5.30 pm Leeds Town Hall: Prepare to Cheer, The Postcard Project, Leeds Town Hall – Inside Out by Amelia Crouch, David Lindsay and the residents of Leeds
6.00 pm Leeds Art Gallery: Henry Moore
6.45 pm Matthew Darbyshire: Untitled Billboard at Leeds Railway Station
7.15 pm Mint Hotel: Pre Fab by Brendan Fletcher
Meet inside Leeds Town Hall (side entrance on Calverley St.) at 5.30pm.
For more information contact Gill at Pavilion
T > 0113 242 5100
E > email@example.com
Booking is not essential but it does help us estimate numbers.
More on the exhibitions:
Leeds Town Hall: We will view 3 different artworks/projects at Leeds Town, focusing on the Town Hall and how people relate to its history. The exhibition is designed to celebrate this history as well as opening up the building to the public.
The first part of the exhibition is the Postcard Project. Postcards have been distributed round the city for people to fill in with their stories and memories of the Town Hall and post back. A few of the stories received so far include; dancing on the stage, getting married, being on the jury for a murder trial, attending Light Night and graduating here. The project and exhibition is a way of collecting and archiving the social history of the Town Hall. A local artist and creative writer have been holding workshops with community groups to produce detailed postcards using a range of creative writing and visual art techniques. Postcards have been completed by people ranging from age 5 to 70. Some of the completed cards can be seen on the project’s flickr site
‘Prepare to Cheer’ by Amelia Crouch is the second strand of the exhibition and is a site-responsive artwork that collates information relating to different functions of Leeds Town Hall. Presented as a series of 6 brass plaques, the artwork refers to both past and present, symbolic and functional uses of the Town Hall. Amelia is interested in commemorating cumulative, everyday or fabled activities alongside the grand events usually included in such inscriptions.
The 3rd strand of the exhibition will be a series of photographs taken by David Lindsay who spent a day at the Town Hall exploring and creating images of the spaces that the public don’t have access to, to try and tell a story of the history and character of the building. Dave was given a free reign as to where he could photograph, so was able to enter the places that allow the building to work, such as the old Victorian ventilation system. Other spaces tell a story of the people who have contributed to its character over the years, including the inside of the organ and the personal spaces occupied by those who have worked there. Dave hopes that the images will give an overview of the building through its life, and its continual importance and significance to the city of Leeds.
Radical, experimental and avant garde, Henry Moore (1898-1986) was one of Britain’s greatest artists. This major exhibition will re-assert his position at the forefront of progressive twentieth-century sculpture, bringing together the most comprehensive selection of his works for a generation. Henry Moore in Leeds will present over 100 significant works including stone sculptures, wood carvings, bronzes and drawings.
Henry Moore will reveal the range and quality of Moore’s art in new ways – sometimes uncovering a dark and erotically charged dimension that challenges the familiar image of the artist and his work. Henry Moore first emerged as an artist in the wake of the First World War, in which he served on the Western Front. This exhibition will emphasise the impact on Moore’s work of its historical and intellectual contexts: the trauma of war, the advent of psychoanalysis and new ideas of sexuality, and the influence of primitive art and surrealism.
The recurring motif of the mother and child will be explored throughout the exhibition. Moore called it his ‘fundamental obsession’, and presented a complex vision of the maternal relationship, ranging from the nurturing bond of Mother and Child 1930-31 (Private Collection), to Suckling Child 1930 (Pallant House).
Untitled Billboard: Matthew Darbyshire has become known for his unravelling of various contemporary design tendencies in the fields of furniture, architecture, fashion and graphics, and has recently been making particular reference to the history and conventions of billboard advertising since the 1970s.
It is most appropriate then that he has been invited to make a work for a billboard in the bustling Railway Station. Sited amongst other typical product and service adverts the chameleonic status of Untitled Billboard (Leeds Station) could easily be mistaken for one of them. The day-glo paint bombs work not only with the wording of the caption but as compulsory post-millennial icing, masking the drab 1980s corporate, colourless ad language of cutesy animals and black retro fonts with tokenistic, upbeat, candy-coloured social appeal. With an eye on the techniques employed by art/Aids activists of the 1980s such as Barbara Kruger and Group Material, Darbyshire combines slogans from the hard-hitting Eighties HIV public health campaign posters with the innocuous, familiar toilet tissue adverts also from that period. While these issue-based adverts created widespread fear at the time, Aids is still a global pandemic and alongside noting a worrying return to the politics of the Eighties here in the UK, Darbyshire asks whether we have in fact regressed in our fight against HIV/Aids too.
Pre-Fab: Brendan Fletcher’s contemporary paintings expose the visual and semiotic similarities between fetishized devotional objects linked to spiritual worship and the logo which has become the bearer of a branded identity and a marker for taste, sensibility and social aspiration – for some, an object of near religious devotion.
An icon is a symbol, a famous person or thing considered as representing a set of beliefs or a way of life and an image lifted beyond the status of a mere logo. From the simple Apple to the Nike swoosh these ‘icon’s’ symbolize the ‘must-have’ items in our capitalist driven society.
His work draws upon the language of abstract painting but the mythic touch of the painter is erased through the industrial process of vacuum-forming. process. The choice of material is crucial. Plastic is synthetic, inexpensive, easy to manufacture and versatile. It has become a synonym for our ‘throw away’ culture siting Brendan Fletcher’s work somewhere between cool industrial minimalism and high kitsch.