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Film still: George Clark, A Distant Echo, 2014

A Distant Echo - Preview
24 April, 8-9.30pm at The Leeds Library
If, a thousand years from now, archaeologists happen to dig beneath the sands of Guadalupe, I hope that they will not rush into print with the amazing news that Egyptian civilization, far from being confined to the valley of the Nile, extended all the way to the Pacific Coast of North America.
–Cecil B. DeMille* 

A Distant Echo is a new film work-in-progress by George Clark that explores themes of identity, culture and the construction of history. Shot on 35mm film in Californian deserts used for Hollywood biblical epics, the project draws together film history, Egyptian culture and the tradition of Yorkshire male voice choirs.

In the resonant surroundings of the Leeds Library (est. 1768), this screening will feature a new score composed by Tom Challenger for the Colne Valley Male Voice Choir (est. 1922) and a reading of a script drawn from the Egyptian film The Night of Counting the Years/Al-Momiaa (directed by Shadi Abdel Salam, 1969). The original film, set prior to the British occupation of Egypt in 1881, follows the negotiations between archaeologists from Cairo and ancient tribesmen, dramatisng the struggle between ancient and modern values and the morality of recovering lost artefacts.



A Distant Echo is being developed as part of an ongoing project To the Distant Observer that includes the production of two films and various parallel events supported by the Arts Council of England and PRS for Music Foundation. The event in Leeds is funded by Leeds Inspired.
 


Tickets: free
Capacity is limited, booking essential. Book 
online or contact will@pavilion.org.uk / 0113 343 2718
The Leeds Library, 18 Commercial St, Leeds, LS1 6AL

(Image: George Clark, A Distant Echo, 2014)

*American film director (1881-1959), on the buried sets for The Ten Commandments 1923 from The Autobiography of Cecil B. DeMille, 1959 





From the Field to the Museum:
Concepts of time in the artistic practices of Mark Dion
1 May, 5.30-7pm at University of Leeds

Pavilion presents a talk by Bergit Arends, addressing works by Mark Dion, with attention to fieldwork and re-enactment, set in relation to concepts of time and the Anthropocene. Dion's art uncovers the structures that govern the natural world, dissolving the boundary between nature and culture.

This event is the first in a rolling Pavilion series exploring 'the geological'.

At: Brotherton Room, Brotherton Library, Parkinson Building, University of Leeds, LS2 9JT
Tickets: free
Capacity is limited, booking essential. Book online or contact anna@pavilion.org.uk / 0113 343 2718

Bergit Arends is an independent curator whose recent work includes Galápagos, a touring show of 13 artists' works based on research undertaken on the Ecuadorian archipelago. Arends was Curator of Art at the Natural History Museum in London from 2005 to 2013 where she curated a number of major exhibitions and commissioned works, in addition to an international artists-in-residence programme. Highlights include the exhibition Lucy + Jorge Orta: Amazonia, shown as part of International Year of Biodiversity in 2010 and Mark Dion: Systema Metropolis (2007).

In 2009 Arends commissioned artist Tania Kovats to create a new permanent art installation for the Museum’s iconic Central Hall to mark the bicentenary of Charles Darwin’s birth and the 150th anniversary of the publication of On the Origin of Species. From 1999 to 2004 Arends managed the science and art programme at the Wellcome Trust. She studied Curating of Contemporary Art at the Royal College of Art and is currently undertaking PhD research on the curation of environmental art projects in the Geography Department at Royal Holloway University of London. 

Image: Earth Education at Leeds: The Whole World in a Ray of Light curated by Jessica Henderson and Laura Sellers. Objects selected from Leeds University's collection of geological instruments.


The Follies of Youth researching The Gott Collection at Hepworth Wakefield.

Mapping Exercises I-III
March 2014 - February 2015

Pavilion is commissioning three artists – Ruth Lyons, Giles Bailey and Amelia Crouch – to respond to three landscapes in Yorkshire; Byram Park (nr. Knottingley), Stapleton Park (nr. Pontefract) and Whitley Beaumont (nr. Huddersfield). The landscapes, attributed to C18th designer Lancelot ‘Capability’ Brown, are in varying states of ruination, cultivation and industrialisation. The artist productions, titled Mapping Exercises I-III, will be produced within the landscapes throughout 2014 and exhibited at The Calder - Hepworth Wakefield in 2015.

The three artists are collaborating with The Follies of Youth, a collective of practitioners – specialising in art history, museum studies, design and fine art – who are considering the ‘lost garden’ as a site of political potential. In 2013, The Follies of Youth produced the performance Pinatopia & Mount Folly with artist Harold Offeh at Temple Newsam.

Ruth Lyons creates sculptures and installations that highlight the landscape and the anthroposcene, the immensity of influence that humanity now exerts on the shape of the land. A founding member of The Good Hatchery in Daingean, Offaly, Ruth has exhibited at Project Art Centre, Dublin and held a residency for Static Gallery in Liverpool.

Giles Bailey’s writing and performance practice rehearses a historiographic model that acknowledges doubt, subjectivity and reduction as inevitable factors when making sense of past events. His work has been exhibited at The Chisenhale Gallery, London, The Stedelijk Museum, Amsterdam and Van Horbourg, Basel. 

Amelia Crouch plays with words as material and symbolic signifiers, addressing their status as information and interrelationship with the visual world. Past commissions have included projects with Beam, Wakefield, Project Space Leeds, Morley Literature Festival and Forty Hall, Enfield. 


Image: Celine Condorelli, 1:1000 model of Mies van der Rohe's Museum, 2011-12. Courtesy of Inheritance Projects.

Intersecting Practices
3 April - 28 May 2014

Intersecting Practices is a research group and series of seminars co-organised by Louisa Briggs (Bronte Parsonage), Nick Cass (University of Leeds), Gill Park (Pavilion) and Anna Powell (University of Huddersfield) The intention of the project is to identify ways of capturing, measuring and articulating the value of contemporary art commissions and exhibitions in heritage settings. Intersecting Practices is funded by the Creative and Cultural Industries Exchange, University of Leeds.

Upcoming seminars
3 April: Danielle Arnaud and Jordan Kaplan (Tatton Biennial), Steve Swindells (University of Huddersfield)
23 April: Judith King (Arts & Heritage)
15 May: Tom Freshwater (National Trust), Laura Guy (Inheritance Projects)
28 May: Concluding workshop

For more information and to book visit www.intersectingpractices.wordpress.com

Video still: Mathieu Kleybe Abonnenc, An Italian Film (Africa Addio), 2012. Commissioned by Pavilion.

Mathieu Kleyebe Abonnenc, An Italian Film (Africa Addio) at AV Festival
1 March - 24 April 2014

An Italian Film (Africa Addio), produced by Pavilion in 2012, confronts the contemporary and historic exploitation of copper in the Katanga region of Congo, a region repeatedly ravaged since its colonisation by the Belgian King Leopold II in the nineteenth century. Belgian entrepreneurs looted small copper crosses historically used as currency, and shipped them to Europe for industrial use. Abonnenc has re-enacted this historical process by subjecting several copper crosses to a process of recasting at a foundry in Yorkshire.

The work is part of a group exhibition, curated by AV Festival and presented at mima. The exhibition focuses on the raw material of metal as an agent of global power and financial control. Read More
 
Film Still: Melvin Moti, The Eightfold Dot, 2013. Commissioned by Pavilion.

Melvin Moti, Hyperspace at CAC Vilnius and Kunstverien Harburger Bahnhof
12 January - 31 March

Melvin Moti’s 35mm film offers viewers the chance to contemplate the fourth dimension: a geometrical space beyond human experience. A transcendental fantasy from the turn of last century, the idea of the fourth dimension preoccupied writers, artists, theosophists and mathematicians. Moti’s 24-minute silent film is a narrative – about a dot, line, square, cube and hypercube – that moves from the symmetrical atomic structure of crystals to the outer most edges of our universe. From shadows to solids, The Eightfold Dot seeks a visual language with which to render obscure phenomena perceptible as a projected moving image.

Contemporary Art Centre Vilnius: 31 January - 16 March 2014
Kunstverein Harburger Bahnhof: 12 January - 31 March 2014
 
Hyperspace was produced by Pavilion, CAC Vilnius and Kunstverein Harburger Bahnhof as part of Retreating Ahead: Curatorial and Artistic Speculations, a two year project supported by the European Culture Programme. 

Publication: MU 
MU is the second part of Moti's new work Hyperspace commissioned by Pavilion in partnership with Kunstverein Harburger Bahnhof and CAC Vilnius.MU explores ideas around the fourth dimension, theosophy, Buddhism and Zen. The publication is designed by Kaisa Lassinaro and is available from Pavilion for £7. To order a copy contact linzi@pavilion.org.uk 
 
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In 2013 Pavilion's programme is generously supported by: Arts Council England, Austrian Cultural Fund, CAC Vilnius, Elephant Trust, EU Culture Programme, Humber Learning Consortium, Hyde Park Picture House, Jonathan Ruffer Curatorial Grants, Kunstverein Harburger Bahnhof, Leeds City Council, Leeds Inspired, Market Share, Mondriaan Fund, Recon, Rushbond Plc, University of Leeds