Oriel Mostyn

We Have The Mirrors, We Have The Plans

22 May - 03 Sep 2010

Heather and Ivan Morison. Kind, Wise and Loving, 2008 Mylar and carbon fibre.
Heather and Ivan Morison. Earthwalker (Afon Mawddach), 2007 Giclée print with silver metallic tape. Elfyn Lewis. Untitled, 2010. Reproduced courtesy of the Artist. Elfyn Lewis. Untitled, 2010 (detail). Reproduced courtesy of the Artist. Helen Sear. Beyond The View (love-in-the-mist), 2009. Reproduced courtesy of the Artist. Helen Sear. Beyond The View (spindle berry), 2010. Reproduced courtesy of the Artist

CURRENT: Does art reflect society? Is what art is today what society does tomorrow? Beware… We are the artists; we have the mirrors, we have the plans, reads a text by Craig Wood, one of twenty-five artists and artist partnerships, whose wide-ranging works form the Mostyn’s main reopening show. We Have the Mirrors, We have the Plans provides an extensive picture of contemporary art practice in Wales and expresses a broad range of current concerns.

Forming the centrepiece of the new programme, We Have The Mirrors, We Have The Plans is the first installment of a new and bold initiative to make an ongoing assessment of the very best developments in contemporary art in Wales. It opens a new chapter in the history of the gallery, providing a timely opportunity to question what the aims and ideals of an institution of contemporary art might be, making full use of the new elegant galleries.

Occupying four of Mostyn’s five galleries and with the participating artists nominated by six regional advisers, We Have the Mirrors, We have the Plans is cross-generational and includes painting, drawing, sculpture, installation, text, video and sound pieces. Celebrating the diversity of art being made in Wales, it articulates a new national aspiration for the Mostyn. That what artists do reflects society or even foreshadows what society does tomorrow is a compelling notion. Wood’s text and the exhibition’s title suggest also an ironic nod at the manifestos and utopian/dystopian visions that litter modern and contemporary art history. The catalogue essay examines the links between the artists’ thinking and a wider history of ideas.

We Have The Mirrors, We Have The Plans has been developed with the generous support of The Peter Moores Foundation and is accompanied by a publication made possible by the support of The Colwinston Charitable Trust.

Sponsors:

Cymraeg

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