Dimensions:1 : 7 minutes
Credit:Presented by the Contemporary Art Society through a partnership with the 2020 National Gallery Artist in Residence programme, with the support of Anna Yang and Joseph Schull and partial gift of the artist, 2022
Ownership history:Parts One and Two:
Commissioned by Edinburgh Art Festival with Vienna Secession, Centro Andaluz de Arte Contemporáneo, Seville, and National Galleries. Supported by the PLACE Programme, a partnership between Edinburgh Festivals, Scottish Government, City of Edinburgh Council. With additional support from the Department of Art, Goldsmiths, University of London; presented to The Pier Arts Centre, Stromness, Orkney, 2021/22
Commissioned by The National Gallery, London as part of the 2020 National Gallery Artist in Residence programme, in partnership with the Contemporary Art Society, with support of Anna Yang and Joseph Schull, 2020; presented to The Pier Arts Centre, Stromness, Orkney, 2021/22
the on-site artist’s studio at the gallery and receives a stipend for London-living and childcare. The residency culminates with a display of work within the permanent collection, and published documentation of the artist’s practice and the residency. With the generous support of trustee Anna Yang and her husband, Joe Schull, the Contemporary Art Society then acquires a work from the residency for the permanent collection at the partner museum.
The Pier Arts Centre in Orkney was chosen as the first partner museum, and painter and filmmaker Rosalind Nashashibi was selected as the first Artist in Residence. Covid and subsequent protection measures affected the start date of the residency, but Nashashibi had regular contact with curatorial and conservation staff at the gallery throughout 2021, and presented a display of new paintings in the Spanish galleries in October 2021. Through the summer of that year, Nashashibi filmed at the National Gallery as well as in Orkney. The resulting work is the last part of a trilogy of films: a meditation on non-nuclear family and community structures, the theoretical effects of non-linear time travel on human relationships, and how this could aid or problematise communication.
The sense of sharp observation in Nashashibi’s work shares a kinship with the work of the Orcadian artist, filmmaker and poet Margaret Tait. The Pier Arts Centre collection contains several films by Tait, and this connection between the two artists’ work will be an important point of reference for curatorial development, as well as a new foundation for the acquisitions of other artists’ films in the future.
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