new exhibitions

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May 19 - Jul 25, 2021 FINAL WEEK
Matthew Barney: Redoubt reveals a major new direction in the work of a renowned artist and film-maker.
It features a series of imposing and intricate sculptures cast from fallen trees and over 40 engravings and electroplated copper plates.
The film follows a sharp-shooter in her pursuit of wolves across the winter wilderness of Idaho’s Sawtooth Mountains. She is accompanied by two dancers moving in dialogue.
Barney appears in the film as an artist in the employ of the US Forest Service. He tracks and observes the hunter while making a series of copper etchings.
A hoop dance by an indigenous contemporary choreographer is the catalyst for the wolf hunt’s dramatic conclusion.
The film has been hailed as ‘breathtakingly beautiful’ by the New York Times.
It uses choreography to weave together the story of Diana and Actaeon, cosmology and modern American political narratives.
Barney explores the dynamic relationship between humanity and the natural world, and the role of artistic creation.
The etchings featured in the exhibition were produced on location. The large-scale sculptures are cast from the burnt remains of trees from the region.
Barney combines traditional casting methods and digital technology to create artworks of formal and material complexity that reflect on the story told in the film.

May 19 - Jul 25, 2021 FINAL WEEK
Adams' cross-disciplinary practice combines aspects of weaving, sculpture and installation whilst exploring concerns related to race, religion and sexuality.
Drawing on the material and formal iconographies of Islam, his intricate textile works also reference the socio-political histories of creole communities.
The exhibition takes the form of a single immersive environment. It consists largely of new works that have been produced for the occasion.
Each work, and the exhibition as a whole, is composed of multiple patterns. These explore the potential of woven material to reflect the multiplicities of Adams’ own identity and of broader cultural interchange.
Throughout the exhibition, Adams builds on this sense of movement and journeying. Visitors encounter pathways through the gallery created by the placement of weavings on the floor.
The pathways resemble tectonic forms, like the nature of the weave itself. They evoke ‘desire lines’, paths that pedestrians take intuitively rather than following set routes.
For Adams, desire paths are human traces in a terrain that represent both freedom and transgression. This sense of ‘desire’ comes across strongly in Adams’ practice as he seeks to liberate himself from homogenous constructs of identity.


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