Gill Hedley is an independent curator, writer and consultant on contemporary visual arts. This is an archive of
projects, exhibitions, events and news she has been involved with. These stories
are re-used elsewhere on the site as
Grant Museum of Zoology,
Rockefeller Building, University College London,
21 University Street, London WC1E 6DE.
Mon-Sat 1-5pm. Admission free
Elpida Hadzi-Vasileva’s latest iteration of her Making Beauty project is in London and I do urge to you to see it.
Not only is the work ethereal and remarkable but the setting – the University of London’s Grant Museum of Zoology – is a gem in which Elpi’s works sits as a provocation and complement.
The work is for sale, and not at gallery prices. I will send details of an evening event in due course, but I would recommend a quiet visit on your own first – it is a treat. Please let me know if you would like to receive a pdf of images and installation shots if you cannot get to Bloomsbury.
I am working with the John Deakin Archive to find more photographs by this extraordinary character and to learn more about his life before he met Francis Bacon. He worked a great deal beyond his usual patch of Soho and new images - not just portraits - have been identified from time spent in Genoa, Rome, Paris and Athens; his war-time work is just beginning to be uncovered, too.
In the 1930s he travelled all over the world while he was living with Arthur Jeffress: my biography of that character is still growing, too ...
Just what was is that made yesterday’s homes so different, so appealing (Upgrade) 2004. © R. Hamilton
There is a talk on Thurs 9th Nov by the curators Dr Anne Massey and Gill Hedley.
PIONEERS OF POP, NEWCASTLE 1953-1966
In 1953, Britain had a new young queen and cities like Newcastle upon Tyne felt optimistic and modern.
In 1966, England won the World Cup.
Between those dates, Richard Hamilton taught in the Fine Art Department of King’s College. In London he had been a part of The Independent Group, a radical group of young artists, writers and architects, who met at the Institute of Contemporary Arts in London and challenged the modernist (and as they saw it, elitist) culture dominant at that time.
One of Hamilton’s contributions was a definition of pop art which, as he wrote to the
architects Peter and Ann Smithson (who met at Newcastle) would be:
Popular, transient, expendable, low-cost, mass-produced, young, witty, sexy,
gimmicky, glamorous, and Big Business.
Pop art also flourished at the Royal College in London; pop was only a small part of Hamilton’s work. He spent much of his time in Newcastle creating exhibitions, designing posters and making his own work, teaching by example how to become an individual artist. Students and staff went to lunchtime dances, music clubs and poetry readings. Men who had the cash or worked as Saturday shop assistants bought the latest US imports from Marcus Price’s boutique. In 1965, Bob Dylan even tried on a jacket there.
Hundreds of artists passed through the Fine Art department between 1953-1966. None remained pop artists but all were affected by the changing, lively party city; most would agree with Rose Frain:
Living in Newcastle was wonderful and the Department was heaven.
I am honoured to say that I have just joined the Art Monthly Foundation as a trustee. For those of you who are not yet subscribers, please do support this wonderful publication: http://www.artmonthly.co.uk/magazine/site/buy/
The Hatton Gallery at Newcastle University re-opened in October 2017 with an exhibition that firmly places Newcastle as the birthplace of Pop Art.
The Hatton has played a unique role in the development of British Art, being entwined with some of the most influential artists of the 20th century. This exhibition, co-curated by Gill Hedley, reflects the numerous artists, writers, activities and ideas which had at their centre the artist Richard Hamilton, while teaching at Newcastle University (1953-1966).
To mark the re-opening of the Hatton Gallery, University of Newcastle upon Tyne, Professor Anne Massey and I, with the gallery’s curator Rob Airey, are selecting an exhibition, Pioneers of Pop, which makes strong links between the Independent Group and other pop pioneers during Richard Hamilton’s time as artist, teacher and exhibition designer in Newcastle upon Tyne, 1953-1966, from the Coronation to England’s victory in the World Cup.
A full film and education programme will accompany the exhibition.
More details and of the private view will follow.
Gill Hedley with Richard Hamilton São Paulo 1989
I am working with The John Deakin Archive as an adviser and we are organising the seminar, below, at Tate Britain as part of the British Art Network. If you would like to attend, please email me directly.
Thursday 25 May 2017 10am - 6pm
This one day seminar will examine the work and career of photographer John Deakin focussing on the period before he met Francis Bacon and the work that he produced beyond his strong association with Soho, especially during the Second World War and in Europe. On the forty fifth anniversary of Deakin's untimely death, the seminar will bring together contributions from artists, art historians and curators to discuss new and wider research into John Deakin's photography.
The seminar will present a series of short papers, films, a panel discussion, the opportunity to visit the Queer British Art exhibition at Tate Britain (featuring work by Deakin) and a rare chance to see work from the John Deakin Archive.
Contributors to the event include: Paul Rousseau, John Deakin Archive; Gill Hedley (chair); Professor David Mellor, Professor of History of Art (Art History, Centre for the History of War and Society, Centre for Photography and Visual Culture) University of Sussex; Professor Jean Wainwright, Professor of Contemporary Art and Photography, University of the Creative Arts; Dr Hilary Roberts, Curator of Photography, Imperial War Museum; John Christie, artist, film director and collaborator with John Berger; Dr Sarah Victoria Turner, Deputy Director for Research, Paul Mellon Centre, London.
© John Deakin Archive
During Ann Sutton’s exhibition, On The Grid, in her home town of Stoke-on-Trent, a special evening is being organised for collectors and for those who want to start a collection.
There will be a chance to meet the artist and then to enjoy Captain Stingray’s Groove Machine, a live band specializing in AfroBeat, Dance, Latin, and Reggae. The exhibition will tour to Winchester School of Art in November 2017.
On the Grid 8 Mar–27 Aug 2017, new work by Ann Sutton:
Potteries Museum and Art Gallery
Bethesda Street, Hanley,
Stoke-on-Trent, Staffordshire, ST1 3DW
Monday to Saturday: 10am – 5pm / Sunday: 11am – 4pm
Tickets £5, concessions £3
Postures of Making
Nicola Naismith & Dr Valerie Woods
A new collaboration between artist Nicola Naismith and ergonomist Dr Valerie Woods explores the making postures and ergonomic risk factors of creative professionals working in the fields of designer maker, traditional craft and visual art. Drawing, text, photography, moving image and digital manufacturing have been used to translate research materials collected through collaborative conversation, case study, focus group and studio visit activities.
For more about the project please visit the project blog: www.a-n.co.uk/blogs/postures-of-making.
Please contact with questions & comments:
→ summary of Nicola's work on this site
From The Crafts Council: This year we are pleased to announce our speaker will be internationally recognised woven textile artist and designer, Ann Sutton. In a talk titled Rebel with a Cause, Ann will speak of her work and life, joined by Curator, Gill Hedley.
The Fielding Talk is held annually in memory of Amanda Fielding, who curated the Crafts Council Collection for 17 years from 1989 to 2006, making an outstanding contribution to the Collection and the makers we support. The talk celebrates Fielding's passion for craft through the voices and experiences of contemporary makers.
PLEASE NOTE THAT THIS EVENT IS BY INVITATION ONLY
Ann Sutton 1974
Crafts Council Collection
photo: Relic Imaging Ltd
On The Grid is an exhibition of new work by Ann Sutton where her lifelong study of line and the grid in new materials and on a new scale is revealed with joie de vivre.
Oldham Gallery Quarter
Oldham OL1 1AL
The exhibition tours next year to The Potteries Museum and Art Gallery in her home town of Stoke on Trent where a collectors’ evening will be staged: details in the New Year. The show will finish its tour next autumn at Winchester School of Art.
Elpida Hadzi-Vasileva is a site-specific installation artist working in sculpture, installation, video and sound, photography and architectural interventions. Her materials range from the unusual to the ordinary and the ephemeral to the precious; they include organic materials, foodstuffs and precious metals. Central to her practice is a response to the particularities of place; its history, locale, environment and communities.
Elpida presented Haruspex, commissioned by the Vatican, as part of the Pavilion of the Holy See, at the 56th International Art Exhibition, La Biennale di Venezia in 2015.
The exhibition at Danielle Arnaud’s gallery follows on from her remarkable show at the Djanogly Gallery, Nottingham, in summer 2016 and concentrates on new sculptural work on a smaller more intimate scale. Danielle Arnaud will also show Elpida’s work at the London Art Fair in January.
Gill Hedley in conversation with John Christie on John Berger as artist and collaborator. Part of a day's symposium organised by AICA to celebrate John Berger's 90th birthday.
A remarkable exhibition of the work of Elpida Hadzi-Vasileva: Making Beauty, for which I am co-curator. It has already had a soft summer opening in Nottingham but its formal preview will take place on 22nd September at the Djanogly Gallery. The show combines Elpida’s two major projects of 2015 – her exhibition in the Vatican Pavilion at the Venice Biennale and then only one month later a new installation at Fabrica Brighton - into one new architectural interpretation.
The private view is on 22 September when I will be giving a talk from 6-7pm: Material Culture. See the video of the lecture. (www)
A smaller version of Making Beauty will be shown at Danielle Arnaud Gallery in London in early 2017.
The summer launch of Making Beauty has led to some excellent publicity.
These articles give the best introduction to her beautiful and extraordinary use of materials:
→ article from Wallpaper (www)
→ article from CNN (www)
→ and Critics' Choice in FT Weekend (PDF)
→ exhibition website (www)
→ catalogue essay Wall Veil (PDF)
→ video of lecture by Gill at Nottingham (www)
→ Elpida Hadzi-Vasileva's website (www)
→ summary of Elpida's work on this site
University Of Nottingham
Nottingham NG7 2RD
0115 951 3192
I am also delighted to announce that Elpida has just been given a Golden Award at the Osten Drawing Biennial in Skopje. See also the essay These paper bullets of the brain (PDF), a survey of the work by British artists in the Osten collection.
Article in Septembers's edition of the Royal Academy magazine on Movers and Shakers - three London-based postwar female gallerists: Ala Story, Peter Norton and Erica Brausen.
Borough Road Gallery
School of Creative Arts & Industries
London South Bank University
103 Borough Road, London, SE1 0AA
As part of my informal research into Richard Hamilton’s time in Newcastle upon Tyne,
I am giving a talk on:
BASIC AND NOT SO BASIC DESIGN:
RICHARD HAMILTON AS AN EDUCATOR
This talk will look at Hamilton’s time at the University of Newcastle upon Tyne (1953-1966). It will also be an informal presentation of memories and comment from those who have worked in education, art history and as practising artists as a result of their studies in the Fine Art Department under the
Father of Pop during one of the very many periods of Pop Art’s
Telephone: +44 (0)20 7815 5737
Gill was invited by Osten, an art foundation in Skopje, Macedonia, to survey the work by British artists in their collection, and to write the introductory essay for their catalogue: These paper bullets of the brain (PDF). While she was there she also gave a lecture on contemporary British art.
Sigune Hamann has put a display of her Film Strips online. (www)
The Symposium will also give an opportunity to consider the work produced by artist Dillwyn Smith during his residency as a guest at the Queen Square Brain Bank, UCL.
As the final part of Dillwyn Smith’s residency at the Brain Bank, I am chairing a symposium
Silvering the Cerebrum. You are invited to the following event:
SILVERING THE CEREBRUM, A SYMPOSIUM INVESTIGATING ART, SCIENCE AND BRAIN BANKING
Thursday, April 21 2016 from 9:30am to 1:30pm
Basement Lecture Theatre
National Hospital for Neurology and Neurosurgery
33 Queen Square, London
- Professor Andrew Lees, Emeritus Professor of Neurology
- Dr Tammaryn Lashley, Alzheimer's Research UK Research Fellow, UCL
- Dr Juan A. De Carlos, Instituto Cajal (C.S.I.C.) Madrid
- Dr Carmen Fracchia, Senior Lecturer in Early Modern Spanish Visual Studies
- Dillwyn Smith, Artist in Residence Queen Square Brain Bank
- Chaired by Gill Hedley
Free: Tuesday, 26 April 2016 5.15-6.45pm
Gill Hedley (independent curator, consultant, writer and critic and Art Advisor for the New Hall Art Collection (www)) will be charing a conversation with three artists about their work and research involving science and working with scientists. This panel has been brought together to give Fellows, students and the wider public a chance to explore the diverse ways artists work across disciplines.
Register with Eliza Gluckman,
Curator, New Hall Art Collection email@example.com
The Council Room, Murray Edwards College, Huntingdon Road, Cambridge CB3 0DF
The three artists involved:
After a successful research and development collaboration between sculptor Elpida Hadzi-Vasileva and three biomedical departments in the universities of East Anglia, London and Nottingham, funded by Wellcome Trust, the exhibition Making Beauty will open at the Djanogly Gallery, University of Nottingham, as lead partner, in August 2016, and then at the Danielle Arnaud Gallery in London in early 2017. The show at the Djanogly Gallery will include site-specific versions of two major installations by Hadzi-Vasileva: for the Venice Biennale May-Nov 2015, and Brighton July-Sept 2015.
Postures of Making is an artistic research and development activity which involves Nicola Naismith working collaboratively with an ergonomics scientist to explore the workings of the creative practitioner's body when engaged in art making. Through the collaboration they will explore the artist’s own working processes before opening the project to two groups of artists to gain a wider understanding of the effects of art making on the body. The production of experimental prototypes, curatorial consultation and meetings with potential venues will work towards an exhibition programme complemented by talks and events.
Jyll Bradley is featured in the Winter edition of RA Magazine as part of
Up the Garden Path:
an article featuring figures at the forefront of new thinking about flora. In a response to her
site-specific and immersive installation, Le Jardin hospitalier, at Hôpital
Roger Salengro in Lille, Bradley discusses in the article how
the garden is a perfect metaphor
for what happens in a hospital ... in particular, plants in greenhouses are like humans in hospitals
– both rely on others to bring them the essentials for life. Both gardens and hospitals are ecologies
Elpida Hadzi-Vasileva’s is contributing to the Courtauld East Wing exhibtion Artificial Realities, which runs until 30 June 2017.
The East Wing Biennial at The Courtauld Institute of Art is the twelfth instalment of contemporary art, with 31 international exhibitors, including Tracey Emin, Antony Gormley and Rachel Whiteread.
The experience of walking through the narrow paths, confined corridors and spiralling staircases of the Courtauld takes on a particular meaning as each space is allocated a compartmentalized sub-theme, and falls within the concept of physical, as well as conceptual uncertainty. Making our way up the four intricate stories of the Courtauld, we find ourselves discovering peculiar excavations, scratching the multiple surfaces of the Institute’s walls, continuously reminding us that reality must be grasped in layers.
Elpida's’s Rapture unveils a towering creation of wood and gilding.
Nestled against a backdrop of ancient woodland at the National Trust’s Nymans, it brings a new
perspective to the winter landscape. Mon Jan 11 - Sun 28 Feb 2016: 10am - 4pm. Normal garden
→ Elpida Hadzi-Vasileva's website (www)
→ summary of Elpida's work on this site
A.R.Hopwood has published a book of his False Memory Archive on line: The Independent on Sunday carried a long article about his work in their New Review Magazine on 24 January.
→ A.R. Hopwood's website
→ download the book (www)
→ the artist's text from the book
→ feature in the Independent on Sunday (www)
→ Gill Hedley's text from the article (PDF)
→ summary of A.R. Hopwood's work on this site
Dillwyn’s Silvering the Cerebrum project continues its collaborative investigation into the brain, dyes, wallpaper and William Morris.
Now on at the Street Gallery, UCL (University College, London).
All works are for sale and a percentage of all sales will go to the Brain Bank.
A touring exhibition will be announced in due course.
Elpida's work, Haruspex, for the Pavilion of the Holy See,
at the 56th International Art Exhibition, La Biennale di Venezia, closes on 26th Nov 2015.
→ Haruspex installed in Venice (www)
→ Elpida Hadzi-Vasileva's website (www)
→ summary of Elpida's work on this site
Elpida Hadzi-Vasileva has been awarded funding by the Wellcome Trust for an art and biomedicine project in collaboration with Dr. Alasdair Forbes from UEA and Dr. Richard Day from UCL.
Her next project will open late summer 2016 in Nottingham and tour during 2017: please see Making Beauty (PDF) for more details.
Nicola Naismith has been awarded a grant by ACE (Arts Council England) for
Postures of Making, a research project in which she will work
collaboratively with an ergonomics scientist, Valerie Woods, to explore the workings of the creative
practitioner's body when engaged in art making.
Through the collaboration we will explore my own
working processes before opening the project to two groups of practitioners to gain a wider understanding
of the effects of making on the body. A touring exhibition will follow.
It is my privilege to have been working behind the scenes with three artists all of whom are launching major projects: in Lille, London and at the Venice Biennale.
One is a permanent, public art commission on an unprecedented scale in Lille, the second a celebration of a long and distinguished career with brand new work in London; and last, but only in chronological order, an artist who is creating a major architectural installation for the pavilion of the Holy See at the Venice Biennale.
I am delighted to have been instrumental in introducing Jyll Bradley's work to Artconnexion in Lille and proposing that Ann Sutton's 80th birthday and her vivacious new work should be celebrated in London. I can't pretend to have been an eminence grise in Venice or the Vatican but will be at Elpida Hadzi-Vasileva’s side in the Arsenale and am working closely with her on her current Wellcome-funded research project.
At the invitation of the Holy See Elpida Hadzi-Vasileva presents her latest installation,
Haruspex, within the Vatican's
pavilion in the Arsenale at the 56th
Venice Biennale. The title refers to the process of divination through entrails and is the artist’s
response to the theme set by the Holy See,
In the Beginning ... the Word was made flesh.
A catalogue, with essays by writers including Professor Ben Quash, will be available.
The resulting exhibition of Elpida’s work will begin at the Djanogly Gallery, University of Nottingham, in late 2016. The exhibition is then available for tour.
Elpida Hadzi-Vasileva has been awarded funding by the Wellcome Trust for an art and biomedicine project in collaboration with Dr. Alasdair Forbes from UEA and Dr. Richard Day from UCL. A touring exhibition will be organised during 2016/17.
A.R. Hopwood has been appointed to be an Engagement Fellow for the Wellcome Institute. The fellowships, now in their third year, were developed to enable existing practitioners to make significant advances in their careers in scientific communication and engagement with the public. This year's Fellows come from differing disciplines and are all committed to encouraging new ways of thinking about science.
Part of the Women and War symposium at Murray Edwards College, Cambridge.
On 13 Nov from 4-6pm at Murray Edwards College, Cambridge, I will introduce artist Lynn MacRitchie’s recent film Towers of Ilium in which "an ancient epic reverberates in a contemporary medium" (Marina Warner). After showing the film Lynn will answer questions and discuss the how it was make.
A new story project by Martha Orbach about daily life in the aftermath:
We’re making tea amidst the rubble.
The house is feeling fragile.
If you yell the walls tremble and let the light in.
Andrew Mummery is pleased to announce Jyll Bradley’s first solo exhibition in London. Curated by Gill Hedley and with the assistance of Joanna Mackiewicz-Gemes for Mummery + Schnelle.
Ann Sutton Counterpoint at Patrick Heide Contemporary Art is open during August by appointment. An extended version will tour during 2016.
An exhibition of new work by Ann Sutton at Patrick Heide Contemporary Art this summer. Every aspect of this exciting work is new and original in both medium and technique. The material is polymer filament in sinuous lines which are manipulated – stabbed, threaded, pulled - through a canvas, board or Perspex support and each new group of works takes the process and material in different and shifting directions. The viewer moves past and the work leaps into momentary action, the kinesis sometimes suggesting a free calligraphy. We are given just enough encouragement to seek out words and meaning ourselves – Ann Sutton’s work seduces and whispers then changes as we watch and move by.
The concentration on monochrome is also new to an artist whose work over five decades is synonymous with colour and texture and pattern. What is continuous throughout her career is her commitment to innovation, to the concepts of constructivism, to new materials and a joie de vivre in every work.
Ann Sutton was awarded the MBE in 1991. The Crafts Council organised her major retrospective in 2004 and the Contemporary Art Society distributed her generous gift of works from her own collection to museums through Britain.
The guest curator is Gill Hedley. Please contact firstname.lastname@example.org or email@example.com for further details. Patrick Heide Contemporary Art, 11 Church Street, London NW8 8EE (020) 7724 5548.
→ A.R. Hopwood's website
→ press release on the London Exhibitions (PDF)
→ the False Memory Archive project website (www)
→ the Freud Museum site (www)
→ summary of A.R. Hopwood's work on this site
Exhibition 6 June-5 July 2014. Artist Talk with Gill Hedley: 3.30pm 7 June 2014.
Pi Artworks London, 55 Eastcastle Street, London W1W 8EG.
Patrick Heide Contemporary Art is pleased to invite you
for a talk at the gallery on Wednesday, 2 April on the occasion of their current exhibition
mimēma. Michelle Charles and David Connearn in conversation with curator Gill Hedley:
• 6.30 pm - Drinks
• 7.00 pm - Talk
The talk will be followed by a performance in response to the exhibition by composer Tim Hodgkinson and Yoni Silver (bass clarinets) in collaboration with the poet Harry Gilonis (voice tape). Places are limited, so please RSVP by Tues 1 April. We look forward to welcoming you in the gallery.
Administrative Processes + Events = Documents is a new video work by Nicola Naismith. The work is the result of residencies at the Parliamentary Archives and Norfolk Record Office exploring documents relating to the Land Tax Act of 1821 - the longest act held within the Parliamentary Archives.
Artist Permindar Kaur's new exhibition is Hiding Out at the Djanogly Gallery. Gill has written a catalogue essay We Are All Wild Things.
Taiwan Fine Arts Museum
8 March - 8 June 2014.
LYC Foundation (www)
Gill Hedley is the curatorial adviser
Click on the image itself for a larger resolution copy of this exhibition invitation.
田園城市文化事業 Garden City Publishers
林 銀玲 Lynne LIN
Ann Sutton's distinguished career is being celebrated at Collect, as a special project with brand new work.
She and I are working on a solo show of new work scheduled to begin its tour in her home city of Stoke-on-Trent in late 2016.
Jyll Bradley's Le Jardin Hospitalier was launched at the CHRU hospital in Lille. It is a spectacular installation in a corridor, over one hundred metres in length, punctuated with texts about the philosophy of gardening and grand light boxes.
Images illustrate Lille’s long history as a botanical city; the wall panels are of Douglas fir, gently wavy coated steel and neon Perspex; there is also an area with beautiful benches and books for study. A book of the same title has been published.
Exhibition Curator, Gill Hedley, explores Sir Jacob Epstein’s life and work in Bloomsbury. The Foundling Hospital was ever-present in his life during a period of remarkable artistic creation and complex domestic circumstances. Discover the fascinating story of how a pioneer of modernism was entranced by babies and children as subjects. Curator's Talk 26 Feb, doors 18:30, talk, 19:00. £5.
Sir Jacob Epstein (1880-1959), pioneer of modernism and distinguished portrait sculptor, made many portraits of children throughout his career. This exhibition, curated by Gill Hedley, explores Epstein’s love of children as subject matter by bringing together a remarkable selection of his moving bronzes and drawings of babies and children, including members of his own family.
Epstein made his first sculptures of babies as a young man in Paris, becoming even more compelled by the subject on becoming a father in 1918. He worked from a number of studios in the Bloomsbury area and, from 1916, lived in a house which overlooked the Foundling Hospital, close to his beloved British Museum - a place of inspiration for Epstein.
The artist’s life in Bloomsbury between 1914 and 1927 provided a bohemian backdrop for his work. During this time he had five children from a number of extramarital affairs. His first wife Margaret, was unable to have children but brought up the eldest and youngest of these children. She endured her husband’s infidelities until her death in 1947, although she is alleged to have shot his long-term lover Kathleen Garman - later Lady Epstein - in the shoulder with a pearl-handled pistol.
Beyond the complexities of his domestic life, there is no doubt that as an artist Epstein loved children. Portraits of his own children, his grandchildren and those of his friends and contemporaries show how this bear-like man was entranced by his small subjects and the challenges they presented.
The exhibition features bronzes, drawings and archive photographs of the artist, his children and their mothers, and explores Epstein’s life in Bloomsbury in the shadow of the Foundling Hospital.
Nicola Naismith is conducting conversations about what studios mean to different people.
Tues 20 Jan 2015 from 6pm
Murray Edwards College,
Gill Hedley will be
in conversation with the
artist Linda Karshan.
Contact the College for tickets.
See Linda's web presence with the Redfern Gallery (www).
Exhibition of new paintings by Dillwyn Smith, curated by Gill Hedley.
Dillwyn in conversation with the curator 7pm 12 Nov 2014 at: Patrick Heide Contemporary Art,
11 Church Street, Lisson Grove, London NW8 8EE.
I've written the text on Richard Hamilton for the Dictionary of National Biography.
Invitations will be sent later to the private view of Tim Head's exhibition to mark his residency as Artist-in-Restaurant at Pied à Terre. His work during the residency has focused on design, in hommage to Richard Hamilton.
Gill will be in conversation with Liliane Lijn to introduce the artist’s film Look A Doll! - My Mother's Story (1998 – 2000) at Murray Edwards College, Cambridge on Tues 22nd October. The film explores Lijn’s mother’s childhood in Russia and Poland, using interviews, photomontage and archive film clips. Extending the autobiographical theme developed in Lijn’s book Her Mother's Voice the film depicts the reality of family life of a Jewish woman born into the 20th Century in the years leading up to the Holocaust.
62 minutes shot on Sony digital video, edited on Beta SP. Camera: John Bulmer, Editor: Michael Franks, Rostrum Camera: Ken Morse. Made with the financial aid of the London Production Fund.
An enactment of oral tradition between generations and between mother and daughter, it is about ‘the restlessness of the rootless, those who have lost everything, even and most painfully their past’.
Lynn MacRitchie's film Towers of Ilium has been shot in Essex with layers of reference to Homer’s Iliad, Troy and the Tilbury Trojan skinheads. It was shown at DOMOBAAL, 3 John Street, London WC1N 2ES, with an opening at 6pm on Weds 18 Sept 2013.
See photograph and caption from the Guardian: a quick photo fashion piece on Art Fair style.
Sigune Hamann's exhibition In the Name of at DLI Museum and Durham Art Gallery is inspired by the return of the Lindisfarne Gospels to Durham, on loan from the British Library. Sigune will discuss the new work she has made for this exhibition with the exhibition's curator, Gill Hedley.
The talk will be followed by the launch of a new limited edition diorama by Sigune Hamann in conjunction with The Multiple Store.
6.30pm Tues 17 Sept at DLI Museum and Durham Art Gallery, Aykley Heads, Durham, DH1 5TU. Admission to the talk is free. Please book a place by calling 03000 266590.
This talk was followed by a studio visit in Jan 2014, where Sigune showed the new multiples and also a selection of previous work.
A.R. Hopwood's exhibition The False Memory Archive opens in Penzance on
27th September. The show was seen at the University of Warwick and is evolving for its showing at Penzance,
with further showings in Edinburgh and at the Freud Museum in 2014. More details of these nearer the time.
→ A.R. Hopwood's website (www)
→ false memory archive site (www).
Opening 27th September at The Exchange, Princes Street, Penzance, TR18 2NL.
For further information about the project or the exhibition, please contact:
Emily Philippou, Media Officer, Wellcome Trust, (020) 7611 8726 / firstname.lastname@example.org
Link to full explanation of the exhibition and the artist's new role in the attached PDF file: A.R. Hopwood A National Tour (PDF). The exhibition tours to The University of Edinburgh's Talbot Rice Gallery and then The Freud Museum, London - see dates to the left.
Sigune Hamann has been invited to have an exhibition, at the DLI Arts Centre in Durham in July 2013 to coincide with the return of the Lindisfarne Gospels to Durham from the British Library. Sigune and I are working together on the project which is available for tour from late 2014 onwards. She will show some of her filmstrip works and make new work which responds to the idea of the journey (the Gospels travelled with St Cuthbert’s body for 100 years fom Lindisfarne to Durham) and light-boxes, echoing the way in which the gospels are believed to have been created.
In The Name Of to celebrate the return of the Lindisfarne Gospels to Durham, on loan from the British Library.
At the DLI Museum and Durham Art Gallery, Aykley Heads, Durham, DH1 5TU.
Elpida Hadzi-Vaileva's exhibition Silentio Pathologia. Preview dates in Venice May 29, 30, 31 at the Pavilion of the Republic of Macedonia, Venice Biennale, Scuola dei Laneri, Fondamenta del Gaffaro, Santa Croce 131, Venezia.
Elpida was previously artist-in-restaurant at the Pied à Terre. Her Venice installation will be available to tour from early 2014.
While in Venice I will be with Justin Merino who is Director, Loans & Exhibitions, APT. I helped them in an advisory role. They will be introducing a scheme to curators by which works can be borrowed simply, efficiently and with no fee, from a range of international storage spaces.
A.R. Hopwood and the Wellcome Trust
Alasdair has been given a second Wellcome Trust grant for a solo show on the subject of False Memory. There will be a programme of events held in Edinburgh in spring 2013 during the Science Festival there, followed by a solo exhibition at The Exchange, Newlyn, in autumn 2013, and another version of the exhibition, again with site specific work, at The Freud Museum, London, in 2014. Other venues can be added to the tour, all with site specific projects. The artist and I are working together on the project. Please contact me for more details. See the website false memory archive (www).
I have just finished organising the latest display at the offices of the Gulbenkian Foundation (UK) in Hoxton Square with a beautiful sculpture Not Connecting by the Portuguese artist Fernanda Fragateiro and two works on paper by Bridget Riley and Alison Turnbull.
Conference on Richard Hamilton
I took part in a conference on Richard Hamilton, Victor Pasmore and the Basic Design course at the University of Newcastle upon Tyne. I spoke about Hamilton’s time in Newcastle and the extraordinary range of students that studied with him, based on research started during a short fellowship I held with the university. Link to the conference paper on Richard Hamilton's time in Newcastle and the students he taught there between 1953 and 1966.
Mentor for AXIS
Mentor to a group of five young Welsh artists: Freddy Griffiths, Shaun James, Phil Lambert, Ian Wilkins & Megan Wyatt. Link to the Axisweb site (www).
I gave a paper at the Association of Art Historians’ Conference at Reading in April 2013 as part of the session: London’s Commercial Art Market: Art on sale and display from 1920 to now. My paper was entitled Arthur Jeffress for Painting.
Jean-Yves Mock has written a memoir of Erica Brausen, the important gallery owner who was Francis Bacon's first dealer, whose gallery was backed by Arthur Jeffress. I am grateful to M. Mock for permission to reproduce it here with my translation.
Since 2009 the Foundation has developed and supported a number of activities to help raise the profile of Portuguese visual artists and ensure that their work is more widely known across Britain and in an international context. Curators' trips to Portugal have been vital to the success of the programme. The trips aimed to familiarise UK curators with the work of contemporary Portuguese visual artists and establish a UK-wide network of arts professionals knowledgeable about and willing to work with international artists. The three-year contemporary visual art strategy has resulted in three groups of curators familiar with and enthused by the art scene in to Portugal, fostering Anglo-Portuguese relationships and resulting in many exhibition and residency projects throughout the UK (and with many more still brewing).
As a result, the organisers of Guimarães European Capital of Culture 2012 have invited the trip organisers, Gill Hedley and Filipa Oliveira, to conceive a project to reflect upon ideas of mobilization and international networks and relations. Together with The Hepworth in Wakefield, whose Director took part in the 2011 trip to Portugal, Gill Hedley and Filipa Oliveira have devised a series of talks on the subjects and invited six curators who participated in the Foundation's curators trips to Portugal to explore these in the format of public conversations with Portuguese artists of their choice. Each conversation will be recorded and subsequently translated into a book format developed within the context of the Guimarães Capital of Culture. Guimarães will make the publication available to be launched in the UK and the plan is to make this coincide with a roundtable involving curators, artists and critics, which could take place in Hoxton Square or be hosted by one of the Foundation's partners such as The Hepworth.
Fábrica ASA, Guimarães, Portugal
|Saturday 29 Sept 2012 15h00-18h00||Saturday 24 Nov 2012 15h00-18h00|
|• Filipa Oliveira + Gill Hedley intro||• Catherine Hemelryk + Vasco Araujo|
|• Caroline Hancock + Pedro Barateiro||• David Drake + Daniel Blaufuks|
|• Judit Bodor + Von Calhaul||• Sarah Shalgosky + Fernanda Fragateiro|
|• Jes Fernie + Carla Filipe||• Lisa le Feuvre + Angela Ferreira|
I’ll be helping artist A.R. Hopwood and The WITH Collective, so come prepared to buy!
The artist and I continue to work on an exhibition that he is preparing during a residency at Goldsmith’s Dept of Anomalistic Psychology on the subject of False Memory.
6-9pm: meet first in Inigo Rooms (east side of Somerset House courtyard) from 6pm onwards then move to the Anatomy Theatre Museum for talk at 7pm; exhibition viewing afterwards with drinks.
An in-conversation between John Christie and me to mark the exhibition of John Berger’s work in the Inigo Rooms, Somerset House. We will be discussing the nature of collaborations. John Berger and filmmaker/artist/publisher John Christie began their project I Send You This Cadmium Red in February 1997 when Christie wrote to Berger: 'What could our next project be?' Berger replied: 'Just send a colour’. A painted square of cadmium red was sent across the English Channel by Christie in London to Berger in France, and a remarkable conversation began.
A book was published that reveals, in the form of letters, notes, small books, and drawings, their subsequent exchange of ideas on colour in a visual odyssey that ranges from Matisse's blue to the blue of Yves Klein; from industrial brown anti-rust paint to Joseph Beuys' Braunkreuz, from mysterious cave paintings to Byzantine gold leaf. The project evolved into a further collaboration with composer Gavin Bryars.
A private view at the Michelin-starred restaurant Pied à Terre
in Charlotte St. for this year’s
artist-in-restaurant Anna M.R. Freeman.
The exhibition Restoration then continues 2 Oct – 8 Dec 2012 at Pied à Terre, 34 Charlotte Street, London W1T 2NH. Admission free, Opening Hours: Monday to Friday, 3pm–6pm.
Elpida Hadzi-Vasileva: the first
artist-in-restaurant at Pied à Terre:
Her work incorporated 10 sculptural and installation works made primarily using raw materials sourced from the restaurant’s kitchen. These included: quail carcasses and wishbones, scallop skirts and corals, sheep testicles, fish skins and bones.
Elpida carefully cleaned and preserved these unlikely materials, transforming them into new, beautiful sculptural forms. This involved in-depth research and close collaboration with the chefs; it was heavily influenced by the restaurant’s daily routines and changing menus.
Major exhibition of three contemporary artists, with a supporting programme of artists' talks.
This exhibition brought together works by contemporary artists Mat Collishaw, Tracey Emin and Paula Rego which resonate with the history of the Foundling Hospital. Displayed throughout the Museum, outside the building as well inside, the works explored the pain and anguish associated with aspects of childhood, motherhood, abortion and loss.
One of the most successful acts of commission I have witnessed from a historic institution.
Waldemar Januszczak, Sunday Times.
A specially commissioned, major exhibition which started at the V&A Museum of Childhood at Bethnall Green and then moved to the Laing in Newcastle upon Tyne in 2011.
A series of talks on the use of film and video by women artists.
Finnegan’s Teeth is a visual journey seen through the eyes of the dog, Finnegan. Taking place around King’s Cross in London, it follows the area as it goes through construction and deconstruction. Photographs of the happenings and events that Finnegan notices on his travels accompany the voices of the street life around him.
Hide and Seek at the Foundling Museum was a multi-discipline, video and sound installation by the artist Terry Smith, commissioned for the Foundling Museum. Playing with ideas of the hidden and the lost, Hide and Seek included images, sounds and deconstructed scores by Handel and Vivaldi, two Baroque composers who supported institutions dedicated to giving vulnerable and destitute young children a second chance at life.
This exhibition presented a series of new paintings by English artist John Kindness. For this exhibition Kindness explored the English eighteenth-century domestic interior through wall paper designs inspired by the graphic art of William Hogarth. Celebrating the importance of comedy in Hogarth’s work and his role as a pioneer of the comic strip, Kindness’ work also takes inspiration from Dudley Watkins, the creator of the comic book character Desperate Dan.
Fifteen contemporary artists were invited to respond to the Foundling Museum's collection. Their works ranged from a cascade of kinetic sculpture above the Museum’s main staircase to a ‘lollipop opera’ inspired by Handel’s Foundling Hospital Anthem. RSVP continued the tradition begun by the artist William Hogarth in providing a platform for emerging contemporary artists: Thomas Gainsborough, whose first well-known work The Charterhouse was produced for the Hospital when he was just twenty-one.
Whilst the Norman Foster designer ITN building on the Grey's Inn Road was only partially occupied the Contemporary Art Society, with Gill as Director, curated a series of exhibitions to show off the spaces: large empty floors with wonderful light making excellent sculpture exhibitions. These included Air and Angels featuring sculptures by Antony Gormley and Alison Wilding.
The exhibitions proved highly popular and the spaces were fully let within the year. This was one of the first public exhibitions of the maquette for the now famous Angel of the North by Anthony Gormley, a major piece of public sculpture in Gateshead.
Gill was the Exhibition Officer for the 1993 Venice Biennale. Richard Hamilton won the Lion d'Or.
There is further detail on-line from the British Council (www).
The British Council organised a major exhibition of Francis Bacon in Moscow. Gill was the Exhibition Officer. It was an extraordinary event, with consequences in Russia and in the West.
There is a full and interesting account on-line by Andrew Graham Dixon (www).
Site specific piece commissioned by Southampton City Art Gallery in July 1987. Seen here photographed on display in the gallery with Gill Hedley, Keeper of Art, walking across. There is an external review of the piece (www), and a larger version of the photograph.
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