Edward Clydesdale Thomson Bio
wild care tame neglect Frankendael Foundation, Amsterdam, The Netherlands current
poster club Het Wilde Weten, Rotterdam, The Netherlands 2017
The Society Machine Malmo Konstmuseum, Malmo 2016
Static Gravity Het Wilde Weten, Rotterdam 2016
Crossing Borders Expanding Frontiers ramfoundation, Rotterdam, The Netherlands 2016
As the lake said to the boat Kunsthuis SYB, Beetsterzwaag, The Netherlands 2015
Nothin Shakin but the Leaves on the Trees Marabouparken konsthall, Sunsbyberg, Sweden 2015
Crooked Rain, Crooked Rain CCA Derry~Londonderry, Lismore Castle Arts St Carthage Hall 2015
Belief and Productivity: A Play in the Forest O&O funding, CBK, Rotterdam current
The Non Urban Garden: tuinen van de 21e eeuw Afdh & Kunstvereniging Diepenheim 2014
iaspis Open House, spring 2014 iaspis, Stockholm 2014
The Distracted Gardener & The Plumbing Subverter Yeo Workshop, Singapore 2013
Late Nights & Early Mornings Kunstraum, London 2013
25 Years Rotterdam City Collection Museum Boijmans van Beuningen, Rotterdam 2013
Here is always somewhere else Forum Triangulare, Oud-Rekem, Belgium 2013
Abilities Jeanine Hofland Contemporary Art, Amsterdam 2013
Lost & Found at the Flügelbus Lost & Found, Amsterdam 2013
causa finalis Galerie Fons Welters, Amsterdam 2012
As if an entrance is over there- Lecturis, Eindhoven 2012
Rijksakademie Open 2012 Rijksakademie van beeldende kunsten, Amsterdamm 2012
The research and destroy department of the Black Mountain College W139, Amsterdam 2012
We are rolling galerie-j, Geneva 2012
There was a Country where They were all Thieves Jeanine Hofland Contemporary Art, Amsterdam 2012
Secret Gardens TENT, Rotterda, 2012
FlowerCASTLE Kasteel Keukenhof Art Foundation, Lisse 2011
Rijksakademie Open 2011 Rijksakademie van beeldende kunsten, Amsterdam 2011
a green thought, in a green shade Art Amsterdam MK Gallery 2011
Prix de Rome 2011 Smart project space, Amsterdam 2011
Borderline Picturesque & the Recounting Prospect Tromsø Kunstforening, Tromsø, Norway 2010
New Graffiti, Old Revolutions MK gallery, Rotterdam 2010
New Graffiti, Old Revolutions
Documentation, ‘Borderline Picturesque & the Recounting Prospect, (part one)’, hand printed photograph from negative & one piece of fabric tape, 1.2m by 1.5m, 2009
New Graffiti, Old Revolutions
Documentation, ‘Borderline Picturesque & the Recounting Prospect, (part one)’, hand printed photograph from negative & one piece of fabric tape, 1.2m by 1.5m, 2009
New Graffiti, Old Revolutions
Documentation, ‘Borderline Picturesque & the Recounting Prospect, (part one)’, hand printed photograph from negative & one piece of fabric tape, 1.2m by 1.5m, 2009

New Graffiti, Old Revolutions is an exhibition that imagines readings of contemporary culture as seen through the prisms of the ‘hauntological’ and the ‘spectral.’ These ideas are understood as ways of inscribing the past within the present, not as a way to order knowledge, but as a means of encountering the strange, the unheard of, the obscure and the other. The term Hauntology was first used by Jacques Derrida in Spectres of Marx and more recently it has become shorthand in music criticism as a way of reading (analysing) music that is sample based and/or reliant on obsolete technologies. However it’s origins can be speculated back to Marcel Proust’s À La Recherche du Temps Perdu (In Search of Lost Time), where he puts forward the notion of ‘involuntary memory;’ the unexpected and sudden recurrence of the forgotten. The exhibition is a place to test our relation to the obsolete by examining the elusive identities of the living, and exploring the boundaries between the thought and un-thought. The idea is to create a ‘spectral’ debate to understand what ‘hauntology’ could mean in terms of artistic methodologies and productions.

Since 2008 Edward Clydesdale Thomson has been traveling to Tromsø in order to realize a photographic project which uses official and unofficial archives to uncover the relation between landscape, politics and local identity. Sidestepping the conventions of research he re-imagines the archive as a source of evocative imagery and multiple narratives - a place for speculation beyond the confines of sanctioned histories. “My most recent work stems from a fixation with landscape and cultural formation. A resurgence in the appreciation of local identity has emerged in Tromsø over the last two years and I’ve repeatedly spent periods there fascinated and bewildered by this. The Borderline Picturesque & The Recounting Prospect works stems from this period. I collected as many postcards as I could, dividing and categorizing them in the studio. I made two still life images depicting the postcards. One is of ethnographical portraits, the other, a house of cards made from generic landscape postcards of the area. Together the images address two competing sides in the resurgence of local identity in Tromsø; one being the Samisk culture, the other, Northern Norwegian culture.”

Curated by Jason Coburn.

MK Gallery

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A group show Croxhapox, Ghent 2010
Done to a dead end & the dead or alive sale SD&G, Rotterdam 2010
Edward Clydesdale Thomson SECONDroom, Brussels 2009
A Leopard, Some Monkeys, Numerous Butterflies, Dozens of Peacocks and a Sublime Vista 4th Issue NOWISWERE, Contemporary Art Magazine, London 2009
Open Office for Words ADA, Rotterdam 2009
Imaginary Cinema - Discussion WDW 653, Rotterdam 2009
Residency at Het Wilde Weten, Rotterdam WDW 653, Rotterdam 2009
Impromptu Affairs DEK 22, Rotterdam 2009
Selbstzweck Private Collection 2008
Residency at Kysten Tromsø Kysten Tromsø 2008
Small Talk with the Janitor Piet Zwart Institute, Rotterdam 2008
My Travels with Barry, MA Graduation Show Tent, Rotterdamt 2008
Just what is it that makes that thing so different, so appealing? Expodium, Utrecht 2008
Observing Construction NEST, Netherlands Architectuurinstituut (NAi) Rotterdam 2007
This is how it must feel to be there Pakhuismeesteren, Rotterdam 2007