Carol Bove: ‘Heraclitus’ (detail), 2014. Seashell, feather, found objects, steel and concrete. Courtesy of the artist and Maccarone, New York and David Zwirner, New York / London
Installation view of Gallery 2, showing: Carlo Scarpa, ‘Contafili’ (1968). Steel, precious stones, gold; Carol Bove: ‘Cretaceous’ (2014), Petrified wood, steel; Carol Bove: ‘For Asta’ (2014). Steel; Carlo Scarpa: ‘Asta’ (1968). Steel, burnished copper, bronze; Carlo Scarpa ‘Crescita’ (1968). Steel, gold leaf. Carol Bove works courtesy of the artist and Maccarone, New York and David Zwirner, New York / London. Carlo Scarpa works courtesy Museo delle Rarità Carlo Scarpa – Castello di Monselice Photo: Jerry Hardman-Jones
“Lı̣nwra Carñtn invîts y t dscuvr ɖ fntastcl criešnz v ɖ pṛlific pêntr n inṭnašnli seḷbretd membr v ɖ sriylist muvmnt, Lı̣nwra Carñtn (1917-2011).
Ɖ xibišn xplorz Carñtn’z dvrs crietv practis, têcñ a ṣlẋn v ci pêntñz md ʈrt hr c̣rir az its stātñpýnt. A pṛlific pêntr, ɖ xibišn xplorz hâ Carñtn istablišt hr dstnctv têc on sriylizm. Wrcñ alñsd uɖr ci membrz v ɖ muvmnt, sč az Salvdor Dali n Max Ŕnst, hr pêntñz, fild wɖ xntric caṛctrz ẇč šift btwn plant, animl, hymn, objcts n evrʈñ in btwn, wl rmînd vizitrz unfmiłr wɖ hr wrc v hr btr nôn pirz.
Āğbli mr fems fr hr prsnl lîf ɖn hr āt, hr bîogṛfi z olmst az unyžl az hr māvḷs criešnz. Ɖ dwtr v a welʈi Britiš industrı̣list, in 1935 š trnd hr bac on hr upr-clas upbrññ in nwɖn Ñgḷnd aftr imbācñ upn a complicetd rlešnšp wɖ Ŕnst, n via sriylist srclz in Frans n Ny Ywc, istablišt a ynīc výs wɖn ɖ vîbṛnt crietv culčr v Mexico in 1941.
It wz in Mexico ɖt Carñtn’z practis bgan t xpand n ivolv. Š fild plez, šwt stwriz n txtîlz wɖ hr xtrōdnri wrldz, imbresñ set n costym dzîn fr pṛduẋns includñ hr ôn, Pneḷpi. Lı̣nwra Carñtn wl šôcês hr wrc in pêntñ alñsd xamplz v powtri, sculpčr, taṗstri n dzîn fr ʈiytr n film.
Leonora Carrington photographed by Chloe Aridjis in 1994
Leonora Carrington in her Mexico City house in 2000. Photograph: Daniel Aguilar/Reuters
Rfyzñ t b cnstrend or rstrictd bî cnvenšnl limitešnz, Carñtn’z xpandd practis hz md hr an inspirešn t mni cntmprri artists wrcñ acrs crietv čanlz n platfwmz. Hr pêtṛn Edwd Jêmz comntd in 1975 ɖt š hz nvr rlnqišt hr luv v xperimentešn, ɖ rzult biyñ ɖt š hz bn ebl t dvrsifî n xplor a hundṛd or mr tecnīcs fr ɖ xprešn v hr crietv pârz.”
“Onli in Ñgḷnd xplorz ɖ lastñ inflụns v ɖ Britiš ftogṛfr Tôni Re-Jônz on ɖ dveḷpmnt v Britiš ftogṛfi fṛm ɖ 1970z t ɖ preznt de.
Ɖs xibišn v mr ɖn 100 hymṛs yt meḷncolic imijz olso includz ny prints ṣlctd bî istimd ftogṛfr Mātin Par. Ɖ dsple rflcts Ñgliš custmz n îdntti az wel az Re-Jônz’ iṇṿtv aproč.
D’nt têc borñ picčrz wz a slfimpozd rūl Tôni Re-Jônz livd bî ʈrt hiz ol tù šwt c̣rir. Dokmentñ ōdnri Ñgliš lîf, hiz imijz wr a stātlñ dpāčr fṛm enʈñ els biyñ pṛdyst at ɖ tîm.
Ɖe qcli atractd ɖ atnšn v ɖ Instityt v Cntemprri Āts (ICA), Lundn, ẇr ɖe wr xibitd in 1969. Trajcli, in 1972, Re-Jônz dîd fṛm lcīmia êjd jst 30.
Arnd 50 v Mātin Par’z rerli sīn ŕli blacnẇît fôtgṛafs fṛm Ɖ Noncnfwmists siriz fwm pāt v ɖ xibišn n rvil hâ an ŕli intṛduẋn t Re-Jônz’ wrc afctd Par’z imrjñ stîl.”
Great Yarmouth, 1966, by Tony Ray-Jones
Wimbledon, 1967, by Tony Ray-Jones
Ramsgate, 1967, by Tony Ray-Jones
Possibly Morecambe, c.1967, by Tony Ray-Jones
Beauty Contestants, Southport, Merseyside, 1967, by Tony Ray-Jones
Possibly Worthing, 1967, by Tony Ray-Jones
Brighton, c.1967, by Tony Ray-Jones
Barry Island, c.1967, by Tony Ray-Jones
Beauty Pageant, c.1967, by Tony Ray-Jones
Eastbourne Carnival, c.1967, by Tony Ray-Jones
Dylan Concert, Ferry, Isle of Wight, 1969, by Tony Ray-Jones
Mankinholes Methodist Chapel, 1975, by Martin Parr
Tom Greenwood Cleaning, 1976, by Martin Parr
Wedding, Crimsworth Dean Methodist Chapel, 1977, by Martin Parr
Halifax Town Football Ground, 1977, by Martin Parr
Auction of Harvest Festival Produce, Pecket Well Methodist Chapel, 1978, by Martin Parr
Sheffield, from Derbyshire Lane, c.1797, Joseph Mallord William Turner, Collection of the Guild of St George, Sheffield Galleries & Museums Trust
Unknown artist: View of Sheffield from Sharrow Moor, 1838
Thomas Creswick: Hillsborough, Sheffield, 19th century, oil on panel, 24.2 x 19.2 cm, Museums Sheffield
Henry Rushbury: Snig Hill from Angel Street, 1941
Derrick Greaves: Sheffield, 1953, oil on canvas, 93.6 x 210.5 cm
John Hoyland: Backyards, Sheffield, 1958, oil on canvas, 36 x 28 inches (91.5 x 71 cm)
Jack Kettel: Rebuilding a Blast Furnace, 1964-5, Museums Sheffield, oil on canvas, 50.8 x 68.8
Colin Coates: Janson Street, c. 1950
Jonathan Wilkinson: Castle Market
Mandy Payne: Paradise Lost, aerosol on concrete, 21.5 x 31 cm
(Posted 5 February 2015. The text is in an older version of Ñspel.)
•
“Az y mt hv gést, hir at Âr Fevrit Plêsz w’r priti cīn on Šefīld n ḅliv it t hv a ynīc n inʈrwlñ caṛctr. Bt asc smwn t picčr Šefīld n ẇt wd ɖe si? An industrı̣l wêstḷnd? Ɖ YC’z grīnist siti? Ñgḷnd’z bgst vilij? Ɖ gêtwe t ɖ Pīc District? Myziymz Šefīld’z lêtist xibišn at ɖ Mileňm Gaḷri têcs a tur ʈru Šefīld’z past n preznt t iluminet ɖ mni fasits v ɖ plês ʈru landscep āt n ŕbn ftogṛfi.
Ɖ xibišn stāts wɖ a Šefīld qt dfṛnt t ɖ ŕbn sprwl w nâ nô. Nîntīnʈ senčri pêntñz šo a fy dwelñz n črčspîrz set amñst grīn fīldz az vyd fṛm Šaro Mur (uņôn ātist, c.1838), Hilzbra (Toms Crezic, c.19ʈ senčri) n Wōdzend (Wiłm Jon Stīvnsn, 1875), ɖo Šefīld’z dstnctv šêp, nesld in ɖ valiz v ɖ Rivr Don, rmenz recgnîẓbl. Prīdêtñ ɖz z a pêntñ fṛm wn v ɖ bg nemz v ɖ xibišn, JMW Trnr’z Vy v Šefīld fṛm Dābišrlên (1797), ẇč šoz ɖ modist sitīscêp mirrñ ɖ šêp v ɖ inveḷpñ hilz abv it.
Ɖz bycolic sìnz wr v cws sn t b čôct wɖ ɖ smog v ɖ industrı̣l reṿlušn in ẇč Šefīld md its fwtyn, n ɖr r mni xamplz v bʈ industrı̣l šīc n industrı̣l blīc in ɖ xibišn. Deric Grīvz’z Šefīld šoz ɖ pīcs v ɖ srândñ hilz âtstript bî čimnīstacs ẇl a grt dfunct factri glârz ovr ɖ sìn lîc a ruind cʈīdṛl. In ɖ secnd wrldwor Šefīld’z industrı̣l prâis bcem its peṛl ẇn bomñrêdz rzultd in sìnz lîc Henri Rušbi’z Snig Hil fṛm Enjlstrīt (1941) in ẇč blits-deṿstetd strīts apir lîc roz v brôcn tīʈ. Bî contrast Jac Cetl’z Rībildñ a Blastfrnis (1964-65) wɖ its vibṛnt culrpaḷt n hraldc feznt sīmz t revl in ɖ fîr v ɖ frnis, seḷbretñ Šefīld’z crietv spāc.
Ɖr’z a bitrswīt tug v nstalja ʈrt ɖ xibišn az Victorı̣n ečñz v bytifl myṇsipl bildñz ber witṇs t sitīgôsts loñ sns dmolišt. Or fr mr rīsnt losz, ɖr’z tribyts fṛm Pīt Mci n uɖrz t Ɖ Houl in ɖ Rôd, ẇl Joṇʈn Wilcinsn’z mtikḷs lîndrōñ v Ɖ Egbox rmîndz s v a tîm ẇn tânplanñ wz bold rɖr ɖn bnal – wl Ɖ Čīzgrêtr evr b imwṭlîzd in ɖs we? Mandi Pein’z pêntñ Paṛdîs Lost berz witṇs t anɖr monymnt t ācitecčṛl xybṛns: Pāc Hil – wns a drīm v modn livñ inspîrd bî La Cwbūzie, it lêtr bcem rivn wɖ sošl probḷmz n z nâ sīcñ t riinvnt itslf az a bastı̣n v ŕbn cūl.
Amñst ɖ 90 imijz in ɖ xibišn y r šr t fînd a glimps v yr Šefīld or īvn lrn smʈñ ny abt ɖ siti y cwl hom. I, fr xampl, nvr ň ɖr wz wns a Nwf̣c Pāc Picčrpaḷs nt fîv minits wōc fṛm mî hâs. Hâ I wš ɖr wz stl a siṇma so lôcl I cd pop rnd in mî pjaṃz…
Jêmz Šāplz│Đ FWJ│1847│Ŷl on canvs│89 x 129 sm│Blacbrn Myziym n Ātgaḷri
(Atribytd t) Jon Mātin│Đ DSTRUCŠN V SODM N GMORA│Ŷl on canvs│119 x 170 sm│Scābra Myziymz n Gaḷri
(Atribytd t) Wiłm Jônz Čapmn│DÊVID DÊVIZ, SINDRFILR, HIRWŌN│c. 1835-40│36.3 x 25.6 sm │Našnl Myziym, Wêlz
W. Clêtn│AYNWRCRZ, TRIDĪGR, WÊLZ│1865│Fôto ensl, pen, sīpia n woš│Saynsmyziym
Denis Hučinsn│ÊDRỊN STRĪT N HIZ FAĐR│1973│Fôto
Ben Robts│AṂZN UNPACT│Fôtoz
“Jeṛmi Delr, hu reprizntd Britn in last yir’z Venis Bienāle, yzz cntmprri myzic, film n ftogṛfi alñsd a vast renj v 19ʈ senčri imijz n objcts t têc a prsnl lc at ɖ impact v ɖ Industrı̣l Revlušn on Britiš popylr culčr. Delr apročz ɖs welʈ v mtirı̣l lîc a sošl cātogṛfr, rvilñ ɖ leilînz v culčṛl histri.
Delr xplorz hâ ɖ trwma v ɖ Industrı̣l Revlušn n ceotc ŕḅnîzešn afctd Britiš ssayti, fôc̣sñ on embḷmatc figrz includñ Êdrı̣n Strīt. Born intu a Welš mînñfamli, Strīt rjctd a lîf in ɖ mainz t bcm a flamboynt androjiṇs inṭnašnl reslr. Olso fīčrd z Jêmz Šāplz, a 19ʈ senčri blacsmiʈ n slf-twt pêntr fṛm Blacbrn, fems fr hiz mč-rīpṛdyst imij, Ɖ Fwj; n myzic fṛm industrı̣l tânz huz rūts cn b trêst bac ʈru jeṇrešnz v wrcrz in factriz n milz.
Ɖ radicl trnsfmešn v ɖ landscep in ɖ ŕli industrı̣l iyra z pârfli ivoct in Victorı̣n imijz v factriz ablez at nît, šôn alñsd ɖ Lêñ’z ôn 19ʈ senčri apoc̣liptc pêntñ, Ɖ Dstruẋn v Sodm n Gmora bî Jon Mātin.
Industrı̣l fôcmyzic, ɖ insesnt riɖmz n racit v ɖ factrīflor, hevīmetl n glamroc, prmiet ɖ xibišn in sândinsṭlešnz n film.
‘EPIPHANIAS AN STÜHLEN’ │ 2011 │ Fôto: Gêbrịl Šābo
‘EPIPHANIAS AN STÜHLEN’ │ 2011 │ Fôto: Gêbrịl Šābo
PĀHĪZIA │ 2012
PĀHĪZIA │ 2012
PĀHĪZIA │ 2012 │ Fôto: Gêbrịl Šābo
“Ɖ fôc̣s v ɖs lūsli croṇlojicl xibišn z West’s combinešnpìsz, in ẇč ɖ ātist cmbînd verı̣s indivijl pìsz n subsiqntli rīcmbînd ɖm in dfṛnt cnfiğrešnz. Dy t ɖs combinešn n rīcombinešn v dfṛnt cndz v wrc includñ Adaptvz, frničr, sculpčr, vidioz n wrcs on pêpr fṛm dfṛnt pirı̣dz, ɖ xibišn pṛvîdz a mč nīdd n hîli antisipetd mêjr YC šowñ v West’s vẹrid, influenšl n pṛlific practis.
Hir at Ɖ Hepẉʈ Wêcfīld ɖ xibišn olso investigets ɖ cnẋnz n paṛlelz btwn ɖ wrc v Franz West n Bābra Hepẉʈ. Wɖ a plêfl yt strîcñ intvnšn intu Ɖ Hepẉʈ Famli Giftgaḷri, ɖs xibišn wl plês bʈ artists’ wrc in convsešn: ɖ ys v ɖ deṃcratc mtirı̣l v plastr; ɖ significns v ɖ stydioinvîrnmnt; n ɖ rpitd rtrn t rīcnfiğrñ n adaptñ prīvı̣s wrc.
Franz West’s practis z funḍmentli ptisiṗtri n sīcs daylog wɖ ɖ vywr. Hiz wrc ofrz verı̣s psbltiz fr xpirı̣nsñ ɖ wrld wɖ evrčenjñ rzults ɖt dpnd on rsipı̣nt n contxt. Ɖs ingejmnt cn têc plês on a fizicl levl—az in ɖ cês v ɖ Adaptvz, ẇč r ment t adapt t ɖ bodi—bt olso on a mentl or inṭlcčl levl, az z ɖ cês wɖ hiz insṭlešnz or wrcs on pêpr. West’s wrc z unpritnšs, lîtfŭtd, n hymṛs, bt fândd on an intns ingejmnt wɖ fiḷsoficl ʈt, an ŕli cnsrn ẇč intnsifîd ʈrt ɖ ātist’s lîf.
Ẇr z mî Êt?wz inišietd n côdiveḷpt wɖ ɖ Myziym v Modn Āt, Viena, n bî Franz West wɖ grt inʈyziazm bfr hiz deʈ n pṛvîdz insît intu West’s complx n mni-leyrd ātpractis.
Franz West: Ẇr z mî Êt? z ṣpwtd bî ɖ Henri Mor Fândešn, Crân Fîn Āt n ɖ Ostrı̣n Culčṛl Fwṛm, Lundn.”
MC EVRƮÑ LÎC IT’S YR LAST – GUN, 2013, fôto: Mātin Āgiroglo
IMAJINIYRÑ, 2013, fôto: Mātin Āgiroglo
I Z… (IV), I Z… (V), I Z… (VI), 2013, fôto: Patric Qêl
NÔT T SELF. RĪƮÑC EVRƮÑ, 2012, fôto: Diêgo Beruecos
C++, 2013, fôto: Mātin Āgiroglo
CM ON! ƮÑC! 2011, fôto: Iła Rbaṇvič
MAGṆS ÔṖS, 2013, fôto: Mātin Āgiroglo
Đ RETINL ACÂNT, OR N ẆN Y R OLDR Y WL G AWE, Y’L SI INJUSTIS N Y’L SI PÊN, 2014
“Mc evri šo lîc it’s yr last, z a mêjr xibišn v wrc bî rnând Britiš cnspčl ātist, Rayn Gandr. Đs šo z pāt v an inṭnašnl turprôgram, bt wl têc on a spešl ny fwm ẇn it z stêjd in Mančestr, prizntñ ny wrc n wrc prīvı̣sli unsin in ɖ YC.
Gandr studid in Mančestr fr hiz undrgrajt dgri n wl b iḷstretñ hiz clôs cnẋn t ɖ siti ʈru ny wrc crietd xclusvli fr s. Đ xibišn wl xplor tu rīsnt ʈīmz in Gandr’z wrc; Imajinirñ n Culčrfīld. Brññ tgɖr verı̣s mīdia t hîlît ɖ ātist’s plêfl wit, ɖ ātwrcs in ɖs xibišn wl xplor ɖ rlešnšps btwn ōʈr, wrc n vywr ẇr ɖ rūlz r constntli rīdifînd.”