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Conversations around Marlow Moss

Curated by Andrew Bick and Katrina Blannin

12 June–18 July 2014

Conversations around Marlow Moss:
Eva Berendes
Andrew Bick
Katrina Blannin
Liadin Cooke
Cullinan Richards
Adam Gillam
Maria Lalic
Peter Lowe
David Saunders
Jean Spencer
Jeffrey Steele

Rational concepts, 7 English artists:
Norman Dilworth
Anthony Hill
Malcolm Hughes
Peter Lowe
Kenneth Martin
Jeffrey Steele
Gillian Wise

[Portfolio, comprising seven screenprints, 4 in black and white, 3 in colour, each signed and numbered by the artist size 60x60cm, edition of 100 copies with title-page, introduction by Richard Paul Lohse, ‘Constructive art in England today’ and short statements by each artist in a black vinyl covered portfolio, design Rudolf Mattes, published 1977 by Lydia Megert Edition Bern (CH) and Hoffmann Edition Friedberg (D). Loan, collection Andrew Bick.]

Conversations around Marlow Moss, consists of hypothetical dialogue between the exhibiting artists’ work and that of Moss, in which Moss represents the under acknowledged éminence grise, the original tricky figure from a British past in which Modernism, as another kind of European queerness, has also been diligently repressed.

Arguably we are still in muddled dialogue with the things Modernism represents and in the UK this means that the stalled and chequered nature of that conversation has an important effect on what contemporary art means and how it operates. Two exhibitions of Mondrian, at TATE Liverpool and Turner Contemporary, Margate, will open at around the same time that Marlow Moss opens at Leeds Art Gallery and this one comes to &Model. Considering Moss’ artistic relationship with Mondrian is a way of reconsidering her impact, but also the other conversations represented in the &Model exhibition, with British Construction and Systems artists such as Norman Dilworth Anthony Hill, Peter Lowe, David Saunders, Jeffrey Steele, Gillian Wise and others, form part of a bigger and very necessary exchange artists are making now with modernist positions that are far from redundant. Moss, as an overlooked protagonist for conversations that never happened in her lifetime, is the pre-eminently undigested presence in this exchange and the symbolic figure of resistance to an over homogenised history of British art. As with other projects Bick and Blannin have worked on, the irrational within the rational and the idea of contradiction as a vital driving force within art practice since modernism, is celebrated as a reason why we should enjoy and understand the work of Moss and her successors now.

The aim of Conversations around Marlow Moss, is to put her work and forgotten personality back in dialogue with what came after and what happens now, as well as to ask questions about what makes practice contemporary. The artist/curators have been in extended dialogue with British post War Construction and Systems Artists since meeting through an ‘in conversation’ Bick held with Jeffrey Steele at Hales Gallery in 2009. Since then Bick has curated exhibitions in Basel, Huddersfield, Leeds, Leigh and London around these artists’ work and Blannin has published extensive interviews with Steele and Bick in Turps Banana magazine. Both artists explore the implications of this artistic territory in their own practice. Included in Conversations around Marlow Moss will be works by post war British Construction and Systems artists as well as many of the younger artists Bick and Blannin have collaborated with on various projects since 2009.

Eva Berendes, Untitled, 2012 (steel, brass, lacquer, 220 x 90 x 60 cm)Eva Berendes, Untitled, 2012 (steel, brass, lacquer, 220 x 90 x 60 cm)

Andrew Bick, OGVDS [tilted] A, 2012 (acrylic, charcoal, pencil, oil paint and watercolour on linen and sewn canvas on wood, 76 x 64 x 3.5 cm)Andrew Bick, OGVDS [tilted] A, 2012 (acrylic, charcoal, pencil, oil paint and watercolour on linen and sewn canvas on wood, 76 x 64 x 3.5 cm)