Warehouse of Horrors vs Way Out Is The Way Out

It’s all getting a bit spooky in SWG3 as the Embassy invades with a horror-themed exhibition opening to coincide with Halloween, while over in Edinburgh SWG3 present a group show of their own favourite artists in the Embassy space. Confused? The two galleries have organised an exchange programme, a mutual outreach if you will, the first step in the long process of art diplomacy between the traditional rivals of the Edinburgh and Glasgow art worlds. Overcoming their mutual suspicion, they have given each other free reign over their buildings to create what promise to be blockbuster exhibitions for the DIY scene.

Over in the Weeg, curator Ben Fallon has brought together a star-studded line up of artists with one thing in common: a fascination with horror. The selection is unconstrained by geography or level of fame. Internationalists Paul McCarthy and Olaf Breuning rub shoulders with local heroes Alex Hetherington and Neil Clements, and work ranges from existing pieces to newly commissioned performances and installations. All taking place within a space remodelled to look like a horror film set, and with a Rockabilly opening party, this exhibition seems to be very much a labour of love, driven by Fallon’s personal preoccupation with horror and, uh, Rockabilly. Preview images reveal work that is visually stunning and not a little bit scary.

In the Edinburgh corner, a group of artists who commonly work and exhibit within the SWG3 gallery and studios. They’ve been chosen to display both the commonalities that develop between the warehouse artists, and, according to curator Jamie Kenyon, a branch of art making, predominantly painting, that you wouldn’t instantly associate with “the perceived Glasgow neo-formal trend”. It’s the friendly young face of Glasgow art, and a step away from the inscrutable installations of the older generation.

All in all, the two exhibitions promise to be unique and engaging and well worth a visit. The gallery-swapping venture is in itself exciting, suggesting a growing level of cross-fertilisation between the art organisations of the different cities. Let’s hope it leads to more of the same.