Henry Moore Institute 2017 Programme Highlights
Release date: Wednesday, 26 October 2016
The Henry Moore Institute is dedicated to celebrating sculpture.
The 2017 exhibition programme brings an incredible range of international sculpture to our free entry venue in central Leeds. For further information and images, please contact Rebecca Land.
Roy Ascott: Form has Behaviour
25 January – 23 April 2017
Roy Ascott (b. 1934) is a pioneering British artist and an influential teacher who has worked in the fields of cybernetics, telematics and telecommunications since 1960. Before his art training Ascott spent two years in a military bunker while completing his National Service as a Fighter Control Officer. This experience was formative in influencing his approach to sculpture. From 1955 to 1959, following his military service, Ascott trained at King’s College at the University of Durham under Victor Pasmore and Richard Hamilton, and he went on to create the revolutionary ‘Groundcourse’ at Ealing School of Art in 1961. Play, chance and interaction are fundamental to Ascott’s artworks. This focused exhibition presents his interactive sculptures made in the 1960s and features sculptures that visitors are invited to adapt as they please.
Galleries 1, 2 & 3
23 March – 11 June 2017
The Institute's 2017 sculpture commission presents new work by Berlin-based artist Aleksandra Domanović (b. 1981). Her first exhibition dedicated to sculpture brings together works made over the last five years and invites her to respond to the Institute's building. Domanović's research-led practice consistently explores technological developments, often looking to former Yugoslavia, her country of birth. For Domanović, technology is always gendered and always rooted in the society that creates it. In her film ‘Turbo Sculpture’, for example, she interrogates the recent phenomenon of public sculpture in former Yugoslavia dedicated to non-national media celebrities, such as Bruce Lee, Bob Marley and Tupac Shakur.
Domanović is interested in making sculpture portable: her ‘Paper Stack’ sculptures are monolithic vertical monuments made of piles of A4 paper that travel by PDF and are printed from a standard office machine. While as easy to move as a file transfer, time and labour are key: printers jam, toners fade, and stacking over one thousand pieces of paper is no easy task. Domanović has recently been creating 3-D printed sculptures based on the ‘Belgrade Hand’ – a post-war artificial hand with a sense of touch. Some hold votive objects, others batons modelled on those used in the Relay of Youth, an annual event held in Communist Yugoslavia to honour Tito’s birthday and symbolise unity among the nation.
Ghisha Koenig: Machines Restrict their Movement
25 May – 13 August 2017
Ghisha Koenig (1921–93) faithfully made her sculptural subject factory workers. She trained at Hornsey School of Art in 1939, a place she later described being ‘as remote from art as a lunatic asylum’. Following the Second World War she studied at Chelsea College of Art under Henry Moore (1898–1986). This exhibition explores her thirty-year study of industrial labour in factories in southeast England, specifically around St. Mary Cray, one of the first housing estates built outside London. Koenig described how she was concerned by the trapped nature of the workers that she observed, noting how ‘the machines restrict their movement, but when they are free, say in tea breaks, they’ll still take up the same positions day after day’. Displaying sketchbooks, sculptures and large scroll drawings, this exhibition shows Koenig's search for humanity within industry.
Jirō Takamatsu: The Temperature of Sculpture
Galleries 1, 2 & 3
13 July – 22 October 2017
Jirō Takamatsu (1936–98) is central to the development of sculpture in Japan. He expanded points into volume, brought sculptural actions into the life of the city, made shadows and perspective tangible and mined the particular properties of sculptural materials. Takamatsu applied sculptural thinking to explore how perception can change the ‘temperature’ of our surrounding world. The Temperature of Sculpture is the first European institutional solo exhibition of Takamatsu’s work. Presenting more than fifty works, it traces Takamatsu’s artistic practice through his exhibition history, showing his participation in landmark international exhibitions, such as Venice Biennale (1968) and Documenta 6 (1977), and contributions to exhibitions in Japan where experimental practices flourished, including the annual Yomiuri Indépendant (1958-63), Tokyo Biennale: Between Man and Matter (1970) and Osaka Expo (1970).
Mary Gillick: Her Art in your Pocket
20 September – 31 December 2017
Trained as a sculptor at Nottingham School of Art and the Royal College of Art, Mary Gillick (1881– 1965) brought sculpture to all. In 1952 she won a competition that would see her art in the pockets of everyone. Her portrait of Queen Elizabeth II became the image of the new Queen on all British and Commonwealth coinage until decimalisation in 1971. This focused display is the first exhibition dedicated to Gillick’s sculptural practice, and presents plaster models, drawings and archival material showing her working processes for the design and manufacture of coins, medals and memorial plaques. The archive of Mary Gillick is held in the Henry Moore Institute Archive of Sculptors’ Papers.
David Dye: Devices
Sculpture Study Galleries
12 October 2017 – 18 February 2018
David Dye (1945–2015) was at the heart of the radical changes in sculpture that took place in Britain in the late 1960s. Dye studied sculpture at St Martins School of Art, and his work was first shown in the Young Contemporaries exhibition at the Royal Academy in 1970. He examined and manipulated the interaction between object and spectator, often referring to his sculptures as ‘devices’. This is the most extensive monographic exhibition of Dye’s artistic practice to date, spanning four decades of sculptural experimentation. For the very first time his working drawings, sketchbooks and correspondences are made public, displayed alongside key works that deploy objects, mirrors and film. It celebrates Dye’s bequest of his archive and a number of sculptures to the Leeds Museums and Galleries sculpture collection, which is managed by the Henry Moore Institute.
Becoming Henry Moore
Galleries 1, 2 & 3
30 November 2017 – 18 February 2018
Becoming Henry Moore gives an insight into the influences at play in the mind of Britain’s foremost modern sculptor. Henry Moore (1898-1986) spent his early years studying the art of the past and sharing ideas with his contemporaries as he began his journey to produce his own individual style. Starting with experimental work from his student days at Leeds College of Art and the Royal College in London, Becoming Henry Moore presents Moore’s work from the 1920s in dialogue with artists who inspired him and worked alongside him. From his contemporaries Barbara Hepworth (1903-1975) and Leon Underwood (1890-1975), to the European avant-gardes Constantin Brancusi (1876-1957) and Pablo Picasso (1881-1973), via Auguste Rodin (1840-1917) and Michelangelo (1475-1574), as well as examples of African, Aztec and Cycladic art, this exhibition tells a story of the formation of an artist who would change the way we understand sculpture.
Stephen Cripps: Performance Machines
Museum Tinguely, Basel
27 January – 1 May 2017
In 2013 the Henry Moore Institute presented the first posthumous exhibition of the sculptor and performance artist Stephen Cripps (1953–82), celebrating the acquisition of his archive into the Leeds Museums and Galleries sculpture collection. In 2017 the Institute collaborates with Museum Tinguely in Basel to make the largest solo exhibition of his work to date. Stephen Cripps’ works developed out of an interest in kinetic sculpture and machines, and a fascination for the poetic potential of explosion and destruction. Many of his sculptural experiments were realised as unpredictable volatile events, involving explosions and fireworks – in 1979 he joined the London Fire Brigade to further his knowledge of pyrotechnic devices. Today all that survives of his sculptures are photographs and drawings: some are detailed plans, others rapid sketches on scraps of paper that, torn, singed and smeared, bear the marks of Cripps’ experimentation.
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