Henry Moore Institute, Leeds
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artranspennine98 was an exhibition that combined art with people and place, spread across the whole of the North of England.
Occupying a land mass larger than Belgium and featuring 64 artists working on 40 projects, the exhibition included 30 different sites between Liverpool in the west and Hull in the east.
The experiment aimed to demonstrate that it would be possible to work with artists engaging directly with spaces to create a unique art exhibition which also enriched the understanding of the area. At the Institute, four artists were commissioned to make works responding to individual gallery spaces.
Langlands & Bell
Langlands & Bell’s project provides a public space for the talks and symposia normally held elsewhere in the building, while simultaneously providing an opportunity to reflect on how the structures we all use or inhabit can either enhance or inhibit the way we exchange information and ideas. Taking the form of an elliptical structure that refers to the formal architecture of auditoria, its flexible structure allowed for multiple interpretations and relationships between audience and participant.
Atelier van Lieshout
The Henry Moore Institute 1998
Inside the high-ceilinged space of Gallery 2, van Lieshout fabricated an ambitious construction: a three storey structure consisting of interlocking modules, fashioned from timber and industrial materials. Accessed by a tunnel, these three eminently habitable spaces each serve a different function; social or private, passive or active. Together they create an institution with an institution; visitors have access to books and videos from the Institute’s library, and spaces in which to relax and reflect on how van Lieshout’s work reveals and subverts the architecture of the gallery.
The Day Before I Die
The very private, subconscious world evident in Françoise Quardon‘s work is a comment on the Institute as a space for reflection and contemplation. Quardon’s space is dark and textured, animated both by language and by highly ornate domestic furnishings which are larger than life. Words suggest that memory and loss can be heard, and relate to the title of the work, ‘The Day Before I Die’. Drawing on the words of William Faulkner in The Wild Palms, this subterranean dreamworld encourages visitors to turn in on themselves and let the imagination take over.
Pardo’s work in this exhibition highlights the sculpture collection and curatorial activities of the Institute, throwing up questions of place, viewing and representation. In Gallery 4 he has made a showcase that highlights a different item from the collection for each day of artranspennine98, chosen by the Institute’s curatorial team. In addition, Pardo produced a series of monoprints, hung in groups of three or four, which also changed daily, responding to the changing objects in the gallery. By exploring the curatorial process, Pardo interrogates the often fragmentary and contingent nature of exhibitions.
An audio recording of Alison Wilding speaking about this exhibition is available in the Audio-visual section of the Henry Moore Institute’s Sculpture Research Library.