Ron Haselden | Papillon de la nuit – Manoir des Guérandes, Bretagne, Avril 2013 – Octobre 2014.

Ron sous la neige

Ron Haselden

Papillon de la nuit

Manoir des Guérandes, Plouër-sur-Rance, Côtes d’Armor, France

Vernissage: 28 Avril 2013

Ouvert du 29 Avril 2013 au 30 Octobre 2014

Papillon de la nuit est un des projets de sculpture le plus ambitieux  réalisé par l’artiste Ron Haselden dans les paysages ruraux de Bretagne. Dans le parc du Manoir des Guérandes, deux vastes plans de cordelettes tressées de couleur, d’une longueur de cent mètres, s’étendent comme des ailes inclinées, qui s’élèvent doucement jusqu’à quatre mètres au dessus du sol. Leurs formes sont semblables à celles des dessins isométriques d’architecture quand leur transformation en installations performatives modifie le point de vue et les angles de perspective. Le soleil dans sa course d’est en ouest joue à travers les surfaces de couleur bleue. Les ombres des nuages, celle des chênes et des marronniers environnants viennent passagèrement assombrir la  lumière du soleil. La nuit, la lune verse une douce lumière qui baigne les vastes plans de l’installation et dessine l’arc des ailes du Papillon. Les visiteurs sont invités à emprunter les nombreux sentiers qui s’entrecroisent sous la structure complexe de tiges d’acier, là où elle enferme des poches de végétation qui peuvent ainsi pousser librement. Ces sentiers, microcosmes de la vie sauvage en Bretagne, permettent d’observer les papillons, les abeilles et les petits animaux qui abondent dans ces jardins.

Papillon de la nuit sera visible pendant 18 mois, du 28 avril 2013 au 30 octobre 2014 dans Le parc des Guérandes qui sera ouvert au public du 28 avril au 9 juin 2013 les samedis, dimanches et jours fériés de 14h à 18h.

Pour toute visite en dehors de ces dates, contacter
Hélène de Ségogne, Association l’Art au fil de la Rance.
E: helenedesegogne@hotmail.com
T: +0033 (0)6 07 12 28 68

Dans le cadre d‘Ulysses, les célébrations des 30 ans du FRAC Bretagne, Ron Haselden présentera également son travail. Il peut également  être vu à la galerie du FRAC Bretagne à Rennes et au Stiff sur l’île d’Ouessant entre le 17 mai et le 25 août 2013.

À propos de l’artiste
Depuis près de six décennies, Ron Haselden est un des plus importants sculpteurs in situ de Grande Bretagne.  À dix sept ans, Haselden reçoit une bourse Andrew Grant pour étudier la sculpture  à l’Edimbourg Collège of Art de 1961 à 1966. Il continue sur cette voie au Département des Beaux Arts à la Reading University, où il suit, au début des années 70, une spécialisation dans les matériaux mixtes. Il enseigne  également aux écoles de Chelsea et Slade. A la même époque, Ron Haselden prend une part active dans le mouvement du cinéma expérimental. Depuis il produit de nombreuses œuvres à partir de matériaux innovants, tels que des échafaudages, des épaves de bateaux et de fil de pêche, et plus récemment des LEDs et circuits numériques. Sa récente série d’installations in situ à grande échelle comprend des projets à la fois ruraux et architecturaux tant en France et qu’en Grande Bretagne. Nombre de ces projets sont réalisés avec des communautés locales ou avec des exclus de la société. Ainsi Nine Men Drawing en 2009, fut le fruit d’une collaboration étroite avec des prisonniers de la prison de Durham. Ce projet a pris toute sa dimension avec la transposition de dessins de détenus en sculptures lumineuses diffusées dans les cloîtres de la cathédrale de Durham durant le festival  « Lumière ». Plus récemment Ron Haselden a travaillé avec des groupes d’enfants venus de nombreuses écoles londoniennes. Il a transformé leurs dessins en sculptures lumineuses animées, toujours installées sur plusieurs sites le long du canal Régents.

Avec des artistes comme Barry Flanagan et Anthony Caro, Ron Haselden a, dès le début de sa carrière, considérablement remis en question l’orthodoxie de la sculpture britannique post-Victorienne. Le point de départ de sa pratique est le déplacement du socle vers le paysage comme lieu d’exposition. Avec ce déplacement, il a fait dériver l’œuvre loin de son environnement habituel pour recentrer sa signification en relation avec un contexte aléatoire. La structure et l’espace sont les traits caractéristiques de sa pratique, ce sont les sujets qu’il explore constamment en exploitant au maximum les qualités du matériau qu’il utilise dans ses œuvres. L’importance de son influence sur la sculpture et l’art des installations en Grande Bretagne durant les six décennies précédentes est avérée et confirmée par les nombreuses récompenses et prix que l’artiste a reçus tout au long de sa carrière, par example The British School at Rome, The Arts Councils of Great Britain, The Hamlyn Foundation, The Elephant Trust, The Esmée Fairbairn Foundation, The London Arts Board, The Henry Moore Foundation, The British Council, The RSA Art For Architecture, l’Alliance Française, le Conseil Général des Côtes d’Armor, et le Fonds Régional d’Art Contemporain de Bretagne.

Pour plus d’informations sur l’artiste :

www.domobaal.com

www.ronhaselden.com

http://www.ddab.org/Haselden

www.luxonline.org.uk

Pour tous renseignements sur Papillon de la nuit, contacter :
Domo Baal
E: info@domobaal.com
W: domobaal.com
M: +0044 (0)7801703871
 

TEXTE DE MATTHEW REEVES  (traduction Christine Benadretti et Guillaume Lissillour)

 

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Ron Haselden | Papillon de la nuit – Manoir des Guérandes, Brittany, April 2013 – October 2014.

Panorama

Papillon de la Nuit is one of Ron Haselden’s most ambitious projects in his recent series of sculptures in the rural landscapes of Brittany. In the grounds of the Manoir des Guérandes, two vast planes of coloured woven cord, totalling one hundred metres in length, stretch out as tilted wings, slowly rising to a height of four meters above the ground. Their forms are similar to isometric architectural drawings, that when translated into performative installation serve to manipulate the line of sight and the angles of perspective.

Papillon 3

Sunlight reflects and plays across the predominantly blue surfaces in its passage east to west, shadowed only by clouds and the neighbouring oak and chestnut trees. This is echoed at night by the moon’s own passage, cooling the light that bathes the installation’s vast planes, and providing a pattern for the arc of the Papillon’s wings. Visitors are encouraged to enter through the many criss-crossing grassy pathways below, where the complex supporting structure of mild steel rods encapsulates pockets of vegetation, allowed to grow wild. These provide much interest from the assortment of butterflies, bees and other small animals abundant in the garden’s microcosm of Bretagne wildlife.

Papillon de la Nuit will open for a period of eighteen months from 28th April 2013 as part of ItinéRance, a wider project commissioning and supporting works of art along the river Rance in Brittany.

Papillon maquette

About the artist:

Ron Haselden is one of Britain’s foremost site-specific sculptors, with a career spanning six decades. At the age of seventeen, Haselden was awarded an Andrew Grant scholarship to study sculpture at Edinburgh College of Art from 1961-66. He went on to teach the subject in the Department of Fine Art at Reading University, before founding the mixed media specialism there in the early seventies, and has also tutored extensively at Chelsea and the Slade. Haselden became an active part of the Expanded Cinema movement in the same period. He has since worked prolifically in a variety of innovative materials, from reclaimed shipwrecks and trawlerman’s cord to LEDs and digital circuitry. His recent and ongoing series of large-scale site-specific installations encompass both rural and architectural projects in France (where he now lives) and England. Many of these projects engage closely with local communities or ostracised groups within society, such as Nine Men Drawing, in 2009, which saw the artist collaborate with prisoners at HMP Durham. The project culminated in the translation of the inmates’ drawings into large-scale light-works that were displayed within the cloisters of Durham cathedral during the city-wide festival Lumiere. More recently, the artist has worked with large groups of children from many of London’s schools, turning their drawings into animated light-works that now adorn several sites along the Regents Canal.

Along with artists such as Barry Flanagan and Anthony Caro, Haselden has consistently challenged the orthodoxy of post-Victorian British sculpture since early on in his career. Fundamental to his practice is the move from the plinth to the landscape as the site of display, deriving work from its intended surroundings and refocusing its meaning to include the contingencies of its context. Structure and space are key features of his practice, and subjects he constantly explores by capitalising upon the specific qualities of whichever medium he is working with. His important influence on British sculpture and installation over the past six decades cannot be overstated, and has been acknowledged globally through the many grants and awards the artist has received throughout his career, including from The British School at Rome, The Arts Council of Great Britain, The Hamlyn Foundation, The Elephant Trust, The Esmée Fairbairn Foundation, The London Arts Board, The Henry Moore Foundation, The British Council, The RSA Art for Architecture Award Scheme, Alliance Française, Conseil Général Côtes d’Armor and le Fonds Régional d’Arts Contemporain (FRAC) de Brétagne.

More information on the artist can be found online at:

www.ronhaselden.com

www.ddab.org/Haselden

www.luxonline.org.uk

Exhibition – David Breuer-Weil | Project 4 – open until 01/03/13

David Breuer-Weil’s Project 4 is the most ambitious of the artist’s Project series to date, utilising the vast Victorian brick tunnels underneath Waterloo station. For the first time Breuer-Weil’s renowned monumental canvases are juxtaposed with large-scale sculpture in bronze and marble, materials he has increasingly turned to in recent years, as well as a selection of graphic works on paper.

Project 4 First Edit 2000px-2

Project 4 First Edit 2000px-19

Project 4 First Edit 2000px-10

Project 4 First Edit 2000px-24

David Breuer-Weil, Project 4, is showing at The Vaults, Arch 233, Leake Street, London SE1 7NN until 1st March

 

David Breuer-Weil – The Vaults, Arch 233, Leake Street, London, SE1 7NN – 07/02/13-01/03/13

Emergence
David Breuer-Weil,
Installation view of ‘Emergence’, Hanover Square, 2012
Patinated bronze,
Dimensions variable

I am pleased to announce that I am working with London-based curator Chris Craig to organise the upcoming solo exhibition of works by David Breuer-Weil, entitled Project 4, which will open to the public from 7th of February until 1st of March inclusive. One of the largest exhibitions of Breuer-Weil’s work to date, Project 4 will bring together over 70 paintings and sculptures within the cavernous Victorian railway arches of Leake Street, near Waterloo station.

David Breuer-Weil’s website can be found here

I can be contacted on p4admin@breuer-weil.com with any enquiries.

Exhibition – Lothar Götz + Special Guests | DomoBaal Gallery – November 2012

lothar large space 2

In November I installed the second in a two-part exhibition of the work of German artist Lothar Götz (the first part can be seen here). This section of the project included important objects and works of art that have all influenced Götz’s practice, be they in formal or intellectual ways, through familial relationships and the ties of friendship, shared affinities, or the beauty of production. 14 objects were included within the large gallery space, consisting of works on paper, sculpture, painting and fine porcelain, which were all hung or juxtaposed with the five large gouache on ply works that Götz made for the first installment of the exhibition. Importantly in this respect, the show displaced the focus from Götz’s own work to that of those individuals or manufactories he strongly reveres.

lothar large space

A series of drawings made in response to each object and hung directly on top of the small gallery’s site-specific painted mural, manifested the artist’s own working practice as being directly linked to each of his ‘guests’, at a point somewhere between subliminal influence and overt recognition. The drawings veer between psychographical automatism and strictly controlled inquiries into form and colour, and all are executed within the strictly defined boundaries of a single size of paper. Where some seek to explode form forcibly, prostrating it onto a flat surface and contorting it into a new illusionism akin to Duchamp’s Rotoreliefs of 1923, others delight in the innately two-dimensional nature of the original, such as ‘Retreats (Ben Nicholson)’, and ‘Retreats (Ernst Wilhelm Nay)’, in which Götz reapplies colour to imagery already flattened and abstracted by the compositions of the artists referenced in the titles.

lothar small space

‘The Line of Beauty + Special Guests’ included works by Eric Bainbridge, Neil Gall, Joachim Grommek, Daniel Robert Hunziker, Paul Huxley, Ernst Wilhelm Nay, Ben Nicholson, Uli Nimptsch and George Shaw.

Website for Domobaal

Phil Collins – ‘jalan braga’

jalan braga, 2009
Silver gelatin print on paper.

The following is a short piece of text I wrote in 2010 concerning a little-known photographic image by Phil Collins, entitled jalan braga (above). Taken from a wider series of works first exhibited at Tramway in Glasgow, jalan braga proffers the artist’s usual glib commentary on forms of mass-communication, and his wry and somewhat pessimistic enjoyment of social disillusionment and the falsities of celebrity aspirations;

Phil Collins was born in 1970 and studied first in Manchester, then at the University of Ulster’s School of Art, Belfast. He lives and works in Berlin.

Investigating the inherent problems of representation within different media, Collins repeatedly underlines the complex and unpredictable transferences that occur between the producer, the participant, and the viewer.’

Collins works primarily as a video artist, constructing performance-based pseudo-documentaries that combine mass-media’s typically exploitative standpoint with penetrative investigations into the nuances of social relations. He parodies mass-media’s profiteering language by filming the emotional reactions of his subjects within a scripted and manufactured scenario. Often recording the very processes of filming – the camera crew, the microphones, the stage set – Collins addresses the camera as ‘an instrument of both truth and deception.’ This particularly self-referential mode of production tests our understanding of the media’s artifice and entertains us with its flippancy. Like Michael Asher’s institutional critiques, in which he relocates a part of the museum’s fabric to re-engage the viewer with its meaning, Collins lifts whole concepts from strange or imported social systems through the medium of report-style documentary and low-budget television, and places them in the path of the seemingly wise and cosmopolitan viewer. When exhibiting a video work at the Tate gallery as a Turner Prize nominee in 2006, Collins set up an office that dealt with the audience’s general enquiries and the comings and goings of the gallery environment. Instead of being a disengaged, autonomous and finished production that we are only retrospectively invited to view, his work became a real-time project concerned with the social complexities of an audience that became simultaneously spectator and participant.

jalan braga records a poster made by the artist for the production of his recent show The World Won’t Listen (2009). The posters were plastered around the city of Bandung, Indonesia, to enlist members of the public as participants in a Smiths’ karaoke. This process led to a set of recorded performances forming the central subject of the exhibition.jalan braga shows one such poster pasted on the front of a concrete column on Bandung’s central street. Detailing some of the more banal preparations for the video piece, jalan braga stands as part of Collins’ rigorous process of cataloguing and simultaneously hints at some of the integral meanings of his wider oeuvre; namely the cross-over point between truthful reporting and the designed, manipulated and filmed social scenario.

 

Exhibition – Lothar Götz | DomoBaal Gallery – October 2012

Installation view of ‘What Makes Boys Dance?’ facing North-East
Installation view of ‘What Makes Boys Dance?’ facing West
Installation view of ‘What Makes Boys Dance?’ facing South-East

Last month I worked as artist’s assistant to the internationally renowned German painter Lothar Götz on the two week installation of ‘What Makes Boys Dance?’, a site-specific room painting at DomoBaal Gallery, John Street, London. It forms the first in a two-part exhibition, which will conclude with a select display of objects and artworks by other artists/makers curated within the context of Götz’s own work.

Press release for part one –

Domo Baal is delighted to present ‘The Line of Beauty’, the first of a two–part solo exhibition by Lothar Götz. ‘The Line of Beauty’ will be Lothar Götz’s first solo show in London and follows five solo exhibitions over the last two years in public galleries in Germany and at Chapter in Cardiff. The exhibition will show new studio–based work as well as a site–specific mural. Following on directly from the first part of this exhibition ‘The Line of Beauty + Special Guests’ (9 November to 22 December) will include works by Eric Bainbridge, Neil Gall, Joachim Grommek, Daniel Robert Hunziker, Paul Huxley, Ernst Wilhelm Nay, Ben Nicholson, Uli Nimptsch and George Shaw alongside a series of new drawings, each made in response to a work by each of the exhibiting guests.

Whilst Götz’s practice ranges in scale from site–specific wall paintings and room–sized spatial installations to paintings and drawings, there is a clear coherence and dialogue across his body of work through its continual referencing and engagement with ideas about architecture and space and its characteristic use of abstract geometric forms, fields and lines of intense colour, juxtaposed with one another.

His work is informed by real factors of circumstance, site, architecture or the particular inhabitants or histories of a building, space or place, but mixes these factors with further imaginary or fantasy ones. Similarly many of his drawings represent the floor plans of idealized dwellings, sometimes for specific people or historical figures, sometimes for imagined ones. Together they form part of an ongoing series exploring spatial ideas for domestic spaces: apartments, houses, bungalows, villas.

Colour in these drawings is used to denote the functions and atmospheres of rooms, or the situations and qualities of the surrounding landscape – whether a schloß set in a meadow or a bungalow overlooking the sea. It also cues off the identity of the person who is thought to live there, in a web of imaginative factors that continually feed into the geometrical arrangement of forms and the colour decisions for each drawing.

Götz sees colour as both beautiful and a key aspect of life that surrounds us, drawing comparison with other passions of his: gardens and flowers, and Nymphenburg porcelain.

Whilst Götz often references the creation of a garden or the making of a piece of architecture in his work, he sees his practice as opposite in process to that of architectural design, which concretizes ideas and designs as built form, connecting it rather to the Classical idea of art as active fantasy – something practiced as part of a personal strategy to escape from reality.

Götz completed an MA at the Royal College of Art after studying in Germany at Aachen, Düsseldorf and Wuppertal. He currently lives and works in London and is Senior Lecturer at the University of Sunderland.

Recent solo exhibitions include ‘Don’t Look Now 1990 – 2011’ at Galerie der Stadt Remscheid and at Kunsthalle Wilhelmshaven, Germany, both in 2011 and ‘Wait Until Dark’ at Chapter, Cardiff in 2012. Currently his solo show’ Don’t Look Now’ is showing at Städtische Galerie Wolfsburg, Germany until 9 September 2012, and his installation ‘Crash’ will remain in situ at Stufen zur Kunst, Künstlerhaus Hanover, Germany until 20 March 2013. A monograph ‘Lothar Götz, Works – 2011′ with texts by Christoph Asendorf, Hans Günter Golinski, Rob Wilson and Oliver Zybok and graphic design by Frank Mueller, edited by Oliver Zybok in German and English was published by Hatje Cantz in 2011.
 
Group shows include the Contemporary Art Society’s ARTfutures, Bloomberg SPACE, 2005; David Risley Gallery, London, 2007; mima, Middlesbrough, 2007; and shows in Amsterdam; Dublin; Hamburg; Hanover; Salamanca; Wilhelmshaven and Wuppertal since 2005, including participation in the 2008 Prague Triennale. In Spring 2010 he contributed a major work to an international showcase exhibition on wall–painting at the Miró Foundation in Barcelona. Public commissions include Platform for Art at Piccadilly Circus underground station in 2007, a collaboration with Caruso St John Architects at the Arts Council England Offices in 2008, Haymarket Metro Station, Newcastle in 2009 and the offices of the Secretary of State for Justice, Jack Straw in 2009.
 

An interesting interview with the artist conducted by Sam Cornish, concerning The Line of Beauty, can be found at abstract critical‘s site.

 

PART ONE

Lothar Götz
The Line of Beauty
 
21.09.12 – 03.11.12
 

PART TWO

Lothar Götz
The Line of Beauty + Special Guests:
Eric Bainbridge, Neil Gall, Joachim
Grommek, Daniel Robert Hunziker,
Paul Huxley, Ernst Wilhelm Nay, Ben
Nicholson, Uli Nimptsch, George Shaw
09.11.12 – 22.12.12
Opening: Friday 09 November 6–8pm
 
DomoBaal Gallery
3 John Street
London
WC1N 2ES
 
 

A Legacy to Uphold

The Courtauld’s East Wing X committee have posted information regarding the East Wing Collection, which I established in 2011 so as to ensure the continual display of works in the institute that both cement our relationship with contemporary art history and act as a teaching resource for subsequent generations. Works now under the care of the collection and the current committee were kindly donated by artists from the East Wing Nine exhibition. Also in the collection but currently off display are Ron Haselden’s ‘Fan’ (2010) and Adam Bridgland’s ‘Souvenir London’ (2011). The collection is not on view to the public at the present time, but more information will be made available soon.

EastWingX

East Wing is in an inheritance. As the project is passed down through the Courtauld years, the artists and the thesis may change, but the legacy associated with the exhibition remains steadfast. The first collection was curated in 1991 by Joshua Compston and EWX is proud to uphold twenty years of dedication to emerging international artists, cutting edge curation and the hard work of the student committee who solely cultivate the exhibition.

To cement the artistic heritage embodied in the tenth anniversary of East Wing a permanent collection will now exist within the Courtauld, moving periodically down the West Wing staircase . Initially housing some of the best works from East Wing Nine, future committees, including ourselves, will add to the growing assemblage. To start us off will be pieces from the artists Gerry Stecca, Tierney Gearon and Roger Ballen.

‘Twirling Wires’ (2001), Roger Ballen

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Exhibition – Sam Fogg Medieval Art – February 2012

This week I helped install the first exhibition in the newly refurbished galleries at Sam Fogg Medieval Art. The collection there includes Islamic calligraphy, Asian miniatures, European sculpture, painting and metalwork, and some of the most beautiful manuscripts and stained glass still outside of museums.

Exhibition – Cordelia Donohoe | The Little Hours – June/July 2011

I was delighted to organise and hang a solo exhibition of the work of Cordelia Donohoe, whose current project The Little Hours is so close to my own studies in Medieval and Renaissance artistic production. The show incorporated photographic and text-based collages using found as well as edited and adapted images from the artist’s archive.

Cordelia’s website