History or Not: Addressing Omissions in the Retelling of Art's Stories | Three Films by Stephen Dwoskin, introduced by Rachel Garfield | The Avant-Garde in Britain? Round table | Sigi Krauss and Lisa ReneƩ Newman, in conversation via Skype
17-19 March, Weekend 6

 

 

 

 

Events:

Saturday 18 March

4pm: History or Not: Addressing Omissions in the Retelling of Art's Stories. With Felicity Allen, Sonia Boyce, Amy Budd, Susan Hiller, Antony Hudek, Hilary Robinson and Alex Sainsbury, chaired by Alexandra Kokoli. A discussion about how curatorial and art historical work can address and redress the marginalisation of artists of colour and women artists in the recent past; and how curatorial and scholarly reconstructions of the past can make up for its omissions without sacrificing accuracy.

Please book your place here

 

Sunday 19 March

4pm: Three Films by Stephen Dwoskin, introduced by Rachel Garfield. Soliloquy (1964, 8 mins), Just Waiting (1975, 10 mins) and Me, Myself, I (1967, 18 mins)

5pm: The Avant-Garde in Britain? Round table with Peter Berry, Jon Bird, Rachel Garfield, Lucy Reynolds, Paul Wood and Kevin Wright, chaired by Antony Hudek and Alex Sainsbury. Borrowing from the title of Rosetta Brooks' exhibition at Gallery House, this panel will consider the idea of the avant-garde in Britain in the early 1970s, particularly in relation to conceptual art and film.

6pm: Sigi Krauss, Founder/Director of Gallery House, and Lisa Reneé Newman, in conversation with Antony Hudek and Alex Sainsbury via Skype.

No booking required

 

In the galleries:

Ian Breakwell, Victor Burgin, Michael Druks, Robert Filliou, Gerard Hemsworth, Ed Herring, Susan Hiller, Darcy Lange, Gustav Metzger, Anthony McCall, Newport Group (Peter Berry, Paul Wood, Kevin Wright), Graham Stevens, Stephen Willats and the Centre for Behavioural Art

 


 

Two events over this penultimate weekend of the series question the reliability and durability of historical records.

 

On Saturday, a panel discussion convened by Alexandra Kokoli and Susan Hiller contends with the risks inherent in curatorial reproduction, especially the risk of reproducing historical blind spots and biases.

 

On Sunday, a panel of artists and art historians return to the notion of the avant-garde, which Rosetta Brooks invoked in her three-part exhibition A Survey of the Avant-Garde in Britain. Opening with a screening of three films by Stephen Dwoskin, and concluding with a Skype conversation with the director of Gallery House, Sigi Krauss, the discussion will focus on the plurality of mediums and styles featured at Gallery House, and on how the historical category of avant-garde seems ripe for reappraisal.

 


 

Image: Susan Hiller, Transformer, Gallery House, April 1973