Maria Loboda Iman Issa Hardeep Pandhal Darcy Lange Kerry James Marshall Marcel Broodthaers (b.1979, Krakow, Poland) (b.1979, Cairo, Egypt) (b.1985, Birmingham, UK) (b.1946, Urenui, New Zealand, (b.1955, Birmingham, USA) (b.1924, , , d.1976, d. 2005, Auckland, New Zealand) Cologne, Germany) 1. To separate the sacred from the 2. Heritage Studies #10, 2015 5. Career Suicide, 2016 7. At the End of the Wee Hours, 1984 profane, 2016 Copper, aluminium, vinyl text, Mixed-media installation, 6.Studies of Four Oxfordshire Cut-paper , 25.4 x 20.3 cm 10. ABC-ABC Images, 1974 (2016) Birch faced plywood, polystyrene, 55 x 235 x 55 cm Double projection from two carousel dimensions variable Schools, 1977 8. At the End of the Wee Hours, 1985 reed, galvanised steel, paracord, wire, Five video works on monitors slide projectors with a tray of 80 slides 3. Heritage Studies #13, 2015 Pandhal makes videos, , Cut-paper collage, 20.3 x 15 cm scaffolding tube, each and timer, variable dimensions, Silicone, bronze, painted wood, vinyl drawings and installations which Lange was a filmmaker who looked at 488 x 488 x 50cm 9. At the End of the Wee Hours, 1986 text, 160 x 70 x 60 cm examine the perpetuation of cultural social systems in action, often focusing 11. Casserole and Closed Mussels,1964 Loboda’s artistic practice examines Cut-paper collage, 25.4 x 20.3 cm 4. Heritage Studies #14, 2015 stereotypes across history. Sifting on people at work, for instance in mines Mussel Shells, pigment, polyester resin, the meanings of folkloric signs and through museum pamphlets, or on farms. For his 1977 exhibition Brass rods with plate, vinyl text, Marshall’s works present narratives iron casserole with wooden handles, symbols. The large circular structure anthropological studies, Victorian at Modern Oxford, Lange videoed 200 x 40 x 1.5 cm and histories of the African diaspora in 30.5 x 27.9 x 24.8 cm created at Modern Art Oxford extends newspapers, political advertising and multiple school lessons at public and the visual language of Western history 12. Mademoiselle Rivière and her enquiry into the ways in which Much of Issa’s work is concerned propaganda, Pandhal’s work explores private schools in Oxfordshire. The painting and modernism. Through different cultures endow objects with monuments and the process of the ways in which British-Asian identity lessons were then shown back to the this subversion of tradition, Marshall Monsieur Bertin, 1975 Nine photographs, black and white, on with mystical significance. The straw, memorialisation. This interest manifests is constructed (and deconstructed) teachers and pupils, with both lessons attempts to cast light on forgotten paper, on hardboard, 101 x 90.5 cm bamboo and steel structure is designed in abstract sculptures, which examine through caricature and other forms of and this footage of the participants’ histories, reminding audiences that to resemble a chinowa, a sacred the relationships between object, symbolic representation. When asked reactions ultimately exhibited together. what we encounter in museums is not Broodthaers’ work is characterised threshold in the Shinto religion in text and the conventions of museum whether he sees himself as a satirist, The tapes invite reflection on how always the full story. Explaining the by a playful humour, which was Japan, which purifies the space around display. Issa has emphasised the Pandhal responded, “Part of me says educational environments greatly genesis of this early collage series, he often directed at public institutions it. The both endorses the alchemical potential of art, saying in no because I'm not trying to make shape the ways in which information revealed: “… the poem Notebook of that display and disseminate art. hallowed space of the gallery and an interview: “In art you can show people laugh, but a part of me says yes, is communicated and received. Lange a Return to my Native Land by Aimé In his ‘Interview with a Cat’ (1970, acknowledges its often-misplaced aura someone a chair and say it’s a table, because the idea of the work… is to put described how the school studies were Césaire (1947) showed me how politics Düsseldorf), the artist mocked the of spirituality. She described her desire and they might believe you. The magic viewers in a position of self-reflection, intended “to illustrate the mental and poetics could be interwoven often ponderous nature of numerous “to give those worn-out systems their is in the possibility that the chair is which is what satire does.” effects of education” [and] “our social to magical effect. I made a series of conversations on art: power back, sort of an eternal danger, both unique to itself and that it can structure, its resulting problems and titled after the refrain of like buried atomic waste, which is still signal a lot more besides.” inner manipulations.” Notebook […] Using analytical cubism Marcel Broodthaers: “Is that one a radiating underneath the surface of a as a model, I tried to evoke the sense of good painting? … Does it correspond complex modern world.” to what you expect from that very 12. 7. 8. 9. 6. the tropics embodied in Césaire’s poem without reducing realistic detail to recent transformation which goes from shape and texture. In this way, I could to this new version of a 14. kind of figuration, as one might say?” 11. highlight the complex pictorial space and preserve the narrative capacity of Cat: “Miaow.” Upper Gallery representational imagery.” This conversation was recorded 3. at Broodthaers’ invented, mobile 1. 2. Hans Haacke 5. museum, the Museum of Modern (b.1936, Cologne, Germany) Art, Department of Eagles, which 15. appeared as a series of installations in 13. A Breed Apart, 1978 his Brussels home and within various Seven photographs, black and white 4. exhibitions between 1968 and 1971. 16. and colour, on paper on hardboard, 15. This “political parody of art institutions 91 x 91 cm 13. [and] artistic parody of political events”, 15. 18. Haacke is known for his incisive as the artist described it, highlighted photographs, sculptures and Yoko Ono 10. the systems through which art is installations that expose the workings (b. 1933, Tokyo, Japan) 1 7. 15. valued, undermining the authority of Louise Lawler the museum as a centre of objective of institutions from major museums to 14. Painting to Exist Only When It’s (b.1947, Bronxville, USA) knowledge. corporations. Deeply political, Haacke Copied or Photographed, 1964 (2016) was a leading figure of institutional Inkjet printed pad, 250 sheets, 15. No Drones, 2016 Piper Gallery critique, in which artists questioned Middle Galleries 14.8 x 14.8 cm Printed vinyl mounted to wall, variable the inherent power structures within dominate organisations. Haacke One of a series of ‘Instruction dimensions engages audiences through the use paintings’, Ono asks the audience Lawler investigates the ways in which of stark imagery, deadpan text and (implicitly an audience of artists) to works of art are contextualised; and the public surveys, which invite us to “let people copy or photograph your impact of this framing on the audience’s reconsider our assumptions about his paintings. Destroy the originals.” This reception of those works. Considered Katja Novitskova subjects. In his series A Breed Apart, invitation questions our assumptions one of the so-called ‘Pictures (b.1984, Tallin, Estonia) described how her interest stemmed commissioned by Modern Art Oxford, about the cultural and monetary values Generation’, her work came to the fore from “how this new media actively Please ask our Visitor Assistants if you Haacke made visible the uncomfortable placed on unique works of art such as in the 1980s when artists questioned 16. Approximation Mars I, 2014/2016 redefines the world and culture, and have any questions. realities of the leading local employer, paintings, by suggesting a radical act the proliferation of images through the Digital print on aluminium, cutout everything.” In her sculptures and Oxfordshire-based car company of their total destruction, to be replaced mass media. Lawler has recently turned display, gravel, stones, 140 x 240 cm installations, Novitskova appropriates This exhibition guide is available in British Leyland, a known supplier of with copyright-free total image her attention to her own work and the pictures found online and repurposes a large print format. Please ask at the 1 7. military vehicles to the South African circulation. The work emphasises the ways in which it can be represented Approximation V, 2012 / 2016 them as freestanding objects. Sheet- Information Desk located in the Café. Digital print on aluminium, cutout Apartheid government, commenting: subversive spirit of the witty Fluxus and reframed. This series revisits her thin, these works project the flatness of “I believe it is necessary for the public, artists with which Ono was associated most recognisable photographs and display, 120 x 140 cm digital images into three-dimensional Modern Art Oxford is grateful to the many individuals, companies for the voters, to become aware of in New York. As Ono explained in their contexts, by transforming them 18. Approximation I, 2012 / 2016 space. Co-opting the aesthetics of these interdependencies and come up 1966: “Instruction painting makes it into temporary vinyl installations. corporate advertising, the artist and organisations that have helped Digital print on aluminium, cutout to realise this exhibition and the with, hopefully, an alternative to it. I possible to explore the invisible, the Explaining the guiding principle of her display, 195 x 113 cm explores how the format of the image, would like the visitors to have, more or world beyond the concept of time and work, Lawler observed: “I think there is be it online stock photography or KALEIDOSCOPE programme. less, all the information they need in space. And then, sometimes later, the a lot of distortion involved in how art Novitskova’s work reflects on the marketing signs and banners, defines order to make sense of what they are instructions themselves will disappear exists in the world. So I’m distorting it impact of digital imagery on our the audience’s perception of its exposed to.” and be properly forgotten.” myself.” understanding of reality. The artist meaning. KALEIDOSCOPE

THE VANISHED REALITY 12 November - 31 December

MODERN ART OXFORD THE VANISHED REALITY: EXHIBITION NOTES REALITY: THE VANISHED

commissions by Loboda and Hardeep Pandhal. Hardeep and Loboda by commissions

the 1960s and 70s, to recent works by Louise Lawler, and contemporary contemporary and Lawler, Louise by works recent to 70s, and 1960s the

conceptual art of Broodthaers, Darcy Lange and Hans Haacke produced in in produced Haacke Hans and Lange Darcy Broodthaers, of art conceptual

you can encounter works by artists from different generations: from the the from generations: different from artists by works encounter can you

the gallery and equates it to a sacred or religious space. From here, here, From space. religious or sacred a to it equates and gallery the

With this gesture, Loboda pokes fun at the hallowed environment of of environment hallowed the at fun pokes Loboda gesture, this With

Japan, this structure marks a space that is charged with significance. significance. with charged is that space a marks structure this Japan,

Maria Loboda. Inspired by the the by Inspired Loboda. Maria found at Shinto shrines in in shrines Shinto at found chinowa

In the Upper Gallery, you may enter through a circular sculpture by by sculpture circular a through enter may you Gallery, Upper the In

subjected to scrutiny by the artists included in in included artists the by scrutiny to subjected . Reality Vanished The

which we perceive it. These overlooked framing devices are retrieved and and retrieved are devices framing overlooked These it. perceive we which

we encounter a work of art can often impact significantly on the way in in way the on significantly impact often can art of work a encounter we

conditions in which it is produced and presented. The context in which which in context The presented. and produced is it which in conditions

how the meaning of art is shaped by the political, economic and social social and economic political, the by shaped is art of meaning the how

The Vanished Reality Vanished The in artists The adopt different strategies to explore explore to strategies different adopt

The Vanished Reality Vanished The

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

performances, talks and events taking place throughout the year. It aims aims It year. the throughout place taking events and talks performances, your memories of the gallery with us online: us with gallery the of memories your

some of the many highlights in our history, captured in the exhibitions, exhibitions, the in captured history, our in highlights many the of some you are also part of Modern Art Oxford’s history. We hope you’ll share share you’ll hope We history. Oxford’s Art Modern of part also are you

be a definitive historical account by any means. It offers a snapshot of of snapshot a offers It means. any by account historical definitive a be at an artwork from the 1960s or watching a new performance, being here here being performance, new a watching or 1960s the from artwork an at

the gallery was founded 50 years ago. KALEIDOSCOPE does not aim to to aim not does KALEIDOSCOPE ago. years 50 founded was gallery the your understanding of contemporary art and life. Whether you’re looking looking you’re Whether life. and art contemporary of understanding your

Over 700 exhibitions have been presented at Modern Art Oxford since since Oxford Art Modern at presented been have exhibitions 700 Over our unique experiences as what we see in front of us. Our interest is in in is interest Our us. of front in see we what as experiences unique our

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

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

find engaging, reflexive shows that touch on one of our most enduring enduring most our of one on touch that shows reflexive engaging, find

time. The past and the present are combined in what we hope you will will you hope we what in combined are present the and past The time. highly subjective ways in which art accrues meaning and value. value. and meaning accrues art which in ways subjective highly

the world appear alongside works by artists showing here for the first first the for here showing artists by works alongside appear world the systems through which art is classified and distributed, illustrating the the illustrating distributed, and classified is art which through systems

roster of new commissions. Artworks returning to the gallery from across across from gallery the to returning Artworks commissions. new of roster , Department of Eagles of Department Art, Modern of Museum served to deconstruct the the deconstruct to served

past exhibitions at Modern Art Oxford sharing space with an exciting exciting an with space sharing Oxford Art Modern at exhibitions past of which began to feature throughout his home and exhibitions. This exhibitions. and home his throughout feature to began which of

open all year round in 2016. In KALEIDOSCOPE you’ll see works from from works see you’ll KALEIDOSCOPE In 2016. in round year all open own practice, when in 1968 Broodthaers invented a museum, fragments fragments museum, a invented Broodthaers 1968 in when practice, own

Instead of closing when artwork is being installed, the galleries will be be will galleries the installed, being is artwork when closing of Instead paintings. This wish to contextualise works of art was soon reflected in his his in reflected soon was art of works contextualise to wish This paintings.

Because it’s a special year, we have tried something a little different. different. little a something tried have we year, special a it’s Because surrounding – and contributing to the meaning of – Magritte’s surrealist surrealist Magritte’s – of meaning the to contributing and – surrounding

Broodthaers described his desire to reinstate “the vanished reality” reality” vanished “the reinstate to desire his described Broodthaers

art, performance and experimental visual culture at Modern Art Oxford. Oxford. Art Modern at culture visual experimental and performance art, between Belgian artists Marcel Broodthaers and René Magritte, in which which in Magritte, René and Broodthaers Marcel artists Belgian between

Welcome to KALEIDOSCOPE, a celebration of 50 years of contemporary contemporary of years 50 of celebration a KALEIDOSCOPE, to Welcome The title of this exhibition comes from a fictional 1967 interview interview 1967 fictional a from comes exhibition this of title The