John Hansard Gallery
John Hansard Gallery
University of Southampton
023 8059 2158
023 8059 4192
The John Hansard Gallery, based at the University of Southampton’s Highfield campus, is one of Britain’s leading public galleries of contemporary visual art. Proud of its academic situation, the Gallery plays a key role in the cultural life of the campus and the city, drawing a wide local, national and international audience to its esteemed programme of exhibitions and events. The Gallery’s highly regarded programme by British and international artists regularly tours throughout the UK and overseas. We are listed in the Good Gallery Guide. The Gallery has strong links with the local community providing extensive education programmes.
Tue-Fri 1100-1700, Sat 1100-1600
Tom Dale: Terminal Blue
- 9 December 2014 — 7 February 2015 *on now
Over recent years Tom Dale has produced a body of work for both galleries and public spaces, bringing to both the same dexterity and questioning vision.
Terminal Blue - the title work of the exhibition - forms the first part of the show, uniting art specifics, as much of Dale’s work does, such as questions of scale and definition, with more phenomenological ones. The piece is partially participatory, consisting of a banner being flown across the sky by plane in the form of a giant-sized colour swatch that details the shift from dark blue to light blue. Seen across the skyline at a specific time, details and a copy of the colour swatch, including the commercial paints names of the colours, will be printed in the local press giving people in the city the opportunity to make a comparison with the swatch and sky that day.
Another work is Infinity Wall, an apparatus that enables the gallery space to continually record, produce and destroy its own memory in real time. The printed images, which will emerge from one of the gallery walls, only to be shredded minutes later, will accumulate in the space over the duration of the exhibition leaving the detritus of its own memory to mingle with the other works in the show.
Uriel Orlow: Unmade Film
- 3 March — 25 April 2015
Unmade Film is an ambitious body of work by Uriel Orlow shown for the first time in its entirety in the UK. The work takes the form of an impossible film, fragmented into its constituent parts. An expansive collection of audio-visual works that point to the structure of a film but never fully become one, Unmade Film takes as its starting point the emblematic yet wholly invisible Palestinian village of Deir Yassin, formerly on the outskirts of Jerusalem. The multi-part work evolved out of long-term research and collaborations with actors, musicians, pupils and psychologists in East Jerusalem and Ramallah.
In April 1948, a month before the planned partition of Palestine, Deir Yassin was attacked by two Zionist paramilitary groups and over 100 villagers were brutally killed. The massacre of Deir Yassin is considered to be one of the pivotal events that led to the exodus of hundreds of thousands of Palestinians from other towns and villages. In 1951 a mental hospital, Kfar Sha’ul, was established on the grounds of Deir Yassin, incorporating the buildings that remained intact after the massacre. Initially treating Holocaust survivors, the psychiatric clinic is today also known for treating and researching the so-called ‘Jerusalem Syndrome’.
Orlow first got to know the mental hospital Kfar Sha’ul as a child on trips from Switzerland, when he visited a great aunt who was treated there. She had survived Auschwitz and was sent to Palestine after the war, where she eventually suffered a breakdown and was hospitalized at the clinic for thirty years, until her death.
In Unmade Film, Orlow probes the entangled history and spatial layering of the Holocaust and the Nakba and addresses conflicting narratives without comparing them. Working across sound, drawing, video, text and photography and referencing Robert Smithson and Pier Paolo Pasolini amongst others, Orlow takes the viewer on a journey through the medium of film and produces a fragmented narrative of space and time that questions the circumstances of obliterated geo-histories and their continued impact in the present. Unmade Film exposes itself to absence and impossible representation, producing unsettled new meanings in complicity with the viewers of the work.