Paper, Canvas, Neon presents a broad selection of work from the Grundy’s permanent collection which dates back to 1911 when the gallery was established by local artists and polymaths John and Cuthbert Grundy. The brother’s bronze busts stand guard in the foyer of the gallery today.
The exhibition starts in Gallery 1 with a range of print and works on paper. The display includes Pablo Picasso’s Dove (circa. 1952) which was used to illustrate the 1949 Paris Peace Congress and became an international symbol of peaceful and political action. This is displayed alongside works by Eric Ravilious and Julian Trevelyan - all were gifted to the Grundy by the Contemporary Art Society.
The paper gallery also showcases some of the Grundy’s new acquisitions including works by Yinka Shonibare MBE, Noel Clueit, Marcia Farquhar, Pil and Galia Kollectiv and Maeve Rendle.
Gallery 2 focusses on painting on canvas. Split loosely into two sections: Portraits and People, and Landscape and Interiors – the work shows the range of artists and work we have, and continue to, collect. The landscapes take you from Adelsteen Normann’s Norwegian Fjords to Nina Blaker’s Ibizian villages, the dappled light of Epping Forest by F.H. Glasbury and then back home to the Blackpool seafront with Keith McGinn’s sun lounge where the viewer can almost look through the walls of the gallery out onto the rainy view of the Illuminations beyond.
‘Portraits and People’ includes the enigmatic woman with budgie and pear Josefina by Lisa de Montfort which was acquired in the 1950s alongside newer works such as a portrait of the Grundy’s previous curator Richard Parry (and friends) by Liverpool-based artist Joe Fletcher-Orr.
Prem Sahib’s throbbing green neon invites you into the Neon display in Gallery 3. This room showcases some of the Grundy’s most recent acquisitions from Tracey Emin, as well as a new acquisition and gift from Joseph Kosuth and long-term loans from David Batchelor. The Grundy is invested in the research and collection of light-based works which result in an annual exhibition of artists working in the field during the autumn period coinciding with the Blackpool Illuminations.
26/08/2017 — 23/12/2017
Kim Wilde's Heart of Darkness
‘Kim Wilde’s Heart of Darkness’ is the first UK exhibition of New Zealand-based artist Tahi Moore. Moore’s work involves video, sculpture and text, constructing narratives that create associations which first appear unconnected but taken as a whole invite a deep and fertile new imaginative realm.
The exhibition includes over fifteen new video works which have been created through a partnership with the Royal Over-Seas League, an organisation which champions international collaboration, and Hospitalfield in Arbroath, Scotland. These partnerships invite artists from a Commonwealth country to undertake a residency which then results in an exhibition in the UK. The title ‘Kim Wilde’s Heart of Darkness’ refers to Kim Wilde’s 1981 song ‘Cambodia’ – both a heart breaking story of an Air Force wife who loses her husband in the Vietnam War and typical synthy 80s Top of the Pops tune.
Moore’s video works retain a formal and seductive beauty. Images of mountains, domestic interiors of holiday homes, lights of synthesizers or the lapping of the sea carry a resonance and act like visual triggers. The viewer is invited to piece clues together and work out the puzzle to find some kind of meaning with images full of suggested connections, necessary false starts and potential resolutions.
Moore often uses literary references and characters to construct new scenarios and scripts. These often have a Beckett-esque flow where strange thoughts start to loop in endless circles. Sometimes the text comes away from the video and literally becomes ‘stuck’ on the screen, unable to move or progress.
PLEASE BE AWARE SOME VIDEO WORKS CONTAIN FLASHING IMAGERY
Tahi Moore: Kim Wilde's Heart of Darkness is delivered in partnership with the Royal Overseas League and Hospitalfield in Arbroath, Scotland,