5.30 pm Stanley & Audrey Burton Gallery Austerity and Invention: Illustration between the Wars
6.00 pm Roger Stevens TV Studio, University of Leeds, Celine Condorelli Additionals
6.45 pm Tower Works Engine House, Mathieu Kleyebe Abonnenc An Italian Film (Africa Addio)
This month we have a slightly longer route than usual – the walk will be just under 2 miles in total. This allows us to include Pavilion’s exciting new commission by Mathieu Kleyebe, housed in the wonderful surroundings of the Engine House at Tower Works. Not to be missed!
The Leeds Art Walk takes place the first Wednesday of every month and is free and open to all. Booking isn’t required but please contact us in advance if you have any access requirements as accessibility of venues varies.
For more information please contact firstname.lastname@example.org or 0113 343 2718
More on the exhibitions:
Austerity and Invention: Illustration between the Wars
The long-awaited sequel to the critically acclaimed 2010 exhibition “Fancy and Imagination: Aubrey Beardsley and the Book Illustrators”.
“Austerity and Invention: Illustration between the Wars” features original sketches, artwork, prints and book illustrations from Leeds University Library Special Collections and other Yorkshire collections.
The exhibition traces the development of the genre and the variety of media and styles between the wars, through artwork by renowned British illustrators such as William Heath Robinson, Edmund Dulac and Kay Nielsen.
Celine Condorelli Additionals
Artist Céline Condorelli takes a de-commissioned TV studio in an iconic 1970 Chamberlin, Powell and Bonn building as the site for Additionals, a series of sculptures appearing in installation, on film and in text. The exhibition marks the end of Condorelli’s journey as ‘Tiger’ in a collective experiment framed by British avant-garde composer Cornelius Cardew’s score The Tiger’s Mind, 1967.Held within the defunct TV studio, in the basement of the brutalist building, are different prop-like objects, quasi-functional structures operating at a scale between furniture and architecture, for example ‘Structure for Reading’ and ‘Structure for Preparing a Piano’. Additionals simultaneously reference conceptual art, architectural propositions, and filmmaking through art direction and set design. The installation draws from artist Michelangelo Pistoletto’sOggetti in Meno (‘objects one can do without’, usually translated as Minus Objects), a disparate collection of pseudo-functional objects developed in 1965-1966. The title, Additionals, directly refers to Pistoletto’s series and the process of exceeding, adding to or supplementing what is already present or available.The sculptures are assembled using a variety of found objects and modest construction materials, including ‘space blanket’ and an Ercol Chair.
Mathieu Kleyebe Abonnenc An Italian Film (Africa Addio)
In the engine house of a former pin factory French artist Mathieu Kleyebe Abonnenc presents a new film and installation. Through the voices of local children the film tells stories old a new of the exploitation of metal-rich African subsoils by foreign powers.
Abonnenc’s new work confronts the contemporary and historic exploitation of copper in the Katanga region of Congo, a region that has been repeatedly ravaged since its colonization by Belgian King Leopold II in the 19th Century. Leopold looted small copper crosses, originally forms of currency made by a sect known as the ‘copper eaters’ that were shipped to Europe for industrial use. As a way of underlining the violence of the colonial act and its continuing contemporary enactment in the post-industrial context, Abonnenc has subjected several copper crosses, bought from private collectors to a process of recasting, with the help of a local foundry.
The resulting film is the first part of a wider body of work that takes Jacopetti and Propseri’s notorious 1960 film Africa Addio as a starting point to discuss the imperial nostalgia embodied, not only by this film, but also by particular instances of modern art.