The Part Versus the Whole
- Submitting institution
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Leeds Beckett University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 28
- Type
- M - Exhibition
- Venue(s)
- The Part Versus the Whole (2018); Victoria Gallery & Museum, Liverpool; commissioned by Rose Lejeune; funded by ACE. Nothing Human is Strange to Me (2018); The Gallery, De Montfort University, Leicester; commissioned by fig-futures and Fatoş Üstek.
- Open access status
- -
- Month of first exhibition
- June
- Year of first exhibition
- 2018
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Judd’s two solo exhibitions were an enquiry into how the ritualistic activities of marginalised groups and individuals can be extended into an action realised by actors (one that itself hovers on the border between immersion and a more self- conscious, knowing state), and how, in turn, this action can be interpreted in a moving image work. The exhibition positioned Judd and the audience as both participant and observer, engaging the grey area between ritual and performance, searching for an unreachable and idealised state of community.
The exhibitions’ method was to invite viewers to experience a series of alternative readings of the cities of Liverpool and Leicester, to reimagine what might have been and to bring their possible futures to life. Combining an eclectic mix of materials from the University of Liverpool and De Montfort University’s collections and archives, including historic magic lantern slides and the archaeological photography of John Garstang, with new objects, performance and film, The Part Versus the Whole (2018) and Nothing Human is Strange to Me (2018) invoked lost communities that were developed specifically in relation to their site and context. The exhibitions weaved together threads of mythology with imagined and real histories of characters and architecture from the local environment to create immersive installations. Performances and films operated as palimpsests, imagining these communities existing within the galleries.
The context for sharing includes two solo exhibitions at the Victoria Gallery and Museum, Liverpool, and De Montfort University’s The Gallery, commissioned by curator Rose Lejeune (formerly Serpentine Gallery) and Fatoş Üstek, director of Liverpool Biennial.
Significance was demonstrated by The Part Versus the Whole being part of VGM’s New Perspectives 10th anniversary celebrations and receiving 2,225 visitors. Nothing Human is Strange to Me was part of the prestigious fig-futures national curatorial programme.
- Author contribution statement
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- Non-English
- No
- English abstract
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