Sarah Urwin Jones

Jupiter Artland, the sculpture park that surrounds the house of Nicky and Robert Wilson outside Edinburgh, is now more than half way through its summer season and with the Edinburgh Art Festival upon us has two new works showing – a permanent installation and a temporary exhibition of the work of dancer and choreographer, Trisha Brown.

If previous installations have seemed more “traditionally” sculptural, from Charles Jencks' Landforms to to Phyllida Barlow's monumental Quarry, this year's mixes the conceptual with the practical. Joana Vasoncelos' Gateway is, in fact, to all intents and purposes, an outdoor swimming pool, if not one that any off-the-peg manufacturer would recognise, with its brightly coloured swirl of Portuguese tiling brought together around the back of the main house. Resembling a splash of water hitting the ground, its circular pool shape is a riot of colour and symbol, constructed from tiles specially made in Portugal to Vasconcelos' designs. No two tiles are the same, Vasconcelos tells us, as we wander around the new installation a few days before the opening. The internationally-acclaimed artist, who has also created a splash-shaped inflatable and furniture for the poolside and pool house – things she calls “products” – is wearing a flowing kaftan which is decorated in the same swirling lines and shapes as the swimming pool.

Vasconcelos, who works with craftspeople in the construction of her large-scale installations, says that this is one of the few commissions in which she has learnt something new. In this case, about ley lines, the invisible lines some believe traverse the landscape, a spiritual bringing together of place and earth and life. The swimming pool is on one of the ley lines that passes through Jupiter Artland, and she references these lines and ideas in the pool itself, as well as symbols representing all the Wilson family members and her own star sign, by way of signature.

Surrounding it is a formal garden, in the sense that it is made up of clipped box, yew and Portuguese laurel, although this is no parterre but an enveloping carpet of green that extends to make use of the greenery of the trees in the grounds outside the walled garden. It undulates around the pool, its lollipop clipped yew and box balls subsumed into the green, and reminiscent of nothing so much as a Nicholas Party landscape, Party being the artist responsible for remodelling the cafe some years ago. I mention this to head gardener and designer Thomas Unterdorfer, who worked with Nicky Wilson on the design and realisation of the landscape. He smiles. That, he says, is partly what they had in mind. It is both subtle and strong, enclosing and revealing in turn.

A short while later, almost everyone is in the pool, something which visitors who are lucky enough to get a booking can enjoy for the rest of the summer. It is a vivid artwork, but also a thoughtful one too, and one which, one imagines, will host many a pool party in years to come.

In the Steadings Gallery and the Ballroom is a retrospective of Trisha Brown, the choreographer who died in late 2017, and created work that is and was a revolutionary and revelatory. Working with artists such as Robert Rauschenberg, she created works that, in the early years, took her out into the urban environment and out of the formal setting for dance works. Brown was interested in landscape and the architecture of the city as a place for dance and experimentation, with early works shown here including footage of her clambering, with natural movement, up chimneys on the rooftops of New York, or edging her way, in a garden, crab-like, along two suspended lines.

The works here are from her moving image archive, and range from simple pieces where Brown is dancing herself to large scale works involving a number of dancers and, in her later years, music. Brown's works were accompanied, mostly, not by music but by her own commentary, or simply the sound of the dancing itself. In later years she became interested in the cleanness and complexity of baroque music, choosing to use Jean Philippe Rameau's Pygmalion as springboard for her dance work, “Les Yeux et l'ame” (2011). This is shown on a large screen in the Ballroom at Jupiter Artland, alternating with “Set and Reset (Version I)” (1985) created to music that she loved, by contemporary composer Laurie Anderson and with costumes by Rauschenberg.

Excitingly, too, there will be a series of performances of Trisha Brown's groundbreaking work by her dance company this weekend, in partnership with the Edinburgh International Festival. In Plain Site will take some of her short works and re-conceive them in relationship to Jupiter Artland's grounds, whether that be on floating rafts in the pond between Charles Jencks' landforms or in the woodlands around the site. Do go, if you can.

Joana Vasconcelos/Trisha Brown, Jupiter Artland, Bonnington House Steadings, Wilkieston, Edinburgh, 01506 889900 Until 29 July, £8.10/ £4.50 – other concessions available. Gateway bathing bookings via website