Curator’s Choice continues to function on the periphery, in microcosmic spaces of surprise and wonder. This series offers a survey of the Exhibitions Manager’s curatorial research and current preoccupations.
Blenheim Walk Building, Leeds College of Art (by appointment only)
Please contact Catriona McAra, Curatorial & Exhibitions Manager, to make an appointment.
Phone: 0113 202 8263
Gamble recently graduated from the MA in Creative Practice at Leeds College of Art. Working within the medium of photography, Gamble’s work operates as a mode of co-production with participants, creating image transfers on a variety of surfaces such as portraits on bars of soap, in turn contributing a haptic and olfactory aesthetic that carefully summons a poetics of nostalgia.
Image: John Gamble, Soap 120 Portraits 2016. Image transfer on buttermilk soap. Image courtesy of the artist.
Marcelle Hanselaar (24 Feb 2017)
Hanselaar is a London-based Dutch artist, working with themes of the carnivalesque and other historical underbellies. As a painter and printmaker, her work is often theatrical and savage, dealing with the irrepressible forces of desire that threaten to erupt the polite veneer of bourgeois society. She is currently exhibiting at Strange Worlds: The Vision of Angela Carter (RWA, Bristol) among numerous other venues. For Curator’s Choice, she has created a peep-show carousel. marcellehanselaar.com
Image: Marcelle Hanselaar, Round and Round We Go, 2016. Vintage card holder with 8 mixed media handmade cards. Image courtesy of the artist.
Samantha Sweeting is an interdisciplinary artist based in London. She completed a bachelor’s degree in Photography at London College of Communication, a master’s degree in Visual Performance at Dartington College of Art, and is currently in psychotherapy training at the Tavistock. Her practice of embodied storytelling is informed by her research interests in myth, fairy tales, and psychoanalytic theory. www.samanthasweeting.com
Image: Samantha Sweeting, The Room Downstairs, 2012. Image courtesy of the artist.
Potter is a performance artist and writer, who recently completed The Ruskin School of Art’s graduate programme. Last year they contributed to Library Interventions at Leeds College of Art, researching the slide library, culminating in the narrative performance Two Meet (2016). Potter is currently working in relation to Antoni Gaudi’s architectural models and Aby Warburg’s Mnemosyne Atlas (1924-29) to explore ideas of construction in both fiction writing and trauma narrative. clairepotter.net
Image: Claire Potter, Two Meet, 2016. Performance. Photo by Ian Hinchliffe. Reproduced with kind permission of the artist.
Charlotte Cullen is a doctoral candidate in the School of Art, Design and Architecture at the University of Huddersfield and feminist curator at UNNAWAY. Cullen recently exhibited research-practice, Please Be Gentle, at Assembly House (March 2016), which drew on Hans Christian Andersen’s fairy tale ‘The Little Mermaid’ (1837). The mermaids’ penchant for curiosities and the collecting habits of the sea witch fit with Cullen’s interest in arranging found objects. www.charlottecullen.co.uk
Image: Charlotte Cullen, Sea Foam, 2016. Image courtesy of the artist.
Joe Hancock (29 March 2017)
Hancock is an artist, lecturer and project manager working across media in performance, sculpture and text. He studied for Foundation at Leeds College of Art (2010), and was awarded a first class BA (Hons) in Sculpture and Environmental Art from Glasgow School of Art (2014). How to Put Up a Shelf has gone through several iterations. As a mode of self-querying, the artist asks himself a series of 553 questions, “providing insight into the multiple mindstates of the labourer/artist” and the practical challenges of curating itself. joe-hancock.com
Exhibition Event | X≠Y: How to put up a shelf (V)
Wednesday 29 March 10am-2pm (Blenheim Walk Gallery)
Hancock is an artist, lecturer and project manager working across media in performance, sculpture and text. He studied for Foundation at Leeds College of Art (2010), and was awarded a first class BA (Hons) in Sculpture and Environmental Art from Glasgow School of Art (2014). How to Put Up a Shelf has gone through several iterations. As a mode of self-querying, the artist asks himself a series of 553 questions, “providing insight into the multiple mindstates of the labourer/artist” and the practical challenges of curating itself.
The fifth iteration of Joe Hancock’s ‘How to put up a shelf’ comprises a co-investigative performance into the politics of curating and fabrication. Using the symbol ≠ as a representation of unequal shelving, a female curator and male artist will work in tandem to construct two shelves. This performative intervention aims to create a more level playing field whilst framing and challenging prejudices regarding positions of power in industry.
Image: Joe Hancock, How to put up a shelf (IV), 2011. Performance installation. Image courtesy of the artist.
Exhibited in 2016 as part of a larger feminist barricade installation, these doll-like cut outs of women with guns reference the history of rebellious women throughout the world, and the current feminist uprising against the undermining of women’s rights. Paula Chambers is Subject Leader for Fine Art Sculpture at Leeds College of Art and is currently studying for a practice-led PhD at Middlesex University.
Image: Paula Chambers, Domestic Front, 2016. Paper, plywood, found objects.
- 01 January - 30 June 2017
- Blenheim Walk Building, Leeds College of Art (by appointment only)