5.30 pm Project Space Leeds: Pieces of Eight
6.15 pm Leeds Art Gallery: Art in our Time – 100 Years of Collecting by Leeds Art Fund
6.45 pm Henry Moore Institute: Michael Dean: Government
Meet at Project Space Leeds at 5.30 pm or join us at any of the venues along the way. For more information please contact firstname.lastname@example.org or 0113 343 2718.
Booking isn’t required but please contact us in advance if you have any access requirements as accessibility of venues varies.
More about the exhibitions
Pieces of Eight – Project Space Leeds
Featuring work by Andy Abbott, Ian Balch, Sam Belinfante,
Erini Boukla, Cecilia Grönberg and Jonas (J) Magnusson, Hui-Hsuan Hsu, Maija Närhinen, Annica Karlsson Rixon. Pieces of Eight brings together work in film, photography, sculpture, drawing, installation and book form, arising from research-let practices, by artists who have recently graduated or are currently engaged in PhD study.
The exhibition places emphasis on the quality of the work, its ability to communicate in the context of a group show, and on the question ‘what makes a good exhibition?’ in the context of research-led practice.
Art in our Time – 100 Years of Collecting by Leeds Art Fund – Leeds Art Gallery
The organisation responsible for some of the most significant works of art in the collections of Leeds Museums & Galleries this year celebrates 100 years of collecting with a new exhibition, entitled ‘Art in Our Time’. The exhibition brings together for the first time paintings and sculpture acquired by one of the UK’s oldest regional supporting agencies for the visual arts, that have made such a significant contribution to what is recognised as one of the best collections of fine and decorative arts in Britain. Leeds Art Fund continues to make an important financial contribution to the work of Leeds Museums and Galleries supporting new acquisitions and our exhibition programme.
Michael Dean: Government – Henry Moore Institute
Michael Dean’s sculptures are either the perfect size to be carried or quote their surrounding architecture where they are then to be found lurking, propped against gallery walls. Made from cast concrete, the surfaces are veined and ridged, offering invitations to be touched. Tactility is an essential sculptural quality for Dean – he wishes us to first ‘touch with the eyes, and then allow ourselves to touch with the hand’.
Single, precise words are always the starting point for Michael Dean. His sculptures spell out their titles in an abstracted typography; here at the Institute the words he uses are government, yes, no, education, health and home. The term ‘government’ refers to the way human conduct is regulated. Dean is interested in how impersonal systems rapidly become personal when their direct impact rubs up against everyday experience.