Abstraction and Disruption: The White Review Panel Discussion

London - 19 Nov 2019

Our latest event in collaboration with The White Review took place on 19 November 2019 alongside Mark Bradford’s exhibition, ‘Cerberus’, at Hauser & Wirth London. This discussion brings together a panel of writers and critics who explore the potential for abstraction to disrupt and create new forms of expression, across visual and literary work.

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‘We Do, We Undo, We Redo’: A Performance Event

‘We Do, We Undo, We Redo’ was a one-off performance at Hauser & Wirth Somerset in 2019 that responded to the exhibition ‘Unconscious Landscape. Works from the Ursula Hauser Collection’. The experimental play was developed over the course of two weeks during the Bristol Old Vic Youth Theatre Summer School by a group of young people aged 11 - 16 years old. Led by director and choreographer Maisie Newman, the students explored themes of identity, gender and the work of Louise Bourgeois resulting in a unique showcase that incorporated colourful costumes, props, spoken word, music and dance. Since opening in 2015, Hauser & Wirth Somerset has run the annual theatre summer school in partnership with Bristol Old Vic Theatre, as part of the education programme.

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Art Across Disciplines: The White Review Panel Discussion

London - 28 May 2019

Hauser & Wirth Publishers was delighted to welcome leading poets and novelists Lavinia Greenlaw and Katharine Kilalea for a discussion on 28 May 2019, taking as its cue the exhibition László Moholy-Nagy, on writing across formal disciplines, the relationship between poetry and architecture, and responding to art through writing. The discussion was moderated by Ben Eastham, associate editor at ArtReview and founding editor of The White Review.

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Exploring the Third Dimension: 2018 International Curatorial Symposium

‘Exploring the Third Dimension’ was a one-day symposium that examined curatorial practice in relation to sculpture through the experiences of international curators working at the top of their field. The day explored different models of display, with reference to cultural activism, education, and engagement with three-dimensional artworks, and invited questions such as how might we think differently about sculpture as an art historical category in its own right.

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