Ideas from the Hepworth Closing Events
[Extract]
StartFragmentResidence in the exhibition research space.
MAPPING EXCERCISE IV Doug Bowen, Study for Stuck in the Mud A mound of soil is positioned at the entrance of The Calder in relation to Ruth Lyons’ Pilot Light, through its reflection of the subterranean landscape. Doug Bowen symbolically digs up the land to replace the traditional plinth with soil, proposing a grander plan for an artwork to come to fruition. It is a reference to the initial ‘muddy seas’ of Capability Brown commissions, as the landscape designer rarely saw his plans mature.
MAPPING EXERCISE V Lara Eggleton, And so throughout history [a consortium of facts] Recalling history lessons to produce a ‘false document’, Lara Eggleton’s work illuminates a dark corner of The Calder. Visitors have been invited to ‘fill in the blanks’ – continuing sentences sourced from the project archives, without the need for verification. Eggleton appropriates the exhibition’s research space to challenge the authority of history making. 28–31 May
MAPPING EXERCISE VI Patrick Kirk-Smith, An archival catalogue of review documents Re-examining the document, Patrick Kirk-Smith’s work is an account of the exhibition audience. Gathered information is presented in its raw state with ideas catalogued and thoughts recorded. A short series of videos, produced daily in parallel to the written text, attend the audience to the physical space of The Calder as a former mill redeveloped for the presentation of contemporary art.
MAPPING EXERCISE VII Carol Sorhaindo, Global Transplants A suspended fabric banner is installed in relation to Amelia’s Crouch’s Nor stamp hard on the ground neither, with delicate marks and dyes responding to the botanical history of Brown landscapes, entwined with narratives of trade. Carol Sorhaindo’s work displays suppressed threads of history, with specific focus on the human narrative of Whitley Beaumont, the past of which connects to the Coast of Guinea and Jamaica.
MAPPING EXERCISE VIII Ryan Thompson, Serve for the Gods Amidst Out of a Morass are the props for a performance by Ryan Thompson. A tea party is the set for the performance referencing the Greco-Roman mythologies that underlie the English landscape. Thompson speculates on the reasons for disappearance of the three halls on the landscapes of Byram, Stapleton and Whitley Beaumont. The performance will take place at the closing event on 31 May.
Mapping Exercises IV-VIII has been curated by Miriam Thorpe.
The Follies of Youth is a programme of historical research and contemporary art commissioning by Pavilion. www.thefolliesofyouth.co.uk
Supported by Arts Council England, Pavilion and The Hepworth Wakefield.EndFragment