The Last Art-of-Peace Biennale
- Submitting institution
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The University of Huddersfield
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 62
- Type
- M - Exhibition
- Venue(s)
- Richard Saltoun Gallery, London
- Open access status
- -
- Month of first exhibition
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- Year of first exhibition
- 2015
- 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
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- 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
- This research used live action curatorial research (drawing together work by some of the principal artists involved in the original exhibition for a new presentation at Richard Saltoun Gallery, London) to reflect on the enduring relevance of the themes of peace and harmony in 2015 and to understand the relationship between Robert Filliou’s concept of the ‘Art-of-Peace’ and René Block’s curatorial approach. The project contributes to both exhibition history scholarship and curatorial practice research.
There were sixteen works by eight artists in the show. Three works were shown in the 1985 exhibition: Tony Morgan’s Dante’s Inferno (1985) and Sol LeWitt’s Proposal for Walldrawing: Within a two-meter circle (pencil) each person may make one continuous straight abstract line, in pencil and Proposal for Walldrawing: Within a two-meter circle (pencil) each person may make one continuous not straight abstract line, in pencil (1985). The discovery that catalogue had not included a definitive list of works we could only surmise there were two Lewitt drawings rather than one from close inspection of image captions. It was unclear whether visitors to the original exhibition were able to add to the wall drawings, or whether it was installed by other exhibiting artists. LeWitt’s estate confirmed the existence of both and instructed the works needed to be pre-installed by Saltoun’s technicians under supervision. While we would not claim to have discovered a lost LeWitt drawing, it seems probable at least that this was a rare exhibition of the two works together. The broader achievement of the research was its dissemination of knowledge of the 1985 Hamburg show and Fillou’s work and practice through a high-profile London exhibition which remains accessible through the gallery’s online catalogue of exhibitions.
- Author contribution statement
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- Non-English
- No
- English abstract
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