Hepworth Prize for Sculpture 2018 Bristles with Lovers’ Locks, Glass Flutes and a World Aflame – 海普沃斯雕塑奖2018与情人锁、Glass Flutes和世界燃烧的鬃毛

Custom incident tape? Check. Tongue-like concrete casts? Check. Rebar? Padlocks? Pennies? Peep-holes? Smushed books printed with Neanderthal nonsense language? Security tags? All present and correct. Yep: it’s Michael Dean, doing his thing at Hepworth Wakefield as one of the five nominees for this year’s Hepworth Prize for Sculpture. Dean’s work tends to fare best when he has a whole space to himself, as here, in which to create a little Dean-world with Of or for LOL (2018). This one finds him in amorous apologetic mode – the incident tape circling this room reads ‘sorry,’ stickers overlapping one another like urban debris spurt a mangled stream of ‘I love you’s. Twinned rebar hearts bristle with lovers’s locks.

Now in its second edition, the biennial Hepworth Prize, like the museum that houses it – The Hepworth Wakefield in West Yorkshire – is named in honour of Barbara Hepworth. Awarded to a British or UK-based sculptor at any stage of their career judged to have made ‘a significant contribution to the development of contemporary sculpture’ the Prize has the intrinsic peculiarity of pitting old guard against young guns: the last edition was won by Helen Marten (born 1985), out of selection pool that included Phyllida Barlow (born 1944). This edition pits the eminent Mona Hatoum (born 1952) against artists as young as Magali Reus (born 1981).  

‘The Hepworth Prize for Sculpture’, Hepworth Wakefield, 2018, installation view. Courtesy: Hepworth Wakefield; photograph: David Lindsay

Hepworth Prize for Sculpture 2018 Bristles with Lovers’ Locks, Glass Flutes and a World Aflame - 海普沃斯雕塑奖2018与情人锁、Glass Flutes和世界燃烧的鬃毛

Michael Dean, Of or for LOL, 2018, installation view ‘The Hepworth Prize for Sculpture’, 2018, Hepworth Wakefield. Courtesy: Hepworth Wakefield; photograph: David Lindsay

Rebar and concrete also crop up in London-based, Palestinian artist Hatoum’s elegant but deadly quartet of works, which together suggest a world aflame in conflict over depleting natural resources. The rebar holds together Orbital (2018), a globe strung with rubble evoking both the debris of conflict and the hurried reinforced concrete barricades erected in conflict zones. Alongside it, another sphere – the glowing red world map of Hot Spot (Stand) (2018) – and an oily circular ‘pool’ of marbles Turbulence (Black) (2018). An old surgical cabinet holds pretty Murano glass forms that on closer inspection turn out to be grenades.

In the adjacent gallery London-based, Kuala Lumpur-born Phillip Lai, who has been a lecturer at Goldsmiths since 2001, presents three bodies of work playing with ideas of mass-production, creativity and value. Stacks of brightly coloured polyurethane bowls interleaved with foam rubber sheeting and smeared with cement might be teetering building site debris, but were all hand moulded and poured. Guest loves host in a way like no other (2016) is an immaculate long brushed steel countertop with glossy indentations and two large vessels resembling outsized Turkish coffee pots: the formal language is of high end mass catering – perhaps we’re in the kitchen of a fancy hotel? – but the forms are mysteriously functionless. On the floor a pile of garment fabric (or perhaps actual garments) is sandwiched under a panel with a round aperture like a giant tissue dispenser: again the language is functional, but the function itself opaque.

‘The Hepworth Prize for Sculpture’, Hepworth Wakefield, 2018, installation view. Courtesy: Hepworth Wakefield; photograph: Stuart Whipps

Hepworth Prize for Sculpture 2018 Bristles with Lovers’ Locks, Glass Flutes and a World Aflame - 海普沃斯雕塑奖2018与情人锁、Glass Flutes和世界燃烧的鬃毛

Phillip Lai, not titled, 2018, installation view, ‘The Hepworth Prize for Sculpture’, 2018, Hepworth Wakefield. Courtesy: Hepworth Wakefield; photograph: Stuart Whipps

Magali Reus likewise plays with the language of machines and mass-production, with two bodies of works: ‘Sentinel’ borrowing materials and forms from fire fighting apparatus, and ‘Dearest’ from ladders and clinical fixtures. Materials including powder-coated metal and fibreglass, are given a utilitarian, industrial aspect through the choice of a deadening colour palette: ivory, beige, airforce blue. The ‘Dearest’ sculptures are also dandies of a kind – each doffs an outsized fibreglass hat, and makes an offer, whether of wine, petrol, or other odder objects. Reus’s production has a kind of otherworldly cleanness to it that suggests the absence of any kind of human intervention, yet everything is meticulously conceived, from the custom-woven fire-hoses, to the little ‘matchboxes’ offering to light a fire for them to extinguish.

After all this suggestion of violence, and overtones of industrial production and waste materials, Cerith Wyn Evans’s Compositions for 37 flutes (in two parts) (2018) is a refreshing piece of ethereal fantasy. Two suspended organ pumps breath in the surrounding air like translucent life forms (or perhaps medical paraphernalia) then exhale through glass flutes arranged in two starbursts. Drawing in references including the Aeolian harp – an instrument played by the wind – and Proust’s description of jets of water passing though a fountain, the work has a mournful, creature presence, emitting a noise more like a moan than music.

‘The Hepworth Prize for Sculpture’, Hepworth Wakefield, 2018, installation view. Courtesy: Hepworth Wakefield; photograph: Stuart Whipps

Hepworth Prize for Sculpture 2018 Bristles with Lovers’ Locks, Glass Flutes and a World Aflame - 海普沃斯雕塑奖2018与情人锁、Glass Flutes和世界燃烧的鬃毛

Cerith Wyn Evans, Composition for 37 Flutes (in two parts), 2018, installation view, ‘The Hepworth Prize for Sculpture’, 2018, Hepworth Wakefield. Courtesy: Hepworth Wakefield; photograph: Stuart Whipps

Although all feature new commissions, the displays here feel like familiar territory for the artists in question: a testament in itself to the entirely distinct and individual sculptural languages that each has developed. It’s a strong selection: I don’t envy the jury.

‘The Hepworth Prize for Sculpture’ runs at the Hepworth Wakefield until 20 January 2019. The winner will be announced on 15 November 2018.

Mona Hatoum, Hot Spot (stand), 2018, ‘The Hepworth Prize for Sculpture’, Hepworth Wakefield, 2018, installation view. Courtesy: Hepworth Wakefield; photograph: David Lindsay

Hettie Judah

Hettie Judah is a writer based in London.

Opinion /

Hepworth Prize
The Hepworth Wakefield
Sculpture
Hettie Judah
Opinion
Michael Dean
Mona Hatoum
Phillip Lai
Magali Reus
Cerith Wyn Evans


自定义事件磁带?检查。舌状混凝土铸件?检查。钢筋?挂锁?便士?窥视孔?印有尼安德特人胡言乱语的书?安全标签?所有的都是正确的。是的,是迈克尔·迪恩,在赫普沃斯威克菲尔德,作为今年赫普沃斯雕塑奖的五位提名者之一。迪恩的作品往往表现最好的时候,他有一个完整的空间,在这里,创造一个小迪恩的世界与或为LOL(2018)。这一个发现他处于多情的道歉模式——环绕这个房间的事件录影带上写着“对不起”,贴纸互相重叠,就像城市废墟喷涌出一股破碎的“我爱你”的溪流。两颗钢筋心被情人的锁毛发竖起。现在,在其第二版,两年一度的赫普沃斯奖,像博物馆-赫普沃斯威克菲尔德在西约克郡-命名,以纪念芭芭拉赫普沃斯。被授予英国或英国的雕塑家在他们职业生涯的任何阶段被认为对当代雕塑的发展作出了重大贡献的奖,该奖具有防止老兵伤及年轻枪支的本质特征:最后一版由海伦·马登(出生19岁)获得。85),包括Phyllida Barlow(出生1944)的选择池之外。本版将著名的蒙娜·哈托姆(生于1952年)与像马加里·雷乌斯(生于1981年)这样年轻的艺术家作对。“赫普沃斯雕塑奖”,赫普沃斯威克菲尔德,2018年,装置图。礼貌:Hepworth Wakefield;照片:David Lindsay Hepworth Prize for Sculpture 2018 Bristles with Lovers’ Locks, Glass Flutes and a World Aflame - 海普沃斯雕塑奖2018与情人锁、Glass Flutes和世界燃烧的鬃毛 Michael Dean,Office或for LOL,2018,安装图“Hepworth雕塑奖”,2018,Hepworth Wakefield。礼貌:赫普沃斯·威克菲尔德;照片:大卫·林赛·雷巴和混凝土也在位于伦敦的巴勒斯坦艺术家哈托姆的优雅而致命的四重奏作品中涌现,这些作品共同暗示了一个因自然资源枯竭而爆发冲突的世界。钢筋支撑着轨道(2018),一个由碎石串成的球体,引发冲突的碎片和在冲突地区建立的钢筋混凝土快速路障。除此之外,还有另一个球体——发光的红色世界热点地图(站)(2018)和大理石湍流(黑色)的油质圆形“池”(2018)。一个旧的手术柜里保存着漂亮的穆拉诺玻璃,在仔细检查后发现它是手榴弹。在毗邻的位于伦敦的画廊里,吉隆坡出生的菲利普·赖(Phillip Lai)自2001年以来一直是戈德史密斯学院的讲师,他展示了三个工作机构,这些工作机构在玩弄大规模生产、创造力和价值的想法。色彩鲜艳的聚氨酯碗堆叠着泡沫橡胶薄片,涂上水泥,可能会破坏建筑工地的残骸,但都是手工成型和浇灌的。2016年,客人喜欢主人,那是个无暇的长刷钢制台面,有光泽的凹痕,还有两个大容器,类似土耳其的大型咖啡壶:正式语言是高端大众餐饮——也许我们是在一家豪华酒店的厨房里?但是这些形式神秘地没有功能。在地板上,一摞衣服织物(或许是真正的衣服)被夹在一块圆孔板下面,就像一个巨大的纸巾分配器:语言同样是功能性的,但是功能本身是不透明的。“希普沃思雕塑奖”,Hepworth Wakefield,2018,安装视图。礼貌:Hep.Wakefield;照片:Stuart Whipps Hepworth Prize for Sculpture 2018 Bristles with Lovers’ Locks, Glass Flutes and a World Aflame - 海普沃斯雕塑奖2018与情人锁、Glass Flutes和世界燃烧的鬃毛 Phillip Lai,未题名,2018,安装图,“Hep.Prize for Sculpture”,2018,Hep.Wakefield。礼貌:赫普沃斯·威克菲尔德;照片:斯图尔特·惠普斯·马加里·雷乌斯同样会玩机器语言和大规模生产,作品分为两部分:《哨兵》借用消防器材的材料和形式;《最亲爱的》借用梯子和临床音响。XISTION。包括粉末涂层金属和玻璃纤维在内的材料,通过选择消音调色板:象牙、米色、空军蓝,具有实用性、工业性。“最亲爱的”雕塑也是一种花花公子——每件雕塑都脱下特大的玻璃纤维帽子,然后出价,不管是葡萄酒、汽油还是其他奇怪的东西。雷乌斯的作品有一种超凡脱俗的清洁,暗示着没有人类干预,然而一切都经过精心构思,从定做的消防水龙头,到小小的“火柴盒”,为它们点燃灭火用的火柴。在所有这些关于暴力、工业生产和废料的暗示之后,瑟瑞斯·韦恩·埃文斯(Cerith Wyn Evans)的《37支长笛的作品》(两部分)(2018)是一部令人耳目一新的虚幻作品。两个悬挂的器官泵像半透明的生命形式(或者医疗器械)一样在周围的空气中呼吸,然后通过排列成两个星暴的玻璃槽呼气。参照风琴——一种由风吹奏的乐器——和普鲁斯特对流经喷泉的水流的描述,作品具有悲哀的、生物的存在,发出比音乐更像呻吟的噪音。“希普沃思雕塑奖”,Hepworth Wakefield,2018,安装视图。礼貌:Hep.Wakefield;照片:Stuart Whipps Hepworth Prize for Sculpture 2018 Bristles with Lovers’ Locks, Glass Flutes and a World Aflame - 海普沃斯雕塑奖2018与情人锁、Glass Flutes和世界燃烧的鬃毛 Cerith Wyn Evans,37支长笛的作品(分两部分),2018,安装图,“Hepworth雕塑奖”,2018,Hep.Wakefield。礼貌:赫普沃斯·威克菲尔德;照片:斯图尔特·惠普斯——尽管所有的展品都以新的佣金为特色,但这里的展品对艺术家来说就像是熟悉的领域:它们本身就是对各自发展起来的完全不同且独立的雕塑语言的见证。这是一个强有力的选择:我不羡慕陪审团。“希普沃思雕塑奖”在2019年1月20日的HepVaWekfield上运行。获胜者将于2018年11月15日公布。Mona Hatoum,热点(林分),2018,''Hepps'雕塑奖,Hepworth Wakefield,2018,安装视图。礼貌:Hep.Wakefield;照片:David Lindsay Hettie Judah Hettie Judah是驻伦敦的作家。赫普沃思威克菲尔德雕塑


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