Susan Philipsz at University of Leeds
Monday 31 October – Tuesday 1 November 2016
On behalf of CAVE and School of Fine Art History of Art & Cultural Studies, you are invited you to a very special series of events with the acclaimed international artist Susan Philipsz.
Scottish born Philipsz makes work that revolves around a melancholic existentialism and explorations of the human voice. She became well-known through a capella renditions of songs. For the Glasgow International Festival she developed Lowlands, after a ballad from the 16th century, which was later recreated at Tate Britain in London, where it won her the prestigious Turner Prize (2010).
Philipsz is increasingly confronting subject matters of memory, trauma, and mourning, a process which resonates strongly with our own research. In collaboration with Prof Griselda Pollock and CentreCATH, CAVE Research Centre has invited Philipsz to come and speak about her recent project for Kunsthaus Bregenz; Night and Fog. For Night and Fog, Philipsz has deconstructed Hanns Eisler’s soundtrack from the film of the same name (Alain Renais, 1955) into the individual voices of the instruments. Throughout the week the school will present a temporary audio installation in the new Project Space which will become the fulcrum for a series of conversations and demonstrations by Philipsz as well as participating staff, students and those working in cultural industries.
Monday 31 October
2-4pm, Visiting Artist’s Talk: Chemistry West, LT F, University of Leeds
4.30-7pm, In conversation and deep listening event followed by drinks reception: School of Fine Art, History of Art and Cultural Studies, University Road, University of Leeds
Tuesday 1 November
1.30pm, Screening of Night and Fog (Resnais 1955): Common Room, School of Fine Art, History of Art and Cultural Studies
4-6pm, CAVE Research Seminar – Night and Fog, Room G.04, School of Fine Art, History of Art and Cultural Studies
Image: Susan Philipsz at Eastside Projects, 2014. Courtesy of Eastside Projects, Birmingham. Photo by Stuart Whipps.