Yoko Ono (b. 1933, Tokyo) John Latham Latham believed the artist was crucial to the Eyeblink (Fluxfilm no.9), 1966 (b. 1921, Livingstone, d. 2006, London) progress of society by constantly questioning Digital copy of 16mm film The Moral High Ground, 1988 received ideas. These sculptures of damaged (black and white, silent) Books, light bulb and glass books question assumptions of received 4 minutes 31 seconds 83 x 25.5 x 33 cm knowledge as permanent and certain. In 1963, © Yoko Ono Courtesy John Latham Estate when Latham showed at Bear Lane Gallery, a predecessor of Modern Art Oxford, visitors protested at his ‘immoral’ destruction of A close encounter with the artist’s own eye books, which was a debate he had hoped to invites each of us to change our perception John Latham spark. by slowing down how we see things. Slow Drawer with Charred Material, 1960 deep thinking was also at play in Ono’s first Drawer filled with books, plaster and vinyl appearance at the gallery in 1966 when she 55.9 x 55.9 cm performed Zen meditation koans. For Ono, Collection of Nicholas Logsdail art is a means of changing the world, “we visualize it, imagine it, and think that it’s not going to happen — and it’s happening.”

Pierre Huyghe (b. 1962, Paris) De-extinction, 2014 (b. 1966, Glasgow) Film, colour, stereo, sound, 2:35 24 Hour , 1993 12 minutes 35 seconds Video Installation Courtesy the artist, Hauser & Wirth, Dimensions variable London and Anna Lena Films, Paris from Psycho. 1960. USA. Directed and Produced by . Huyghe, known for making time- Distributed by Paramount Pictures. based works, describes the potential © Universal City Studios of an exhibition to be “an evolving Courtesy the artist organism that grows and changes”. Huyghe’s film installation captures For this film, Gordon deconstructed a moment of reproduction between the classic Hitchcock film Psycho by insects over 30 million years old. The slowing it down to play over a 24- title resonates with current scientific hour period. This work was at the experiments into the de-extinction of heart of the exhibition Notorious: prehistoric species. This work may call Alfred Hitchcock and Contemporary our attention to questions of extinction Art in 1999, at a time when the gallery and how humans have intervened in was establishing itself as an early nature. Upper Gallery Middle Gallery Piper Gallery champion of experimental video. This now iconic installation points to the instability of our memory and perception of time.

Elizabeth Price (b. 1966, Bradford) Viola Yeşiltaç (b. 1975, Hanover) SLEEP, 2014 I Really Must Congratulate You on Video installation Your Attention to Detail, 2016 10 minutes 9 colour handmade c type prints Courtesy of the artist and 60.96 x 71.12 cm MOT International London and Brussels Courtesy of the artist

The title of this film, SLEEP, refers to the standby Photographer Yeşiltaç reviewed hundreds of Please ask our Visitor Assistants if you have any questions mode of digital devices rather than a restful state. her images to select these works from the It suggests that sleep - the only realm untouched ongoing photographic series, I Really Must This exhibition guide is available in a large print format. by the frenetic pace of contemporary life - is Congratulate You on Your Attention to Detail. Please ask at the Information Desk located in the café. under threat in today’s unrelenting technologically Each image captures a paper construction, driven connectivity. Price embraces a wide range temporarily balanced, then photographed to Modern Art Oxford is grateful to the many individuals, of influences from pop music and local history to document the fleeting momentary sculpture. companies and organisations that have helped to realise architecture. She believes that, “whatever its form this exhibition and the KALEIDOSCOPE programme. or medium, I think art is, or should be, a way to understand our time - the time in which we live.” KALEIDOSCOPE

THE INDIVISIBLE PRESENT 6 February - 20 March 2016

MODERN ART OXFORD EXHIBITION NOTES THE INDIVISIBLE PRESENT:

present and future. future. and present

doing so he suggests notions of time that collapse an experience of past, past, of experience an collapse that time of notions suggests he so doing

over a long period, which are then destroyed in a short moment. In In moment. short a in destroyed then are which period, long a over

sculptures of burnt books; objects that embody knowledge accumulated accumulated knowledge embody that objects books; burnt of sculptures

John Latham’s work returns to the gallery after 25 years. He created created He years. 25 after gallery the to returns work Latham’s John

time is a powerful influence in our lives. lives. our in influence powerful a is time

slowed-down cinema, these works are a reminder that our experience of of experience our that reminder a are works these cinema, slowed-down

installation, photography and sculpture. From objects frozen in time to to time in frozen objects From sculpture. and photography installation,

number of ways in which artists have examined temporality using film, film, using temporality examined have artists which in ways of number

, offers a a offers , Present Indivisible The exhibition, KALEIDOSCOPE first Our

The Indivisible Present Indivisible The

into the next throughout the year. year. the throughout next the into

production of the five exhibitions as they gradually transition from one one from transition gradually they as exhibitions five the of production

to slower and multiple perceptions of time. This is also reflected in the the in reflected also is This time. of perceptions multiple and slower to

time is the recurring theme in KALEIDOSCOPE, from long-term thinking, thinking, long-term from KALEIDOSCOPE, in theme recurring the is time

used in exhibition notes from the Modern Art Oxford archive. As a result, result, a As archive. Oxford Art Modern the from notes exhibition in used

programme. The finding came from digital analysis of over 20,000 words words 20,000 over of analysis digital from came finding The programme.

We learnt this when deciding which theme to focus on when curating the the curating when on focus to theme which deciding when this learnt We

Time has been a preoccupation of the majority of artists exhibiting here. here. exhibiting artists of majority the of preoccupation a been has Time

Twitter @mao_gallery Instagram @mao_gallery #KALEIDOSCOPE @mao_gallery Instagram @mao_gallery Twitter to reflect some key ideas in contemporary art over the past half-century. past the over art contemporary in ideas key some reflect to

you’ll share your memories of the gallery with us online: online: us with gallery the of memories your share you’ll history, ranging across displays, performances, talks and events. It aims aims It events. and talks performances, displays, across ranging history,

by being here you are also part of Modern Art Oxford’s history. We hope hope We history. Oxford’s Art Modern of part also are you here being by historical account by any means; it offers snapshots of highlights in our our in highlights of snapshots offers it means; any by account historical

looking at a sculpture from the 1960s or watching a new performance, performance, new a watching or 1960s the from sculpture a at looking first opened 50 years ago. KALEIDOSCOPE does not aim to be a definitive definitive a be to aim not does KALEIDOSCOPE ago. years 50 opened first

by our unique experiences as what we see in front of us. Whether you’re you’re Whether us. of front in see we what as experiences unique our by Over 700 artists have exhibited at Modern Art Oxford since the gallery gallery the since Oxford Art Modern at exhibited have artists 700 Over

of the world. For each of us, our visual perception is influenced as much much as influenced is perception visual our us, of each For world. the of

enduring preoccupations – the experience of time. of experience the – preoccupations enduring KALEIDOSCOPE celebrates the role art plays in shaping our perception perception our shaping in plays art role the celebrates KALEIDOSCOPE

hope you will find an engaging show that touches on one of our most most our of one on touches that show engaging an find will you hope

Codex Atlanticus 398v. Atlanticus Codex Modern Art Oxford. The past and the present are blended in what we we what in blended are present the and past The Oxford. Art Modern

Leonardo Da Vinci, 1452 - 1519 - 1452 Vinci, Da Leonardo world appear alongside works by artists showing for the first time at at time first the for showing artists by works alongside appear world

the essence of things.” of essence the of new commissions. Artworks returning to the gallery from across the the across from gallery the to returning Artworks commissions. new of

. Nor does it penetrate into into penetrate it does Nor . of nothing possesses the indivisible present indivisible the works from our past exhibitions sharing space with an exciting roster roster exciting an with space sharing exhibitions past our from works

past and those that are to come, both of nature and of the animals, and and animals, the of and nature of both come, to are that those and past to see the exhibitions being made. In KALEIDOSCOPE you’ll see historic historic see you’ll KALEIDOSCOPE In made. being exhibitions the see to

the past and future, and with these takes to itself all works that are are that works all itself to takes these with and future, and past the open all year round in 2016. This is so you can glimpse behind the scenes scenes the behind glimpse can you so is This 2016. in round year all open

Nothing is the greatest. This dwells in time, and stretches its limbs into into limbs its stretches and time, in dwells This greatest. the is Nothing Instead of closing when artwork is being installed, the galleries will be be will galleries the installed, being is artwork when closing of Instead

“Among the great things which are found among us, the existence of of existence the us, among found are which things great the “Among Because it’s a special year, we decided to try something a little different. different. little a something try to decided we year, special a it’s Because

existence: existence:

art, performance and experimental visual culture at Modern Art Oxford. Art Modern at culture visual experimental and performance art, Oxford in 1991, he quoted Leonardo da Vinci on the subject of time and and time of subject the on Vinci da Leonardo quoted he 1991, in Oxford

Welcome to KALEIDOSCOPE, a celebration of 50 years of contemporary contemporary of years 50 of celebration a KALEIDOSCOPE, to Welcome Latham’s voice gives this exhibition its title. When he was at Modern Art Art Modern at was he When title. its exhibition this gives voice Latham’s