender or sex

Baby Change: The venue has baby changing facilities

Bike Rack: There is cycle parking at the venue

in the guise of the commonplace brings together moving-image works by Glasgow-based artist Hannan Jones and artists Mira Adoumier and Carine Doumit from the Beirut-formed collective The Camelia Committee. Two newly commissioned works reflect on the resonances between their practices, brought together over the last year in tandem through conversation and exchange.

Formed in Beirut, The Camelia Committee (Mira Adoumier, Carine Doumit, and Nour Ouayda) explores relationships between image, text, voice, and sound through filmmaking, film programming, and writing. Glasgow-based artist Hannan Jones’s research-led practice moves across sound, sculpture, and moving image to examine hybridity and presence. Both practices are grounded in attunement, an attention to absences and residues.

Working at geographical, temporal and psychic edges, the works attend to low-level-signals - murmurs, vibrations, and traces - through which histories leak and circulate. These forms of resonance register what cannot be declared outright, allowing meaning to emerge through return rather than resolution.