5.30pm Leeds College of Art (Blenheim Walk) Sculpture, Photography and the Index
6.15pm Leeds Art Gallery Parallel Lives: Claude Cahun & Marlow Moss
6.45pm &Model Conversations around Marlow Moss
Meet at Leeds College of Art at 5.30pm or join us at any of the venues along the way.
The Leeds Art Walk is a monthly tour of exhibitions in Leeds programmed by Pavilion and artist Amelia Crouch. The event aims to introduce art-lovers to the diverse range of visual arts offerings in Leeds. Each month the schedule includes three exhibitions which are introduced by an artist or curator. Accessibility of venues varies so please contact us in advance for further information.
Contact:firstname.lastname@example.org or 0113 343 2718.
The Leeds Art Walk takes place the first Wednesday of every month and is free and open to all.
More about the exhibitions
Sculpture, Photography and the Index
Sculpture, Photography and the Index is an exhibition of work by selected first, second and third year students as well as members of staff on the BA (Hons) Fine Art course at Leeds College of Art.
Sculpture and Photography are the archetypal processes used to materialise coexistence between subject, object, event and image.
The exhibition includes work which combines referents with traces of the real and classic feminist interventions into personal histories in 2 and 3 dimensions.
Parallel Lives: Claude Cahun & Marlow Moss
Marlow Moss is now regarded as one of Britian’s most important Constructivist artists, though for many years her significance was overlooked. This exhibition presents paintings, reliefs and sculptures drawn from collections in the UK and Europe that are primarily concerned with an interrogation of space, movement and light. She lived and worked between Paris and Cornwall for much of her life, changing her name and permanently adopting a masculine appearance in 1919. The exhibition is supported by letters and photographs drawn from the Tate Archive.
Also at Leeds Art Gallery a closely linked exhibition considers the pioneering work of Claude Cahun, (1894-1954). Riveting photographic self-portraits show her acting out diverse identities both male and female in scenes that range from the starkly minimal to the elaborately staged. An avid participant in the cultural avant-garde of Paris in the 1920s and 30s mingling with many of the leading artists of her day, Cahun eventually moved to Jersey, in the Channel Islands where she was imprisoned during Nazi occupation.
Conversations around Marlow Moss
Conversations around Marlow Moss, consists of hypothetical dialogue between the exhibiting artists’ work and that of Moss, in which Moss represents the under acknowledged éminence grise, the original tricky figure from a British past in which Modernism, as another kind of European queerness, has also been diligently repressed.
Arguably we are still in muddled dialogue with the things Modernism represents and in the UK this means that the stalled and chequered nature of that conversation has an important effect on what contemporary art means and how it operates. Two exhibitions of Mondrian, at TATE Liverpool and Turner Contemporary, Margate, will open at around the same time that Marlow Moss opens at Leeds Art Gallery and this one comes to &Model. Considering Moss’ artistic relationship with Mondrian is a way of reconsidering her impact, but also the other conversations represented in the &Model exhibition, with British Construction and Systems artists such as Norman Dilworth Anthony Hill, Peter Lowe, David Saunders, Jeffrey Steele, Gillian Wise and others, form part of a bigger and very necessary exchange artists are making now with modernist positions that are far from redundant. Moss, as an overlooked protagonist for conversations that never happened in her lifetime, is the pre-eminently undigested presence in this exchange and the symbolic figure of resistance to an over homogenised history of British art. As with other projects Bick and Blannin have worked on, the irrational within the rational and the idea of contradiction as a vital driving force within art practice since modernism, is celebrated as a reason why we should enjoy and understand the work of Moss and her successors now.
The aim of Conversations around Marlow Moss, is to put her work and forgotten personality back in dialogue with what came after and what happens now, as well as to ask questions about what makes practice contemporary. The artist/curators have been in extended dialogue with British post War Construction and Systems Artists since meeting through an ‘in conversation’ Bick held with Jeffrey Steele at Hales Gallery in 2009. Since then Bick has curated exhibitions in Basel, Huddersfield, Leeds, Leigh and London around these artists’ work and Blannin has published extensive interviews with Steele and Bick in Turps Banana magazine. Both artists explore the implications of this artistic territory in their own practice. Included in Conversations around Marlow Moss will be works by post war British Construction and Systems artists as well as many of the younger artists Bick and Blannin have collaborated with on various projects since 2009.