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Highlights from six years of annual collaborations withÌýSlade artists.

The 2015 Slade Collaboration exhibition, RE-LAUNCH, marked the reopening of ¹û¶³Ó°Ôºâ€™s Art Museum’s main space after a programme of improvements, supported by a DCMS/Wolfson award for the improvement of museums and galleries,Ìýand HLF funding.ÌýÌýThe exhibition presentedÌýa selection of objects, prints and video, including site specific artworks,Ìýmade in response to our collections and the theme of re-launch.ÌýThese works were shown within the surrounds of the ¹û¶³Ó°Ôº ArtÌýMuseum's permanent collection of prints and drawings, including plaster models by the renowned neoclassicist John Flaxman.

The featured artists included:

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°Õ³ó±ðÌýÌýIncludes an introductory text by Dr Nina Pearlman, Head of ¹û¶³Ó°Ôº Art Collections and a conversation between Dr Andrea Fredericksen, Curator ¹û¶³Ó°Ôº Art Collections, with Professor Susan Collins, former Director of the Slade about the collaboration.

For more information about the exhibition please visitÌýour that includes a conversation on the occasion of the 2015 relaunch betweenÌýHelen R Cobby (¹û¶³Ó°Ôº History of Art Alumna 2015)Ìýand the two artists who supported the project, and .

In collaboration with the , an accompanying symposium, Collecting the Emerging (2015), brought together 15 researchers, artists and curators to examine issues around collecting new and experimental art.Ìý

This is part of ¹û¶³Ó°Ôº Art Collections’ commitment to interdisciplinary research-impact collaborations. For more information or expressions of interest to collaborate contactÌýmuseums@ucl.ac.uk

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More about the exhibition

Amongst the works in the show visitors found literal references to the notion ofÌýre-launch such as Katja Larrson’s cast digger bucket representing the idea of construction and development. Ian Giles’ Leap of Faith wasÌýa revisited video work that expands upon Yoshikuni’s Bat and a Full Moon, a Japanese woodcut of a vertical-flying bat placed by the artist up near the ceiling. Kate Keara Pelen presents a set of ‘ritual objects’ referencing 16th-century prints by Hans Sebald Beham and Lucas Cranach the Elder, creating 3D objects in felt that broughtÌýthe prints off the paper into a sculptural reality. Jonathan Kipps’ full-size column, made from re-appropriated building materials and methods of construction, interruptedÌýthe ordered neoclassical system used by the original architect William Wilkins.

While the works by the participating artists were visually and spatially accessible, over 8,000 works of art remain co-present. With a world-class collection of prints and drawings by past masters ensconced on-site in cabinets and boxes and plaster models by the neoclassicist John Flaxman on open display, visitors were reminded of the art collections’ Victorian origins. At ¹û¶³Ó°Ôº Art Museum that which is visible is in constant dialogue with the hidden and vice versa, bringing to the fore the tensions between access to art and the regulation of its visibility. A limited edition printed catalogue was available alongside the exhibition.
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