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blinkvideo - research of video art, performance and multimedia installations.

blinkvideo - research of video art, performance and multimedia installations.


blinkvideo the platform for . . .

artists we provide a platform for extensive presentation of media works, gallerists get a direct contact to international professional audiences, collectors find a worldwide overview of contemporary trends in moving image, curators can do research via keywords and compilations, teachers use presentation opportunities for students and all professionals get password protected, extensive information about video works worldwide.

Moving Images / Moving Bodies
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curated by Ludwig Seyfarth

Research into the human body and interpersonal relationships remain central themes in video and moving image art. Artists from Bulgaria and Germany, whose work is related in content, will be shown in pairs over the next weeks. The exhibition planned for November 2020 in Sofia has been postponed until 2021. Instead, a consecutive presentation of selected films by artists from Moving Bodies/Moving Images is presented on blinkvideo.
image: © Elitsa Dimitrova

Shooting Ghosts
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curators: Kalin Serapionov, Krassimir Terziev

What we propose in this programme is a highly subjective and fragmented view on current practices in moving image in the Bulgarian art scene. We focused on practices that show affinity with speculative narratives - narratives that not just record what is in front of the cinematic eye, but also capture all the ghosts that are unreachable by the apparatus, thus projecting speculative views that intend not merely to describe, but to transform the world.
image: © Veneta Androva

UNSTILLED LIFE: Artist Animations 1980-2020
Curated by Emma Cousin and Paul Carey-Kent

Why this show, here and now? British artist-curator Emma Cousin and writer-curator Paul Carey-Kent recently pulled together a choice of artist animations, thinking that the increasingly vibrant medium is especially suited to the online emphasis of the locked down art world of 2020. Three of them turned out to be represented by Ron Mandos, making the Amsterdam gallery ideal hosts. The cast is international, and to reflect that Tintype gallery in London and Hamburg’s blinkvideo have joined in with variations on the programme. 
Markus Vater Worlds don’t come easy, 2020

Expanding Bauhaus.
New Reflections on the Bauhaus Movement in Time-Based Media Art / Goethe Institute Netherlands

A screening series selected by Elke Kania (Cologne), Julia Sökeland (Hamburg) and Ludwig Seyfarth (Berlin)

With its combination of various arts such as painting, photography film, architecture, fashion, product and interior design and textile art, the Bauhaus is still considered the epitome of a technologically advanced modernity. Last but not least, the attempt to create the whole society aesthetically, inspired many artists worldwide.
Image: © Adnan Softic

Featured videos

Alexandra Meijer-Werner
Kreislauf / cycle … revolution … circulation, 1997

Kreislauf is an oneiric trip about the continuous cycle of human rebirth. Our dreams create the fabric in which the threads or individual tendencies appear and disappear, only to become visible once again. The dynamic of this video is a weave of repetitions and juxtapositions of the experiences that create the dance of life. Everything is cyclic, nothing disappears; everything is perpetually mutating in landscapes of anguish and joy, violence and calm, solitude and union. The traveler is the active force of his own fate when he realizes that what is most significant in life is the act of living itself.

Björn Braun
without title (excerpt), 2012

Sandra Boeschenstein
Besuchte Linie auf Granit, 2014

I encountered the roundworm in the Alps when I attempted to repair the water catchment of the cabin after a storm. I wished for this animal found at the spring to be a visited line, then searched for potential visitors and found, just nearby, a nest of firebugs in a dried chestnut leaf, which I placed just outside of the image field. The granite slab, roundworm, bugs’ nest and a fly lived their lives within a radius of 100 meters. My part in this was to bring them into direct proximity for the duration of an hour, to focus my camera and to breathe onto the upper part of the lens, in order to increase the atmospheric depth of the picture. Finally, to come to the allegation I’ve made via the title that something was a line that actually is an animal (when normally, in a contrary approach, characteristically formed lines represent animals or the like). The combination of the simplicity in the foundation / bedrock with a simultaneous insecurity in view of scale and nature of this white line, holds my fascination.

Isabella Fürnkäs
In Ekklesia, 2015

The title, ‘In Ekklesia,’ comes from the Greek word ‘ecclesia,’ which refers to the democratic parliament that served Athens in its halcyon days by being open to male citizens every other year. Solon, an Athenian legislator and a sage, allowed all citizens to serve the parliament regardless of their social class in BC 594. The Ecclesia made decisions about war, military strategies, and all judicial and administrative issues. This work satirizes various facets of humans and machines in the 21st century, unconsciously within a dystopian environment. Isabella Fürnkäs introduces a method of combining and overlaying countless images in her work, providing the new experience of sensations that act in ambiguous flows, movements, interference, and interjection. The piece is about the new metaphysical and material connections appearing through digital conversations that are divorced from the general notion of time and space, as well as isolation and alienation. Text by Hyun Jeung Kim (Nam June Paik Art Center Seoul)

Ryan Gander
Man on a bridge - (A study of David Lange) , 2008

A digital video transferred from 16 mm film shows a number of slightly differing takes of the same short sequence: A man walks over a bridge and seems to notice something over the railing to his left hand side. As he moves in for a closer inspection, the film cuts, which is then followed by another take of the same shot.

Wim Catrysse
MSR, 2014

On the Kuwait roads the journey goes in a western direction, past military bases and a line of oil transporters. Dreary sound sequences are pumped out by the radio. In the middle of rubbish heaps by the roadside a pack of wild dogs is trying to find shelter from the wind. Wim Catrysse presents the Kuwait desert both as a post-apocalyptic setting and as protagonist. During the journey, the car window is an obstacle, made even more so by the screen. The viewer, dumped in the desert, does not manage to reach it through the window. MSR, the Main Supply Route, is the main highway used to coordinate military operations in the Gulf War in 1990/91 and the War in Iraq in 2003. Filming is forbidden here, so the pack of wild dogs carries the story at first. But their behaviour keeps on bringing the desert into focus as the principal actor. Underlined by the sound track, its seeming hostility to life awakens the impression of a dystopian timelessness reminiscent of the apocalyptic scenarios in films and makes the viewer feel ill at ease. Catrysse examines conventions, both in a political-dogmatic and in a filmic sense.Nathalie Ladermann

Johanna Reich
CRAWLER, 2020

A crawler is a searchbot in the internet which Johanna Reich uses to collect special comments or phrases about the most discussed topics during the last years like A.I., climate change, digital revolution, gender and the turn of democratic systems. Johanna Reich selects several of the collected phrases composing a robot performance: self-driving projectors move across the exhibition space and project comments about a.i., gender or climate change onto the audience and architecture.

Annika Kahrs
solid surface, with hills, valleys, craters and other topographic...., 2014

solid surface,with hills,valleys,craters and other topographic features,primarily made of ice„solid surface, with hills, valleys, craters and other topographic features, primarily made of ice“ is set in a planetarium with a projected starry sky, in the center of which is situated a light spot, that explores the space. The Film deals with the moment, shortly before the actual visualization of pluto’s surface properties, whereas the entire cupola hall of the planetarium serves as a metaphorical projection surface of Pluto. The round light spot formally points to the shape of the celestial object and functions as placeholder for its soon arising image.

Ann Oren
The World Is Mine, 2017

In cosplay of the Japanese cyber diva Hatsune Miku, the artist moved to Tokyo, seeking an identity in the world of Miku fanatics, where she was drawn into a love affair with one of the fans. Miku is a Vocaloid, a vocal synthesizer software personified by a cute animated character. Her entire persona: lyrics, music and animation – is fan created, and that's her charm. She even performs sold out concerts as a hologram. By transforming herself into a Miku character through cosplay, Oren enters a world of real hardcore fans where fantasy is more real than reality and the differentiation between the two becomes obsolete. The film examines the performative nature of cosplaying – dressing up and playing the role of fictional characters – as a hybrid space where reality blurs into fetishistic fantasies and pop culture clichés. Combining fan-made lyrics and songs, Oren's trials and tribulations in the fictional Miku world unfolds through vague erotic episodes and encounters with characters whose ontological status remains mysterious, bringing to mind the adventures of a modern Alice in a virtual Wonderland.

Jonathan Monaghan
Den of Wolves, 2020

Den of Wolves is a seamlessly-looping video installation drawing on a range of references to weave a new multi-layered mythology. The work follows three bizarre wolves through a series of increasingly surreal retail stores as they search for the regalia of a monarch. Composed of one continuous camera shot, the work is an immersive, dreamlike journey drawing connections between popular culture, institutional authority and technological over-dependence.

Stefan Panhans
HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – H.V.Installation Mix, 2018

At transmediale, Stefan Panhans and Andrea Winkler show their work HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – Hybrid Version, a new project that combines film, installation, and staccato stage reading (on blinkvideo we are showing a trailer of the integrated film). With everyday racism, celebrity worship, stereotypes, and the dominating power of the economic all on the rise, precariously and flexibly traveling cultural workers of different origin deliver a sort of spoken word battle about their experiences and dreams. They constantly switch roles and, at the same time, form a choir that clashes with the rapped reports of everyday life. As in a collaborative gymnastic exercise—surrounded by scenery made up of set pieces from outfits of airports, hostels, and courier services, from self-optimization tools and game show displays—they fight for a voice and to be heard, building new alliances along the way. for more information: opening of transmediale

Mariola Brillowska
Children Of The Devil, 2011

Mariola Brillowska’s animation film relates the total collapse of the family system in the 21st century. Six cartoon episodes present an unsparing account of how children become murderers of their parents.

Julia Charlotte Richter
Point Blank, 2019

“Point Blank” refers to a film scene from "The Misfits" (1961) that is now re-enacted and further contextualized. In the original scene, the recently divorced main character Roslyn (Marilyn Monroe) rises up against three worn-out cowboys and, in the middle of the desert, confronts the men with all their lacks and lost dreams. In “Point Blank”, we see a young woman wandering around in surreal desert landscapes, a journey into the remoteness of the world and her own inner life. With every step out into the desert, the girl descends into her own depths searching for a place that seems to be suitable for her emotions and words. Unlike Roslyn, the young woman now refers to absent addressees: "Liars", "Murderers" and "Dead Men" she screams and turns around wildly. The words, which spread like bullets in the air, fall back on her. Except for a faint echo, there is no resonance at this place that depicts the obsessions of a distorted, patriarchal society and has become a dramatic backdrop of yearnings within the collective history of cinema. Where Roslyn was able to elicit a terrified astonishment from the three men, the character in Julia Charlotte Richter's video remains to herself and unheard, the desert as the only witness of her manifesto, her anger and her strength.

Ulrich Polster
Frost, 2003 / 2004

The night city. Industrial ruins filmed in contrejour. Memories from childhood. Different places and times combined at the mountain. It is a hollow portrait of Eastern Europe that carries the traces of its history.

Ene-Liis Semper
FF REW, 1998

Dimitri Venkov
The Hymns of Muscovy, 2018

The film is a trip to the planet Muscovy, which is an upside down space twin of the city of Moscow. As the title of the work suggests, the journey also takes us back in time. Gliding along the surface of the planet, we look down to the sky and see historic architectural styles fly by - the exuberant Socialist Classicism aka Stalinist Empire, the laconic and brutish Soviet Modernism, and the hodgepodge of contemporary knock-offs and revivals of the styles of the past. An essential companion to this journey through time and space are Hymnic Variations on the Soviet anthem by the composer Alexander Manotskov. The anthem was written in 1943 and has undergone three editions of lyrics yet musically remained unchanged to now serve as the official anthem of the Russian Federation. Manotskov used an early recording of the anthem as source material to create three electronic variations each corresponding to an architectural style. As if in a twist of Goethe’s phrase, architecture plays its frozen music. Look closely, can you hear it?

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blinkvideo is a website for the research of video art. Founders: Julia Sökeland, Anita Beckers. blinkvideo ist eine Plattform zur Recherche nach Videokunst

Rachel Maclean

Works


Galleries

for further information contact blinkvideo
Germany

Phone: +49 40 22748986
E-Mail: info@blinkvideo.de




Biography

Born 1987, Edinburgh
Lives and works in Glasgow.

Education

2005–09 BA Honours Drawing and Painting, Edinburgh College of Art, Scotland
2008 School of the Museum of Fine Arts Boston, USA

Solo exhibitions

2017
Spite Your Face, Scotland + Venice, Solo exhibition representing Scotland at the Venice Biennale

2016/17
Wot u :-) about?, Art Now, Tate Britain, London

2016
Wot u :-) about?, HOME, Manchester, England
We Want Data!, Artpace, San Antonio, USA

2015
Ok, You’ve Had Your Fun!, Casino Luxembourg, Luxembourg
The cold never bothered me anyway!, 20-21 Visual Arts Centre, Scunthorpe, England
Let it go!, Inverness Art Gallery, Scotland

2014
Please, Sir…, Rowing, London, England
The Weepers, Comar, Tobermory, Isle of Mull, Scotland
Happy and Glorious, Centre for Contemporary Art, Glasgow, Scotland, as part of Generation: 25 Years of Contemporary at in Scotland
Loop Video Art Fair, presented by Rowing, Barcelona, Spain
Invites, Zabludowicz Collection, London, England
I HEART SCOTLAND, The Travelling Gallery, Various locations around Scotland

2013
Quick Child, Run!, Trade Gallery, Nottingham, England
I HEART SCOTLAND, The Edinburgh Printmakers as part of The Edinburgh Art Festival, Scotland
Over The Rainbow, Collective Gallery, Edinburgh, Scotland

2012
Lolcats, Solo show at Generator Projects, Dundee, Scotland
The Lion and The Unicorn, Current Projects, Brisbane, Australia

Selected group exhibitions and screenings

2017
Kino der Kunst, Munich, Germany
A Goth Life: Datta Editions at Art Cologne, Germany
A Nonexistant Place: JUT Art Museum, Taiwan
TECHSTYLE Series 1.0: Ariadne’s Thread at MILL 6, Hong Kong

2016
Feed Me at Athens and Luxembourg Film Festival
Frieze Film Projects, Frieze Art Fair, London
The Miracle Marathon Weekend at Serpentine Galleries, London
Jarman Awards: Touring programme, Various UK locations

2015
British Art Show 8, Leeds Art Gallery, England
The Uncanny Valley, Wysing Arts Centre, Cambridgeshire, England
Just Frustration, SixtyEight, Copenhagen
Daata Editions, Online presentation

2014
Heathers, curated by Alex Ross at Rowing, London, England
Anatomy of Anxieties, Edouard Malingue Gallery, Hong Kong 2014 Over (Drive+Flow), Galerie Olivier Robert, Paris, France
A Post-Gender World, Wysing Art Centre, Bourne, England
My Fiction Is Real, University of Essex, Colchester, England
Tonight you can call me Trish, Lab Gallery, Dublin, Ireland
Utopian Kind of Girl, The Nursery, London, England
Focus on Film, Royal Scottish Academy Annual Exhibition, Edinburgh, Scotland

2013
As real as walking down the street and going to the grocery store, Rowing, London, England
Airy-Fairy, Lairy and Scary, The Philadelphia Sculpture Gym, in association Summerhall, Philadelphia, USA
Costume: Written Clothing, Group show at Tramway, Glasgow, Scotland
Neither Spit nor Diamonds, Flatpack Gallery, Dublin, Ireland
New Ideas for the City, St Petersburg Museum of Urban Sculpture, Saint Petersburg, Russia
The Dark Room, Passmore Edwards School of Science and Art building in Helston, Cornwall, England

2012
Pleasure Palaces, Music video for Errors, Glasgow, Scotland

2011
Video screening, Gasworks, London, England
Polygon, Kunstarkaden, Munich, Germany
Microstoria, The Talbot Rice Gallery, Edinburgh, Scotland
Sisyphus Happy, Backlit Gallery, Nottingham, England

2010
UK Young Artists, The Ark Shop, Derby, England
The International Bongo Bongo Brigade, Meetfactory International Centre for Contemporary Art, Prague, Czech Republic
They Had Four Years, Generator Projects, Dundee, Scotland
Hatchings, Patriothall Gallery in association with Edinburgh Sculpture Workshop, Edinburgh, Scotland
RSA New Contemporaries, Royal Scottish Academy, Edinburgh Selected

Screenings and film festivals

2015
Germs and Over The Rainbow, RISD Museum, Providence, RI, USA
Transactions of Desire, Whitechapel, London and HOME, Manchester
Germs, Artists Film International, Whitechapel, London
Over The Rainbow, Liverpool International Festival of Psychedelia, England
Passing Glitches, Peckham Plex Cinema, London
Moving Pictures, Touring programme curated by British Arts Council and Film London, Various international venues
Jeune Prédation, Jeune Création, Paris, France
The Numbers Station, Belfast School of Art, Northern Ireland
2014
Screening of Lolcats at Impakt Festival, Utrecht, The Netherlands
A Whole New World premiere, Glasgow Film Festival, Glasgow, Scotland
Screening of Over The Rainbow as part of WeberWoche, Stroom Den Haag, The Hague, The Netherlands
Screening curated by Northern Film and Media at Tyneside Cinema, Newcastle-Upon-Tyne, England
Screening of Over The Rainbow, Inland Art Festival, Redruth, England
Screening of The Lion and The Unicorn at Indie Cork: A Festival of Independent Film and Music, Cork, Ireland
Screening of A Whole New World and The Lion and The Unicorn at Berwick Film Festival, Berwick upon Tweed, England
Screening of Over The Rainbow at Alchemy Film Festival, Hawick, Scotland
2013
Screening of Lolcats at Animate Experiment, De La Warr Pavilion, Brighton
Space Time: Convention T, presented by Rowing Wysing Art Centre, England 2013 Art Cinema, Film screening, MIMA, Middlesbrough, England
Entre Chien et Loup, Group video screening and performance event as part of Glasgow Film Festival, Grand Central Hotel Ballroom, Glasgow Selected
Residencies 2016 Artpace, San Antonio, USA
Residency at Wysing Arts Centre, Cambridge, England
2012
Three Points of Contact Residency, Mackintosh Gallery, Glasgow School of Art, Glasgow, Scotland
2011
Creative Scotland 6 month Film and New Media residency at the Banff Centre, Alberta, Canada
2010
Going Bananas!, The Market Gallery, Glasgow, Scotland

Selected press

2017 Aesthetica Magazine – Viva Arte: 10 to see, Online Feature
Art Review, The Venice Questionnaire with Rachel Maclean, Online Feature
Izabella Scott, White Review, Interview with Rachel Maclean, Published
February 2017
2016 Moira Jeffery, The Scotsman, Review of Its What’s Inside that Counts,
01/11/2017HOME Manchester
Patrick Langley, Frieze, In Focus, 2/2016
2015 Jonathan P Watts, Art Monthly, Review of “Feed Me” at British Art Show 8,
Leeds, 10/2015
Laura Cumming, The Observer, Review of “Feed Me” at British Art Show 8,
Leeds, 10/2015
Hannah Duguid, The Independent, Review of “Feed Me” at British Art Show
8, Leeds, 10/2015
Adrian Searle, The Guardian, Review of “Feed Me” at British Art Show 8,
Leeds, 10/2015
Richard Cork, Front Row, BBC Radio 4, Review of “Feed Me” at British Art
Show 8, Leeds, 10/2015
Amelia Crouch, A-N, Review of “Feed Me” at British Art Show 8, Leeds,
10/2015 2015 Alice Butler, Frieze, Review of “Please, Sir…” at Rowing Projects,
London, 03/2015
Valentina Bin, Art Review, Review of Please, Sir at Rowing Projects,
London, 12/01/2015
2014 Kate Neave, Sleek Magazine, What’s Your Damage? “Heathers” revamped at
Rowing, Review of Heathers at Rowing, London, 07/10/2014
stuVVz Magazine, Anatomy of Anxieties, Review of show at Edouard
Malingue Gallery, Hong Kong, 23/09/2014
Paul Robertson, Rooms Magazine, Interview, 10/2014 2014 Ivan Knapp,
Line Magazine, Who The Fuck Are You?, Feature, 09/2014
Neil Cooper, The List, Superb darkly comic retelling of Celtic Bean Nighe
myth from Glasgow filmmaker, Review of The Weepers An Tober, Tobermory,
Isle of Mull, 24/09/2014
Chris Sharratt, A-N Magazine, SCOTTISH INDEPENDENCE AND ARTISTS:
“IT’S NOT ABOUT NATIONALISM AT ALL”, Feature, 25/08/2014
Oskar Oprey, Scamp Magazine, The Prime of Miss Rachel Maclean, Feature,
Summer 2014
You Are Cordially Invited, The Audacious Issue, Feature, 2014 2014 Alicia
Rodriguez, Garageland magazine, Review of Space-Time: The Future at Wysing
Arts Centre, 08/09/2014
Nick Warner, Art Monthly, , Review of Space-Time: The Future at Wysing
Arts Centre, 10/2014 2014 BBC2 Scotland and BBC4 Broadcast, Scotland’s Art
Revolution: The Maverick Generation: Kirsty Wark meets Rachel Maclean,
Television Interview, 15/07/2014
Art in Scotland from Arts News, Video Preview of Happy and Glorious CCA,
Glasgow, 06/2014
Lorna Irvine, Middle Magazine Online, Review of Happy and Glorious, CCA,
Glasgow, 06/2014 2014 PAIGE K. BRADLEY, Art Forum, July
Picks, Review of Happy and Glorious CCA, 07/2014 2014 Visual Artists
Ireland, Spark & Grit. Rgksksrg discuss the DCC, Review of Tonight you can call
me Trish, LAB Gallery, Dublin, 08/06/2014
Moira Jeffery, The Scotsman, Review of Happy and Glorious, CCA, Glasgow,
07/06/2014
Barry Didcock, The Sunday Herald, True colours, Feature and cover,
11/05/2014
Janice Forsyth, BBC Culture Café, Interview about Alchemy Film Festival,
03/04/2014

Rachel Maclean
Born 1987, Edinburgh Lives and works in Glasgow. Education 2005–09 BA Honours Drawing and Painting, Edinburgh College of Art, Scotland 2008 School of the Museum of Fine Arts Boston, USA Solo exhibitions 2017 Spite Your Face, Scotland + Venice, Solo exhibition representing Scotland at the Venice Biennale 2016/17 Wot u :-) about?, Art Now, Tate Britain, London 2016 Wot u :-) about?, HOME, Manchester, England We Want Data!, Artpace, San Antonio, USA 2015 Ok, You’ve Had Your Fun!, Casino Luxembourg, Luxembourg The cold never bothered me anyway!, 20-21 Visual Arts Centre, Scunthorpe, England Let it go!, Inverness Art Gallery, Scotland 2014 Please, Sir…, Rowing, London, England The Weepers, Comar, Tobermory, Isle of Mull, Scotland Happy and Glorious, Centre for Contemporary Art, Glasgow, Scotland, as part of Generation: 25 Years of Contemporary at in Scotland Loop Video Art Fair, presented by Rowing, Barcelona, Spain Invites, Zabludowicz Collection, London, England I HEART SCOTLAND, The Travelling Gallery, Various locations around Scotland 2013 Quick Child, Run!, Trade Gallery, Nottingham, England I HEART SCOTLAND, The Edinburgh Printmakers as part of The Edinburgh Art Festival, Scotland Over The Rainbow, Collective Gallery, Edinburgh, Scotland 2012 Lolcats, Solo show at Generator Projects, Dundee, Scotland The Lion and The Unicorn, Current Projects, Brisbane, Australia Selected group exhibitions and screenings 2017 Kino der Kunst, Munich, Germany A Goth Life: Datta Editions at Art Cologne, Germany A Nonexistant Place: JUT Art Museum, Taiwan TECHSTYLE Series 1.0: Ariadne’s Thread at MILL 6, Hong Kong 2016 Feed Me at Athens and Luxembourg Film Festival Frieze Film Projects, Frieze Art Fair, London The Miracle Marathon Weekend at Serpentine Galleries, London Jarman Awards: Touring programme, Various UK locations 2015 British Art Show 8, Leeds Art Gallery, England The Uncanny Valley, Wysing Arts Centre, Cambridgeshire, England Just Frustration, SixtyEight, Copenhagen Daata Editions, Online presentation 2014 Heathers, curated by Alex Ross at Rowing, London, England Anatomy of Anxieties, Edouard Malingue Gallery, Hong Kong 2014 Over (Drive+Flow), Galerie Olivier Robert, Paris, France A Post-Gender World, Wysing Art Centre, Bourne, England My Fiction Is Real, University of Essex, Colchester, England Tonight you can call me Trish, Lab Gallery, Dublin, Ireland Utopian Kind of Girl, The Nursery, London, England Focus on Film, Royal Scottish Academy Annual Exhibition, Edinburgh, Scotland 2013 As real as walking down the street and going to the grocery store, Rowing, London, England Airy-Fairy, Lairy and Scary, The Philadelphia Sculpture Gym, in association Summerhall, Philadelphia, USA Costume: Written Clothing, Group show at Tramway, Glasgow, Scotland Neither Spit nor Diamonds, Flatpack Gallery, Dublin, Ireland New Ideas for the City, St Petersburg Museum of Urban Sculpture, Saint Petersburg, Russia The Dark Room, Passmore Edwards School of Science and Art building in Helston, Cornwall, England 2012 Pleasure Palaces, Music video for Errors, Glasgow, Scotland 2011 Video screening, Gasworks, London, England Polygon, Kunstarkaden, Munich, Germany Microstoria, The Talbot Rice Gallery, Edinburgh, Scotland Sisyphus Happy, Backlit Gallery, Nottingham, England 2010 UK Young Artists, The Ark Shop, Derby, England The International Bongo Bongo Brigade, Meetfactory International Centre for Contemporary Art, Prague, Czech Republic They Had Four Years, Generator Projects, Dundee, Scotland Hatchings, Patriothall Gallery in association with Edinburgh Sculpture Workshop, Edinburgh, Scotland RSA New Contemporaries, Royal Scottish Academy, Edinburgh Selected Screenings and film festivals 2015 Germs and Over The Rainbow, RISD Museum, Providence, RI, USA Transactions of Desire, Whitechapel, London and HOME, Manchester Germs, Artists Film International, Whitechapel, London Over The Rainbow, Liverpool International Festival of Psychedelia, England Passing Glitches, Peckham Plex Cinema, London Moving Pictures, Touring programme curated by British Arts Council and Film London, Various international venues Jeune Prédation, Jeune Création, Paris, France The Numbers Station, Belfast School of Art, Northern Ireland 2014 Screening of Lolcats at Impakt Festival, Utrecht, The Netherlands A Whole New World premiere, Glasgow Film Festival, Glasgow, Scotland Screening of Over The Rainbow as part of WeberWoche, Stroom Den Haag, The Hague, The Netherlands Screening curated by Northern Film and Media at Tyneside Cinema, Newcastle-Upon-Tyne, England Screening of Over The Rainbow, Inland Art Festival, Redruth, England Screening of The Lion and The Unicorn at Indie Cork: A Festival of Independent Film and Music, Cork, Ireland Screening of A Whole New World and The Lion and The Unicorn at Berwick Film Festival, Berwick upon Tweed, England Screening of Over The Rainbow at Alchemy Film Festival, Hawick, Scotland 2013 Screening of Lolcats at Animate Experiment, De La Warr Pavilion, Brighton Space Time: Convention T, presented by Rowing Wysing Art Centre, England 2013 Art Cinema, Film screening, MIMA, Middlesbrough, England Entre Chien et Loup, Group video screening and performance event as part of Glasgow Film Festival, Grand Central Hotel Ballroom, Glasgow Selected Residencies 2016 Artpace, San Antonio, USA Residency at Wysing Arts Centre, Cambridge, England 2012 Three Points of Contact Residency, Mackintosh Gallery, Glasgow School of Art, Glasgow, Scotland 2011 Creative Scotland 6 month Film and New Media residency at the Banff Centre, Alberta, Canada 2010 Going Bananas!, The Market Gallery, Glasgow, Scotland Selected press 2017 Aesthetica Magazine – Viva Arte: 10 to see, Online Feature Art Review, The Venice Questionnaire with Rachel Maclean, Online Feature Izabella Scott, White Review, Interview with Rachel Maclean, Published February 2017 2016 Moira Jeffery, The Scotsman, Review of Its What’s Inside that Counts, 01/11/2017HOME Manchester Patrick Langley, Frieze, In Focus, 2/2016 2015 Jonathan P Watts, Art Monthly, Review of “Feed Me” at British Art Show 8, Leeds, 10/2015 Laura Cumming, The Observer, Review of “Feed Me” at British Art Show 8, Leeds, 10/2015 Hannah Duguid, The Independent, Review of “Feed Me” at British Art Show 8, Leeds, 10/2015 Adrian Searle, The Guardian, Review of “Feed Me” at British Art Show 8, Leeds, 10/2015 Richard Cork, Front Row, BBC Radio 4, Review of “Feed Me” at British Art Show 8, Leeds, 10/2015 Amelia Crouch, A-N, Review of “Feed Me” at British Art Show 8, Leeds, 10/2015 2015 Alice Butler, Frieze, Review of “Please, Sir…” at Rowing Projects, London, 03/2015 Valentina Bin, Art Review, Review of Please, Sir at Rowing Projects, London, 12/01/2015 2014 Kate Neave, Sleek Magazine, What’s Your Damage? “Heathers” revamped at Rowing, Review of Heathers at Rowing, London, 07/10/2014 stuVVz Magazine, Anatomy of Anxieties, Review of show at Edouard Malingue Gallery, Hong Kong, 23/09/2014 Paul Robertson, Rooms Magazine, Interview, 10/2014 2014 Ivan Knapp, Line Magazine, Who The Fuck Are You?, Feature, 09/2014 Neil Cooper, The List, Superb darkly comic retelling of Celtic Bean Nighe myth from Glasgow filmmaker, Review of The Weepers An Tober, Tobermory, Isle of Mull, 24/09/2014 Chris Sharratt, A-N Magazine, SCOTTISH INDEPENDENCE AND ARTISTS: “IT’S NOT ABOUT NATIONALISM AT ALL”, Feature, 25/08/2014 Oskar Oprey, Scamp Magazine, The Prime of Miss Rachel Maclean, Feature, Summer 2014 You Are Cordially Invited, The Audacious Issue, Feature, 2014 2014 Alicia Rodriguez, Garageland magazine, Review of Space-Time: The Future at Wysing Arts Centre, 08/09/2014 Nick Warner, Art Monthly, , Review of Space-Time: The Future at Wysing Arts Centre, 10/2014 2014 BBC2 Scotland and BBC4 Broadcast, Scotland’s Art Revolution: The Maverick Generation: Kirsty Wark meets Rachel Maclean, Television Interview, 15/07/2014 Art in Scotland from Arts News, Video Preview of Happy and Glorious CCA, Glasgow, 06/2014 Lorna Irvine, Middle Magazine Online, Review of Happy and Glorious, CCA, Glasgow, 06/2014 2014 PAIGE K. BRADLEY, Art Forum, July Picks, Review of Happy and Glorious CCA, 07/2014 2014 Visual Artists Ireland, Spark & Grit. Rgksksrg discuss the DCC, Review of Tonight you can call me Trish, LAB Gallery, Dublin, 08/06/2014 Moira Jeffery, The Scotsman, Review of Happy and Glorious, CCA, Glasgow, 07/06/2014 Barry Didcock, The Sunday Herald, True colours, Feature and cover, 11/05/2014 Janice Forsyth, BBC Culture Café, Interview about Alchemy Film Festival, 03/04/2014

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