The Roberts Institute of Art
at
Glasgow International

9 June–30 July 2021
Roberts Institute of Art

Working with Glasgow International 2021’s theme of Attention the Roberts Institute of Art presents a programme of new work from a range of internationally recognised artists.

The programme, taking place as a hybrid programme of live and digital events across Glasgow International’s specially designed Digital Programme, includes new performances from Paul Maheke, showing in Scotland for the first time; Lina Lapelytė, winner of the 2019 Venice Biennale Golden Lion (with collaborators Rugilė Barzdžiukaitė and Vaiva Grainytė); and Nina Beier, presenting new work created in Glasgow.

Each artist is developing different registers of attention throughout the programme, whether through the presence of personal trauma, unexpected phenomena or the vulnerability of a changing world. The programme at GI draws on RIA's history of developing dynamic performance work and marks the beginning of a new phase in RIA’s direction as we collaborate across the UK with institutional partners to share artists' work more broadly and to wider audiences.

A spotlit dancer, Paul Maheke, wearing an orange durag, blue silk shirt, black shorts, white vest and trainers. Paul has one arm stretch out front as if driving a car.

Paul Maheke, Taboo Durag
Galvinizers, SWG3, Glasgow
Thursday 10 June, 7pm & 9pm

Glasgow International Digital Programme
Saturday from 19 June – 31 July, midnight – midnight BST on glasgowinternational.org

Paul Maheke will be performing in Scotland for the first time, opening Glasgow International with a live performance of Taboo Durag (2021) on Thursday 10 June. His work is also being produced as a performance to camera which will be available to watch later during the festival as part of GI’s Digital Programme.

Taboo Durag (2021) is a performance work that explores the porous interface between vulnerability and resilience. The dance solo unfolds across different narrative and choreographic registers, with a score that swells up through atmospheric sounds and vocals.

Maheke walked into the hall in satin shorts and knee pads, and began dancing on his toes like a nervous boxer. As he jabbed and trembled, he seemed to channel the anxiety that has gathered over the past year and shake it out of his system.
e-flux, June 2021

A spotlit dancer moves against the backdrop of a brickwall wearing an orange durag, blue silk shirt, black shorts, white vest and trainers. The dancer, Paul Maheke, has his arms spread out wide, half way through tying the durag around his head
Roberts Institute of Art

Lina Lapelytė, Instruction for Woodcutters
Glasgow International Digital Programme
Viewable across the GI website every Thursday from 17 June – 29 July, midnight – midnight BST.

Part 1: Thursday 17 June – Thursday 8 July
Part 2: Thursday 15 July – Thursday 29 July

Lina Lapelytė's Instructions for the Woodcutters (2021) focuses on the power of the human voice and storytelling. In this moment of global climate emergency and the pandemic the piece is a timely reflection on the role of stories and listening in helping us acknowledge how all living beings are interconnected.

The work has been developed from Currents (2020) and this new iteration has been made specifically as an intervention within the GI website and mirrors the structure of a performance, appearing and disappearing momentarily.

Roberts Institute of Art
View the works on Glasgow International's website
Taken from frogs-eye-view, three large black shaggy Newfoundland dogs lie resting on the concrete floor. Between them there is a small black Range Rover remote controlled car with a blonde wig sticking out the back window.

Nina Beier, Brando, Morgan and Calgary
Glasgow International Digital Programme
Viewable across the GI website every Friday from 18 June – 30 July, midnight – midnight BST

Brando, Morgan and Calgary (2021) is the documentation of a performance by Nina Beier that took place in Glasgow in June 2021. This performance happened with no audience invited and much of it taking place behind closed doors.

The work pops up on GI’s website unexpectedly, in many ways similar to the original performance which was only witnessed by passers-by. As with much of Beier’s practice, the piece speaks to the ways objects and beings can move through different value systems, whether cultural, political or economic. For example, how human hair, a specific breed of dog or brand of car can take on meanings and uses in different contexts, becoming status symbols or acquiring particular cultural values. Using differing scales, from the miniature to the giant, Beier has created a humorous and unsettling performance that involves an interaction between large Newfoundland dogs and toy Land Rovers.

A large black Newfoundland dog lies on the floor, tongue stuck out, mouth with slobber, eyes red which it's paws cradling a remote controlled Range Rover Sport that has human hair pouring out of the windows. The dog is much bigger than the car.

Our programme at Glasgow International has been kindly supported by:

Roberts Institute of Art

Paul Maheke

Paul Maheke (b. France) lives and works in London, UK. He completed an MA Art Practice from École nationale supérieure d’arts de Paris-Cergy (2011) and was an Associate of Open School East’s Programme of study, London/Margate, UK (2015). With a focus on dance and through a varied and often collaborative body of work comprising performance, installation, sound and video, Maheke considers the potential of the body as an archive in order to examine how memory and identity are formed and constituted.

Selected solo exhibitions include Levant, Ludlow 38, New York (2019); OOLOI, Triangle France, Marseille (2019); Diable Blanc, Galerie Sultana (2019); A fire circle for a public hearing, Vleeshal, Middelburg (2019) Dans L’éther, là ou l’eau, 6th Biennale de Rennes, Galerie Art et Essai, Rennes (2018); Letter to a Barn Owl, Kevin Space, Vienna (2018); A fire circle for a public hearing, Chisenhale Gallery, London (2018); Acqua Alta, Galerie Sultana, Paris (2017); What Flows Through and Across, Assembly Point, London (2017); In Me Everything is Already Flowing, Center, Berlin (2017); and I Lost Track of the Swarm, South London Gallery (2016).

Nina Beier

Nina Beier (b. Denmark) has held solo exhibitions at institutions such as Kunsthal Gent (2019) Spike Island (2018), Kunstverein Hamburg, Germany (2015); DRAF, London (2014) Kunsthaus Glarus, (2014) Objectif, Antwerp (2012-15), Contemporary Art Centre (CAC), Vilnius (2015) GL Strand (2018), Kunsthal Charlottenborg, Copenhagen (2011) Mudam, Luxembourg (2010) Contemporary Art Museum St. Louis, St. Louis (2010) Yerba Buena Center for the Arts, San Francisco (2010).

She has participated in numerous biennials such as 13th Biennale de Lyon, 20th Sydney Biennale, Baltic Triennale BTXIII, 6th Moscow Biennale of Contemporary Art, Performa 15 & Luma Foundation’s Elevation 1049.

Lina Lapelytė

Lina Lapelytė (b. Lithuania) is an artist living and working in London and Vilnius. She holds a BA in classical violin (2006), BA in Sound Arts (2009) and MA in Sculpture from the Royal College of Art, London (2013). Her performance-based practice is rooted in music and flirts with pop culture, gender stereotypes, aging and nostalgia. Throughout her artistic career, Lapelytė has explored various forms of performativity, crossing genre boundaries while entwining folk rituals with popular music and opera formats, frequently using stylized expression, grotesque and conceptual musicality.

Her works ​Ladies​ (2015), ​Hunky Bluff (​ 2014) and ​Candy Shop​ (2013/2015) were shown in different contexts and locations including the Serpentine Pavilion in London, the Queen Elizabeth Hall in London, the Venice Architecture Biennial and MACBA (Barcelona).

Her collaborative work with Rugilė Barzdžiukaitė and Vaiva Grainytė, opera ​Have a Good Day!​ holds several awards, its libretto is translated into 9 languages and its been touring extensively. Their newest durational performance work​ Sun and Sea (Marina) represented Lithuania at the Venice Biennale of Art in 2019 and received the Golden Lion award for the best national participation.

Glasgow International

Glasgow International is Scotland’s largest festival for contemporary art, taking place over 18 days every two years across the city of Glasgow. Renowned as a centre for contemporary art, the festival draws on the city’s strengths as a vibrant and distinctive centre of artistic production and display. Combining the characteristics of a visual arts biennial with an open submission model for artists and curators based in the city, GI is a truly unique event in the European cultural calendar.

Image credits

Paul Maheke, Taboo Durag, 2021. Courtesy Glasgow International and the artist. Photo: Eoin Carey

Lina Lapelytė and Mantas Petraitis (a.k.a Implant architecture), Currents, 2020. Courtesy the artists. Commissioned by the 2nd Riga International Biennial of Contemporary Art, RIBOCA2. Video: Lina Lapelytė Photo: Andrejs Strokins

Nina Beier, Brando, Morgan and Calgary, 2021. Courtesy the artist. Photo: Miles Trotter