July 12, 2017 § Leave a comment
4.543 BILLION. The matter of matter
29.06.2017 -> 07.01.2018
As part of the cultural season Paysages Bordeaux 2017.
What is at stake when art and museums take on greater temporal and material awareness? How might they move beyond a spatial framework of “think globally, act locally”, to “think historically, act geologically”?
With contributions from more than 30 artists, 4.543 billion. The matter of matter is an exhibition that addresses works of art, collections and cultural histories in relation to ecological processes and a geological scale of time. It presents a continuum of materials and temporal landscapes – films, works on paper, photographs, sculptures, documents, and other meaningful things – and springs from the CAPC building’s former life as a warehouse for colonial commodities whose limestone walls were once deep in the ground and whose wooden beams were once part of a forest.
A central proposal of the exhibition is that works of art are part of geophysical history as much as art history. 4.543 billion attempts to take into account both a micro-local and a planetary perspective, and to rethink some of the histories of art as fragments of broader narratives about the Earth and how our place in it has been represented.
Curated by Latitudes
With: A.J. Aalders, Lara Almarcegui, Maria Thereza Alves, Félix Arnaudin, Amy Balkin, Alessandro Balteo-Yazbeck in collaboration with Media Farzin, Bernd and Hilla Becher, Étienne Denisse, Hubert Duprat, Giulio Ferrario, Ângela Ferreira, Anne Garde, Ambroise-Louis Garneray, Terence Gower, Rodney Graham, Ilana Halperin (also at the Université de Bordeaux’s zoology department), Marianne Heier, Christina Hemauer and Roman Keller, Lucas Ihlein and Louise Kate Anderson, Jannis Kounellis, Martín Llavaneras, Erlea Maneros Zabala, Nicholas Mangan, Fiona Marron, Alexandra Navratil, Xavier Ribas, Alfred Roll, Amie Siegel, Lucy Skaer, Alfred Smith, Rayyane Tabet, Pierre Théron, Pep Vidal, Alexander Whalley Light, Stuart Whipps (also at the Musée des Beaux-Arts) as well as documents and objects lent by the archives of the CAPC, the Archives Bordeaux Métropole, the Archives départementales de la Gironde, and the geology collection of the UFR Sciences de la Terre et de la Mer, Université de Bordeaux.
July 12, 2017 § Leave a comment
Sandstone and brick encrusted in limestone, spoken word
Off-site intervention at the zoology collection of the University of Bordeaux (by guided visit only, please see schedule below)
Ilana Halperin’s new project for 4.543 billion deals with geological intimacy and vivacity, and the uncanny fact that something as apparently inert and certain as the stone walls of the CAPC building were once marine life from a tropical ocean of the Oligocene epoch, around 32 million-years ago. This Calcaire à Astéries (asteriated limestone) characteristic of Bordeaux takes its name from the countless tiny fossil organisms of the genus asterias (a type of sea star) that can be found in the stone alongside fossil molluscs and coral.
Halperin addresses stone, not as dead matter or a mere resource, but as a story-laden substance that both surpasses and partners in humans’ view of the world. The Rock Cycle incorporates the reading of a letter, and the hosting of a number of the artist’s geological sculptures within the displays of the zoology collection of the University of Bordeaux. These ‘curios’ originated as fragments of sea-weathered brick from the Isle of Bute in western Scotland, as well as waterjet-cut sandstone, that the artist left for three months in Fontaines Pétrifiantes in Saint-Nectaire. For generations the mineral-rich waters that percolate through the rock at this site in central France have been used to create sculptures using the same process by which stalactites form, only one hundred times faster. Objects become rapidly encrusted with new layers of stone.
To see, touch, and hear the elements of Halperin’s work that are located at the CAPC, please ask the gallery attendant in this room.
Scheduled visits to Ilana Halperin’s “The Rock Cycle” (2017) at the Salle des Collections de l’Unité de Formation de Biologie, Université de Bordeaux (Talence). Limited spaces. Booking essential. Contact Léo Correa: firstname.lastname@example.org / T. (+33) 05 56 00 81 60. Rendez-vous at the entrance of the exhibition at CAPC musée.
October 19, 2pm.
November 16, 2pm.
December 14, 2pm.
January 4, 2pm.
May 22, 2017 § Leave a comment
An Exhibition of recent RSA Residency for Scotland Artists
20 May 2017 – 2 July 2017
RSA Lower Galleries, Royal Scottish Academy, The Mound, Edinburgh
Monday to Saturday 10am – 5pm, Sunday 12 – 5pm
Friday 19 May 2017, 6.30-8.30pm
Uist Corrigan | Carrie Fertig | Paul Furneaux RSA | Ilana Halperin
Anneli Holmstrom | Hannah Imlach | Stuart McAdam | Rachel McBrinn
Jock Mooney | Natasha Russell | Geneva Sills | Aeneas Wilder
April 28, 2017 § Leave a comment
Please join us to celebrate the launch of Geologic Intimacy (Yu no Hana), a new publication recording the two-year project by artist Ilana Halperin, curated by Naoko Mabon, between the Japanese island of Kyushu and Scotland.
Friday May 5, 2017. 5pm to 7pm | Publication Launch with project introduction by Naoko Mabon at 5.30pm.
Patricia Fleming Projects, Glasgow
To conclude this ambitious project, Halperin and Mabon worked with the Glasgow design studio Graphical House on a limited edition Artist Book. The soft cover publication has 16 pages of full colour images and texts in both English and Japanese language. It acts as a printed journey reflecting the diversity of the locations and cultures involved in the project. It captures the philosophical and poetic approaches within Halperin’s practice of thinking in time scales longer than the human lifespan.
Geologic Intimacy (Yu no Hana)
Softcover publication, 16 pages with texts by Ilana Halperin and Naoko Mabon.
Designed and published by Graphical House.
Printed in a limited edition of 100 copies.
Available to purchase at £12.00 (excl. P&P). Special Launch price £10.00
For more on the project, please visit:
This project is supported by: Creative Scotland; Aberdeen City Council; Peacock Visual Arts; NPO BEPPU PROJECT; The Elephant Trust; Graphical House; and Patricia Fleming Projects.
April 4, 2017 § Leave a comment
Exhibition runs: 31st March – 29th April 2017
Location: Peacock Visual Arts. 21 Castle Street. Aberdeen AB11 5BQ
Curator’s tour: 22nd April 2017, 3pm
Artist’s Talk: Saturday 1st April 2017, 3.00-4.30pm
Ilana Halperin will be in conversation with Professor Tim Ingold from the Anthropology Department of the University of Aberdeen and Peacock Visual Arts’ Director Nuno Sacramento about her exhibition.
Peacock Visual Arts are delighted to present Geologic Intimacy (Yu no Hana) by Ilana Halperin. Following the first showing of this work at Fujiya Gallery Hanayamomo in Kyushu, Japan, Geologic Intimacy (Yu no Hana) will extend to include a new series of prints commissioned by Peacock.
This project marks the first time Halperin has exhibited in Japan and Aberdeen and continues a historical narrative between Kyushu and Aberdeen which began with the 19th Century ‘Scottish Samurai’ merchant Thomas Blake Glover.
For 20 years, Ilana Halperin dreamt about Beppu. In 1995, back in the urban geology of New York City, she found a book on the street about volcanoes. A chapter on Beppu featured – with photographs of children cooking eggs on the streets, steam coming through every crack in the sidewalk, and a pool as red as blood. In New York, steam vents erupted at every corner, but these were industrial rather than natural. She imagined a correlation between her home city and Beppu, a place with steaming vents and boiling springs, where daily life was lived and informed by a direct relationship with geothermal phenomena.
In 2014, Halperin went to Beppu for the first time on a research residency with BEPPU PROJECT. Geologic Intimacy (Yu no Hana) grew out of this time. Beppu is the second most geothermally active site on earth, after Yellowstone, USA. It is a primary location for the potential of geothermal power in Japan. Over the course of a year, new geothermal sculptures slowly formed in the Kannawa hot springs of Beppu. In September 2016, Halperin returned to Beppu to take the new sculptures out of the water and install a solo exhibition at Fujiya Gallery Hanayamomo, a beautiful listed Meiji Era building. The exhibition coincided with the blossoming of the venue’s 200-year-old Mokusei tree, reflecting philosophical approaches within Halperin’s practice – thinking in time scales longer than the human lifespan.
The exhibition at Peacock Visual Arts will feature new Japanese sculptures, alongside a geothermal sculpture formed in Iceland and new works on paper commissioned by Peacock. To employ experimental processes, field work, and traditional print-based methods, Halperin is developing a new series of work with Peacock’s Master Printmaker, Michael Waight, utilising Yame Washi paper – the oldest Japanese handmade paper in Kyushu which can last 1,000 years – in combination with hot spring minerals she collected in Beppu.
To pair with the ‘field pigments’ from Japan, Halperin visited Dr Allan Lilly, Principal Soil Scientist at The James Hutton Institute in Aberdeen in January 2017, who introduced her to the National Soils Archive founded in 1934. A selection of Scottish soil was generously donated to the project, including soil sourced from Slighhouses Farm where James Hutton, the ‘Father of Modern Geology’, farmed and began to formulate radical ideas about the age of the earth and deep geologic time. The nature of materials within these new works reflects the unique processes which formed the geothermal sculptures in Beppu, continuing the narrative of exchange between places intrinsic to this project.
Halperin and Mabon are working with the Glasgow based design studio Graphical House on a limited edition Artist Book that will mark the completion of the project, acting as a printed matter response to this ambitious and culturally diverse project. For more details on the publication visit the project website :
February 20, 2017 § Leave a comment
Between poles and tides : New Acquisitions from the University of Edinburgh Art Collection
February 11 – May 6, 2017
David Batchelor, Ian Hamilton Finlay, Ilana Halperin, Jessica Harrison, Fabienne Hess, Daniel Hughes, Daisy Lafarge, Jonathan Owen, Katie Paterson, Isobel Turley, Luc Tuymans, JL Williams
Between poles and tides speaks of elemental forces, natural rhythms, destruction, social discord and displacement. Consisting of works recently acquired by the University of Edinburgh Art Collection, the exhibition brings together artists exploring subjects including cosmology, politics and Deep Time, dealing with these concerns in universal, poetic and deeply personal ways. Including works from recent graduates to acclaimed international artists, Between poles and tides showcases the critical, imaginative and pedagogic possibilities opened up by the University’s new approach to collecting.
Following the University of Edinburgh and Edinburgh College of Art merger in 2011, the Art Collection was rejuvenated. With the aim of supporting research, teaching and public engagement, works are acquired from the annual ECA Degree Show, from notable alumni and artists exhibited at Talbot Rice Gallery. As a result, the Collection has significantly expanded to become a resounding celebration of the creative community in Edinburgh.
Between poles and tides is accompanied by a diverse programme of events that pair artists with academics, mirroring the important ecology that fostered the breadth of ideas reflected by the exhibition. Unpacking the complex and ambitious concepts contained within the artworks, these unique events extend the underlying principle of the Collection: to provide present and future generations with a catalyst for their own curiosity, engagement and learning.