January 10, 2017

disassociated press

Hannah Rickards I. Chronicle: Narrative, History


Hannah, Rickards, I., Chronicle:, Narrative,, History

Hannah Rickards I. Chronicle: Narrative, History
25th May - 14th July

The Columns

And an insurgency against British rule in Northern Ireland. Almost all are from artists who practiced in Britain and consequently they reflect, investigate or contest the term ‘British’ as it underwent a paradigm shift.   Keywords: Art, Culture and Society in 1980s Britain is curated by Gavin Delahunty, Head of Exhibitions and Displays, Tate Liverpool and Grant Watson, Senior Curator and Research Associate, Iniva. Keywords includes a film programme curated by Karen Alexander, Senior Tutor, Royal College of Art, Curating Contemporary Art, The Otolith Collective and Catherine Wood, Curator, Performance & International Art, Tate Modern. A new edition of Raymond Williams’ Keywords is published by 4th Estate on the occasion of this exhibition with a cover designed by by Luca Frei & Will Holder.

List of artists: Adrian Berg, Sutapa Biswas, Stuart Brisley, Anthony Caro, Helen Chadwick, Tony Cragg, Cathy de Monchaux, Norman Dilworth, Willie Doherty, Rita Donagh, John Dugger, Rose English, Rotimi Fani-Kayode, Rose Finn-Kelcey, Barry Flanagan, Elisabeth Frink, Paul Graham, Sunil Gupta, Lubaina Himid, David Hockney, Harry Holland, Malcolm Hughes, Alexis Hunter, Derek Jarman, Anish Kapoor, Peter Kennard, John Latham, Louis Le Brocquy, Yve Lomax, Peter Lowe, Kenneth Martin, Stephen McKenna, David Medalla, John Murphy, Eduardo Paolozzi, Cornelia Parker, Carl Plackman, David Robilliard, Donald Rodney, Jo Spence, Anne Tallentire, Keith Vaughan, Stephen Willats, Gillian Wise, and Bill Woodrow. Presented concurrently will be the first UK museum exhibition by LA-based artist and polymath Richard Hawkins. Since emerging in the 1990s, Hawkins has created an eclectic body of work across a range of disciplines that defies easy categorisation. For Hawkins, collage provides his primary artistic medium and a philosophical device to unite contradictory ideas and visual elements. The exhibition presents Hawkins’ collages to explore how western figurative art can be interpreted or ‘twisted,’ creating ideas far beyond those usually associated with art history.

It presents mid-century artworks by figures including Francis Bacon and Hans Bellmer. These are selected to reveal their inspiration for Japanese choreographer Tatsumi Hijikata during his development in the 1960s of Ankoku Butoh, a performance art movement that reveled in themes of darkness, corporeality and eroticism as well as ideas drawn from surrealism and French decadent literature. The influence is revealed through Hijikata’s scrapbooks, which feature in the exhibition, challenging accounts that Butoh constituted a response to Japan’s post-World War Two trauma. Hawkins’ Ankoku collages both translate scrapbook pages and channel Hijikata’s voice as a ‘poetic guide,’ speculating on further overlaps across different artistic disciplines on different continents to rethink ideas of artistic influence and historical process. Richard Hawkins: Hijikata Twist is curated by Darren Pih, Exhibition & Displays Curator, Tate Liverpool Keywords: Art, Culture and Society in 1980s Britain is supported by Liverpool City Council, Tate Liverpool Members and The Swiss Arts Council Pro Helvetia.

Richard Hawkins: Hijikata Twist is supported by Tate Liverpool Members and The Richard Hawkins Exhibition Supporters Group. For further information please contact Tate Liverpool Press Office:T +0151 702 7444/5 / liverpool.press@tate.org.uk   Curated by Kasper König  Manifesta was founded in 1993, inspired by the changing European constellation brought about by the fall of the Berlin Wall. In 2013, on the eve of Manifesta’s 20th anniversary, the State Hermitage Museum in St. Petersburg was selected as the host for Manifesta 10 due to its expressed desire to research the notion and function of contemporary art and culture in a contested area.  The changing position of the Hermitage—which recently established its General Staff Building as a new wing dedicated to modern and contemporary art—along with its critical, intellectual, and historical relationship with East and West Europe s tretching back to the eighteenth century, relate the.

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