MeVu by Matthew Richardson

me v u

Artworks from Wolverhampton Art Galleryâ&#x20AC;&#x2122;s Collection and newly commissioned work by Rabab Ghazoul 9 August - 4 October 2008 9 Awst - 4 Hydref 2008 Oriel Davies Gallery Young Curators 2008

Introduction Amanda Farr, Director, Oriel Davies Gallery It is with great pleasure and pride that we present ME v U, our third Young Curators exhibition, and the first project in the Gallery’s new, three-year Young Curators Programme. Since March 2008 nine Young Curators have worked with the Gallery to select and organise this major exhibition. ME v U takes as its theme the challenging and multi-faceted issue of conflict, which the Young Curators believe to be so pertinent to our times. To explore their ideas they have selected, interpreted and displayed works from Wolverhampton Art Gallery’s Pop Art and Contemporary art collections. They have also worked with the artist, Rabab Ghazoul, whose new text-installation runs through the exhibition and this publication, giving voice to the Young Curators’ feelings and opinions. Over recent years Oriel Davies’ Young Curators has become a vital part of the Gallery’s raison d’etre. Oriel Davies first launched its Young Curators as a pilot in 2005, having gained inspiration from Shrewsbury Museum and Art Gallery’s excellent Young Curators Project. Our 2005 pilot resulted in the exhibition Spoilt Rotten, whereby the Young Curators selected works from the Arts Council Collection, Hayward Gallery, and in 2006 the group organised Surface, showing works by 26 emerging artists from Wales. These high quality exhibitions demonstrated resoundingly the creativity, energy and freshness that young people bring to exhibition curation. ME v U continues this excellence whilst adding new dimensions, such as the section in this publication created by the Young Curators and their work with Ghazoul. An essential premise for Oriel Davies’ Young Curators programme is that young people are able to work with art collections and artists of excellence and their shows are presented in the Gallery’s main spaces in equal terms to the rest of the programme. Over the months that the young people work with us, they are entrusted with great responsibilities, including making hard decisions, meeting tight deadlines, and expectations of dedication and time-commitment. Though they gain valuable experience through working so closely with a professional art gallery, they give back far more, bringing new inspiration and energy, originality, optimism and clarity of vision to their exhibitions. The Gallery’s three-year Young Curators Programme has been made possible by a major award from the Paul Hamlyn Foundation, and Oriel Davies is profoundly grateful to the Foundation for its support. Warm thanks are due to the Esmée Fairbairn Foundation and the Arts Council of Wales. The exhibition would not have been possible without the advice, patience and time investment from staff at Wolverhampton Art Gallery and in particular we would like to thank Rachel Lambert-Jones and Marguerite Nugent. Rabab Ghazoul has been hugely inspiring in her work with the Group. Thanks are due to Matthew Richardson, for his work on publication design, and Alex Boyd, for her support and expertise with the exhibition. Great gratitude is offered to Sean Edwards, who has been exemplary as Young Curators Project Coordinator. Oriel Davies offers warmest thanks to the 2008 Young Curators: Carys Corfield, Rhian Davies, Besi Jarman, Leanne Jarman, Becca Jones, Daniel Perry, Lucy Richardson, Marijka Thomas and Gemma Williams.

Rhagarweiniad Amanda Farr, Cyfarwyddydd, Oriel Davies Gallery Gyda phleser a balchder mawr rydym yn cyflwyno ME v U, ein trydedd arddangosfa Curaduron Ifainc a’r prosiect cyntaf yn Rhaglen tair blynedd newydd Curaduron Ifainc yr Oriel. Ers Mawrth 2008 mae naw o Guraduron Ifainc wedi gweithio gyda’r Oriel i ddethol a threfnu’r arddangosfa fawr hon. Thema Me v U yw gwrthdaro, y mae’r Curaduron Ifanc yn credu sydd mor amlwg yn ein cyfnod ni. I ymchwilio i’r syniadau maent wedi dethol, dehongli ac arddangos gweithiau o gasgliadau Celf Pop a Chelf Gyfoes o Oriel Gelf Wolverhampton. Maent hefyd wedi gweithio gyda’r artist Rabab Ghazoul, y mae ei osodiad testun newydd yn rhedeg drwy’r arddangosfa a’r cyhoeddiad hwn sy’n rhoi llais i deimladau a barn y Curaduron Ifainc. Dros y blynyddoedd diweddar mae Curaduron Ifainc Oriel Davies wedi dod yn rhan hanfodol o raison d’etre yr Oriel. Lansiodd Oriel Davies ei gynllun Curaduron Ifainc i ddechrau fel cynllun peilot yn 2005, ar ôl ennill ysbrydoliaeth o brosiect Curaduron Ifainc ardderchog Amgueddfa ac Oriel Gelf Amwythig. Arweiniodd ein cynllun peilot yn 2005 at yr arddangosfa Spoilt Rotten, lle bu i’r Curaduron Ifainc ddethol ^ gweithiau o gasgliad y Cyngor Celfyddydau, Oriel Hayward, ac yn 2006 trefnodd y grw p Surface, yn dangos gweithiau gan 26 o artistiaid newydd o Gymru. Dangosodd y gwaith o ansawdd uchel hwn y creadigrwydd, yr ynni a’r ffresni a gyflwyna pobl ifanc i guraduro arddangosfa. Mae ME v U, yn parhau â’r safon hon tra’n ychwanegu dimensiynau newydd fel yr adran yn y cyhoeddiad hwn a grëwyd gan y Curaduron Ifainc, a’u gwaith gyda Ghazoul. Un o hanfodion rhaglen Curaduron Ifainc Oriel Davies yw bod pobl ifanc yn gallu gweithio gyda chasgliadau celf ac artistiaid o ragoriaeth a bod eu sioeau yn cael eu cyflwyno ym mhrif fannau arddangos yr oriel mewn amodau cyfartal â gweddill y rhaglen. Dros y misoedd y mae’r bobl ifanc yn gweithio gyda ni rhoddir llawer o gyfrifoldebau iddynt gan gynnwys gwneud penderfyniadau anodd, gweithio i amserlenni tynn a disgwyliadau o ymroddiad ac ymrwymiad amser. Er eu bod yn ennill profiad gwerthfawr drwy weithio mor agos gydag oriel gelf broffesiynol, maent yn rhoi llawer mwy yn ôl, ac yn dod ag ysbrydoliaeth ac ynni newydd, gwreiddioldeb, optimistiaeth ac eglurder gweledigaeth i’w harddangosfeydd. Gwnaed Rhaglen Curaduron Ifainc tair blynedd yr Oriel yn bosibl gan wobr fawr oddi wrth Sefydliad Paul Hamlyn, ac mae Oriel Davies yn hynod o ddiolchgar i’r Sefydliad am ei chefnogaeth. Rydym yn diolch yn gynnes iawn i Sefydliad Esmée Fairbairn a Chyngor Celfyddydau Cymru. Ni fyddai’r arddangosfa wedi bod yn bosibl heb y cyngor a’r amynedd a’r amser a fuddsoddwyd gan staff yn Oriel Gelf Wolverhampton ac yn arbennig hoffem ddiolch i Rachel Lambert-Jones a Marguerite Nugent. Mae Rabab Ghazoul wedi ^ p. Diolch i Matthew Richardson am ei waith gyda bod yn ysbrydoliaeth enfawr yn ei gwaith gyda’r grw dylunio’r cyhoeddiad ac Alex Boyd am ei chefnogaeth a’i harbenigedd gyda’r arddangosfa. Rydym yn hynod o ddiolchgar i Sean Edwards sydd wedi bod yn eithriadol fel Cydlynydd Prosiect y Curaduron Ifainc. Mae Oriel Davies yn diolch yn gynnes iawn i Guraduron Ifainc 2008 sef Carys Corfield, Rhian Davies, Besi Jarman, Leanne Jarman, Becca Jones, Daniel Perry, Lucy Richardson, Marijka Thomas a Gemma Williams.

ME v U : an introduction to conflict Sean Edwards, Young Curators Project Coordinator ME v U is an exhibition about conflict. But, what is conflict and how can something so inherent in our contemporary lives be defined? My immediate thought when the Young Curators came up with this theme was how can one exhibition address such wide-ranging concerns, an exhibition for that matter, curated by young adults all under the age of 24? Although for their generation the Iraq War is a recent event, other conflicts such as the Falklands War, Vietnam and of course ‘the Troubles’ in Northern Ireland must seem vastly historical. I wondered how they would be able to take on board and curate an exhibition with works from Wolverhampton Art Gallery’s collections that leant so heavily upon historical events. For the Young Curators the answer was simple: it was never about these events existing out of their time; conflict is always here and now; they would curate an exhibition using the collection’s works representing events from the past and make them relevant to the local and the contemporary. They would focus on the individual in history, the personal. Their history and our history. The ‘Me’ and the ‘U’. From the outset it became important to the group that they made an exhibition about conflict that was never solely about war. ME v U addresses the simple fact that conflict exists in a myriad of forms in our day-to-day lives. The work they have selected is from a time period spanning 40 years, and gives a full spectrum of conflict and all its incarnations. Family arguments, terrorist activity, political struggles, revolutionary figures, personal grief, alcohol abuse, religious disagreement - are all represented in one form or another in this exhibition. During sessions at Oriel Davies and visits to other galleries the Young Curators carefully considered the relationship between themselves, the artwork and the audience. They then chose works from Wolverhampton’s collections that either directly implicate the viewer in the violence through a potential participation, such as Siobhán Hapaska’s sculpture, Sad, or show the artists themselves involved within the conflict, as can be seen in Richard Billingham’s, Untitled and in Paul O’Donnell’s photographic reflections on homelessness and poverty. The media’s portrayal of conflict at home and abroad has frequently arisen during my conversations with the Young Curators and it is no surprise that some of the artists they selected represent interactions with conflict through their work as Official War Artists or engage with a style of documentary reportage. Both John Keane’s painting featuring the foreign correspondent, Kate Adie (whom the Young Curators grew to know about) and the war-torn Afghanistan landscapes of Paul Seawright were very early selections. Paul Graham’s subtle photographs of the Northern Ireland ‘Troubles’ were discussed intensely for the debate that they would bring to the exhibition. They selected other works where the artists’ interpretations of events are less directly related to war - whether political or personal: Andy Warhol’s Jackie became a key work for the exhibition for its depiction of a moment of political relevance and mass grief - a moment of personal suffering saturated throughout the media in a time before 24 hour news coverage. A significant part of the exhibition and this catalogue is a newly-commissioned work by the Cardiff-based artist Rabab Ghazoul. Spending time with the group, Ghazoul focussed discussion on their responses to daily conflict - personal, cultural and political - and turned the mirror onto the Young Curators.

Her text-based installation that runs throughout the exhibition and this catalogue brings to the forefront the Young Curators’ personal voices. In expressing both their weaknesses and strengths in dealing with personal battles, Ghazoul’s work proves a very honest and ambitious piece, reflecting the generosity of the artist and the Curators themselves. This thoughtful exhibition and engaging catalogue represents the culmination of seven months’ of hard work. All elements towards curating an exhibition have been carried out by the Young Curators, from the selection process to the writing of press releases and interpretation, installing the artworks and designing the catalogue: part of this process has included their creation of a notebook catalogue insert documenting their experiences. Three voices echo throughout this publication - the Gallery’s, Ghazoul's and most importantly, the Young Curators’. Ultimately, it is their hard work in entwining all of these elements through a united voice and their commitment to the exhibition that has given the entire project its success. I would like to take this opportunity to thank Becca, Besi, Carys, Dan, Gemma, Leanne, Lucy, Marijka and Rhian for their fresh and exciting approach to exhibition creation that they have brought to Oriel Davies. ‘ME v U’gives us the opportunity to not only reconsider the historical situations reflected by these works but also allows us an insight into how a new generation hopes to better their society through learning from the mistakes and actions of our past.

ME v U : rhagarweiniad i wrthdaro Sean Edwards, Cydlynydd Prosiect y Curaduron Ifainc Mae ME v U yn arddangosfa am wrthdaro. Ond beth yw gwrthdaro a sut y gall rhywbeth mor gynhenid yn ein bywydau cyfoes gael ei ddiffinio? Y syniad cyntaf a ddaeth i mi pan benderfynodd y Curaduron Ifainc ar y thema hon oedd sut y gall un arddangosfa ymdrin â phryderon mor eang, arddangosfa o ran hynny sydd wedi ei churaduro gan oedolion ifainc sydd i gyd o dan 24 oed? Er bod Rhyfel Irac i’w cenhedlaeth nhw yn ddigwyddiad diweddar, gall brwydrau eraill fel Rhyfel y Falklands, Fietnam ac wrth gwrs y ‘Trafferthion’ yng Ngogledd Iwerddon ymddangos yn hynod o hanesyddol. Roeddwn yn meddwl tybed sut y byddent yn gallu creu a churaduro arddangosfa gyda gweithiau o gasgliadau Oriel Gelf Wolverhampton oedd yn pwyso mor drwm ar ddigwyddiadau hanesyddol. I’r Curaduron Ifainc roedd yr ateb yn syml: nid oedd erioed yn fater o’r digwyddiadau hyn yn bodoli allan o’u cyfnod; mae gwrthdaro bob amser yma ac yn digwydd yn awr; byddent yn curaduro arddangosfa gan ddefnyddio gwaith y casgliad yn cynrychioli digwyddiadau o’r gorffennol a’u gwneud yn berthnasol i’r lleol a’r cyfoes. Byddent yn canolbwyntio ar yr unigolyn mewn hanes, y personol. Eu hanes nhw a’n hanes ni. ‘Fi’ a ‘Thi’. O’r dechrau daeth yn bwysig i’r grw^ p eu bod yn gwneud arddangosfa am wrthdaro nad oedd yn ymwneud â rhyfel yn unig. Mae ME v U yn ymwneud â’r ffaith syml fod gwrthdaro yn bodoli mewn llawer o ffyrdd yn ein bywydau bob dydd. Mae’r gwaith y maent wedi ei ddewis yn dod o gyfnod sy’n rhychwantu 40 o

flynyddoedd, ac yn rhoi sbectrwm llawn o wrthdaro a’i holl ymgnawdoliad. Anghydfod teuluol, gweithgaredd terfysgol, ymdrechion gwleidyddol, ffigyrau chwyldroadol, galar personol, cam-ddefnyddio alcohol, anghytundeb crefyddol – maent i gyd yn cael eu cynrychioli mewn rhyw ffurf neu’i gilydd yn yr arddangosfa hon. Yn ystod sesiynau yn Oriel Davies ac ymweliadau i orielau eraill ystyriodd y Curaduron Ifainc y berthynas rhyngddynt eu hunain, y gwaith celf a’r gynulleidfa yn ofalus. Yna dewiswyd gweithiau o gasgliadau Wolverhampton sydd naill ai yn goblygu’r gwyliwr yn uniongyrchol yn y trais drwy gyfranogiad posibl, fel cerflunwaith Siobhán Hapska Sad, neu yn dangos yr artistiaid eu hunain yn ymdrin â’r gwrthdaro, fel y gellir gweld yn adlewyrchiadau ffotograffig Richard Billingham Untitled a Paul O’Donnell ar ddigartrefedd a thlodi. Mae portread y cyfryngau o wrthdaro gartref a thramor yn aml wedi codi yn ystod fy sgyrsiau gyda’r Curaduron Ifainc ac nid yw’n syndod fod rhai o’r artistiaid y maent wedi eu dewis yn cynrychioli rhyngweithio gyda gwrthdaro drwy eu gwaith fel Artistiaid Rhyfel Swyddogol neu wedi ymgysylltu ag arddull o gyflwyno adroddiadau dogfennol. Roedd peintiad John Keane yn rhoi sylw i’r gohebydd tramor Kate Adie (y daeth y Curaduron Ifainc i ddysgu amdani) a thirluniau Afghanistan a oedd wedi ei difrodi gan ryfel gan Paul Seawright yn ddetholiadau cynnar iawn. Trafodwyd ffotograffau cynnil Paul Graham o ‘Drafferthion’ Gogledd Iwerddon yn ddwys iawn oherwydd y ddadl y byddent yn ei dwyn i’r arddangosfa. Dewiswyd gweithiau eraill lle mae dehongliadau’r artistiaid o ddigwyddiadau yn ymwneud yn llai uniongyrchol â rhyfel – boed hynny’n wleidyddol neu yn bersonol: daeth Jackie gan Andy Warhol yn waith allweddol ar gyfer yr arddangosfa oherwydd y modd yr oedd yn dangos eiliad o berthnasedd gwleidyddol a galar torfol – munud o ddioddef personol a ledaenwyd drwy’r cyfryngau mewn cyfnod cyn dyfodiad newyddion 24 awr. Mae rhan sylweddol o’r arddangosfa a’r catalog hwn yn waith a gomisiynwyd yn ddiweddar gan yr artist a leolir yng Nghaerdydd, Rahab Ghazoul. Gan dreulio amser gyda’r gr?p, canolbwyntiodd Ghazoul drafodaeth ar eu hymateb i wrthdaro dyddiol, personol, diwylliannol a gwleidyddol - a throwyd y drych ar y Curaduron Ifainc. Mae ei gosodiad sy’n seiliedig ar destun sy’n rhedeg drwy’r arddangosfa a’r catalog hwn yn dod â lleisiau personol y Curaduron Ifainc i’r amlwg. Wrth fynegi eu gwendidau a’u cryfderau wrth ymdrin â brwydrau personol, mae gwaith Ghazoul yn profi i fod yn ddarn gonest ac uchelgeisiol iawn, yn adlewyrchu haelioni’r artist a’r Curaduron eu hunain. Mae’r arddangosfa feddylgar hon a’r catalog deniadol yn cynrychioli penllanw saith mis o waith caled. Mae’r holl elfennau tuag at guraduro arddangosfa wedi eu cyflawni gan y Curaduron Ifainc, o’r broses o ddethol i’r broses o ysgrifennu datganiadau i’r wasg a’u dehongli, gosod y gwaith celf a dylunio’r catalog: mae rhan o’r broses hon wedi cynnwys creu catalog o lyfr sgrap yn dogfennu eu profiadau. Mae tri llais yn atseinio drwy’r cyhoeddiad – llais yr Oriel, Ghazoul ac yn fwy pwysig y Curaduron Ifainc. Yn y pen draw, eu gwaith caled nhw i glymu’r holl elfennau hyn gyda’i gilydd drwy lais unedig a’u hymrwymiad i’r arddangosfa sydd wedi sicrhau llwyddiant y prosiect cyfan. Hoffwn fanteisio ar y cyfle hwn i ddiolch i Becca, Besi, Carys, Dan, Gemma, Leanne, Marijka, Lucy a Rhian am eu hagwedd ffres a chyffrous at greu’r arddangosfa a gyflwynwyd i Oriel Davies. Mae ME v U yn rhoi’r cyfle nid yn unig i ailystyried y sefyllfaoedd hanesyddol a adlewyrchir gan y gweithiau hyn ond hefyd yn caniatáu i ni gael golwg ar sut y mae cenhedlaeth newydd yn gobeithio gwella eu cymdeithas drwy ddysgu o’r camgymeriadau a’r gweithredu a fu yn ein gorffennol.

me v u

Artworks from Wolverhampton Art Galleryâ&#x20AC;&#x2122;s Collection

and newly commissioned work by Rabab Ghazoul

Boston Massacre Larry Rivers Screenprint, 1970 ÂŠ DACS, London/VAGA, New York 2008 Courtesy of Wolverhampton Art Gallery

Some kind of gentle way before you pile in

Untitled no.3 from the Korabra Series Gavin Jantjes Acrylic on canvas, 1985 ÂŠ 2008 Gavin Jantjes Courtesy of Wolverhampton Art Gallery

...they were arrested and theyâ&#x20AC;&#x2122;d been searched, and they found they had laptops, and headlamps,

and batteries, and strong magnets.

And where are they, where are these people?

Freedom of the Press John Keane Oil on canvas, 1991 ÂŠ 2008 John Keane Courtesy of Flowers Gallery, London / Wolverhampton Art Gallery

can you hear me?

B.A.S.H Eduardo Paolozzi Screenprint, 1971 ÂŠ Trustees of the Paolozzi Foundation, Licensed by DACS 2008 Courtesy of Wolverhampton Art Gallery

I will shout

it’s not me, it’s my violence, it’s not me, it’s my violence, it’s not me, it’s my violence, it’s not me, it’s my violence

and there’s always one person going

Untitled Richard Billingham Black and white print on aluminium, 1990 ÂŠ 2008 Richard Billingham Courtesy of Anthony Reynolds Gallery, London / Wolverhampton Art Gallery

no no no no no no STOP

so it becomes like a little whirlpool and it becomes smaller and smaller

Four Rings Paul Hill Oil on canvas, 1990-1997 ÂŠ 2008 Paul Hill Courtesy of Wolverhampton Art Gallery

my heart started beating/and I wanted to go/his heart started beating

Horizon Paul Seawright C-type print on fuji crystal paper mounted on aluminium, 2002 ÂŠ 2008 Paul Seawright Courtesy of Kerlin Gallery, Dublin / Wolverhampton Art Gallery

Just imagine if that hadnâ&#x20AC;&#x2122;t actually happened...

I know

They’d have had to have found another excuse to do it…

I think they would have done it anyway...

I don’t understand why

because we’re all pretty…

F1-11 (1-4) (continued overleaf) James Rosenquist Lithograph, 1974 ÂŠ DACS, London / VAGA, New York 2008 Courtesy of Wolverhampton Art Gallery

Punks, Greebos, Chavs, Rockers, Moshers, Emos, Rappers

and Gangstersâ&#x20AC;Ś oh, and Wapaneseâ&#x20AC;Ś

(Ken and Barbie? Theyâ&#x20AC;&#x2122;re divorced now)

Yeah, the broken one

The Meeting Tony Bevan Acrylic on canvas, 1992 ÂŠ 2008 Tony Bevan Courtesy of James Hyman Gallery, London / Wolverhampton Art Gallery

What dog are you? What weapon are you?

What’s your theme song?

No matter how much you=)&)&%==+ different opinions, tension, ways of_+%@!!!= (%^&_ A high end like in parliament=%(^^^//((until one day…))%@*(but then the other one, he comes up and punches my brother in the face +&++++) Yeah, raided and everything )^&==+%))( And you’re looking too close =_)&$!@+++ it bothers me, it’s like you don’t actually__+&^^*% It’s to do with feeling safe and secure()) _+&&= If you’re really moody then, you’ll like, argue more __+(&^== I can feel really nervous and angry and tense_*&___==++we’re studying the Rebecca Riots and a lot of it_==)&%$! cos they might have been helping them with bombs+$%^*=^^+&I guess it could be someone on the street or something…^^((*&^++ I just shy away and&%^&^*(=== Oh good god, a few? five a day?----(++=&) their wives weren’t taken as well or anything, it was just them(0++_)))))((^^**** Really petty things like what to cook or…^%££-++== It’s just scare tactics isn’t it)??)_%$//==+big argument in school today_++=&*(depends really, kind of on(&^%$you feel like you’re always in the right+==== they were saying oh no - don’t ruin the room=-(*&+==something about putting like, a spear through the heart of the English(*&__.//<<<(_*(the more horrible things you can say%^£==)*&===++)&)Separated now, THANK GOD==9&£$%It’s to do with feeling safe and secureO)*&^!!When you’re in a conflict situation-++-==7$%*(&And I wanted to go +)()(+++Some kind of gentle way before you pile in*&^)£!@Large scale as well as small…_*%$! In the end, we didn’t actually come up with=_£@)&* because, what do they expect, it’s a different country…--)+++=*(_)!!!=== They’re gonna crash anyway, what’s the point in)09)(_==+ have they been released???)%+==)) The average politician isn’t going to admit to %*^%&__//)) THE NEW SEVEN deadly sins(£^((*&--+++ and everything just went downhill then)((^%$£$%__ …*%^%=We do that in geography-(*9^^^^//but then, how willing would you be to fight over your own kind of cause*((&^(---I’ve been told to get out)^@0)**((I will shout)^&*(++=++some people just don’t want to accept that culturalLY-)*^^&__) You will hear me---^&((_//_%Yeah, the broken one)£%$//-% every day at school bETtween the English and the Welsh ((((8_--so even within itself there’s a huge£(^*(___=++_I think Bradford comes to my mind-==++=& to really crack the whip and get )^^*&//<^But it’s all done in Rome, it’s actually quite official==+++4^ they’re not doing it because they’re trying to be evil*%0-_))))+Class, ethnicity, where we come from, and =^$==+perhaps not the obvious)@!!+)*^^ just block it out_()@£!@ territories and stuff and()()__*&^^…graffiti towns+==@%^^^^*()&++-)==Yeah but we have to travel around…we have to traipse_^$%(()43$%^I feel kind of numb, I’m not really--__%*&** it’s like marking their territory…(*%+))(And if you’re rich, then you’re going to have the latest£%^--=&^Ken and Barbie have divorced now+=*^$ come through and SAY SOME PHRASE in Welsh00*()_0))_+_+++ The London Underground thing…_)^+?!@@You still have a chair--==)(@+!@and he came along with his bike and crashed into his violin on purpose_)9++&++&& They didn’t want us to go to a war against Iraq@7_///&Who moved out?+&^%6==No, no it’s equal_===&(*&^--It was like, how could you be angry, it’s OURS=__+)&^*++) a human need to create groups and tribes&%^&+++//+===Yeah, the really rich guy…&£++)(==!@! like Christianity and Catholics, it’s like, if the religion itself can’t actually agree…&&@£5*%9++==)(()(Apparently I’m LSD)(=_)(*@(This is my tribe, we wear black make up)-++$£7))& Hang on, I mean did we have an English sofa or a Welsh sofa-(-=@(** we have to have a name for ourselves (_--(@@=)))(7%it’s just racism…_£@$£^=-=-=-(*089 create so much tension that you just…*$%^)))// really influenced by American culture though—(--%!!!!@(_====you can just block it out, usually it’s to do with__**09*&=+ Apparently they were giving money to the Tamil Tigers…&R$%^%^__((find ways of separating you from someone else%$&$%EU)*_)*&((=== and they’ve got like, their territories and stuff_+==5$@@@ the people who just bow their heads for the sake of it&***(+11!!!You’ve got gang colours as well&_))_)_+)!()(and that was like teaching them to read and stuff+=-^7@%^^^^-^^)I’ve actually done THAT SO many times…-_9(&*&*(*(= it’s kind of awkward cos I see them and it’s like “Hi, you spat on me”^ --++++%£$% Isn’t it the pope or something?*////& Freak them out and then leave them to squirm…£$%^_=(^^^_1!+_+_+ It’s either that or…you’d be a weirdo!@_.>>(^&^&%£ I’m in Mid Wales, I’m in the middle of the country…@£$^()))Oh right, so you fill in the quiz and they tell you what you are-@£$====_+_+but I wouldn’t feel comfortable going up there£$%%$-)====@@== Yeah, the broken one)-)_)0(0*6%%%+++ because you get the English, non-Welsh speaking Welsh, and the Welsh, Welsh-speaking Welsh and we…^8^^-+_)))( Punks, Greebos, Chavs, Rockers, Moshers, Rappers and Gangsters, Emos and Weirdos…)&*&*_+_&^@!__just block it out+__£$@+_____=(and he’s like, oh I’m sorry**^&&*__))_they’ve been split up_**%-)==)_)(_*++/Yeah, the broken one==1@!^%$^&T6///.>>change it to get what you want_£%^-)))_0But I’m not saying anything))***^^5>>>@£_())_+A coalition of)-0-)))- Yeah, the broken one …)(**^^^== +_==((you’re on their side**&^-------!@$(That’s horrible)--++ @!!87*^&*Yeah, the broken one&%--+%£--)=_+-_-))))-+===+++So really, this was really close to home then…)(&)*()*)(Yeah, the broken one$%^)YOU COULD SAY THAT(*()^^*^*^&^ Yeah, the broken one)(*()*()*() +++++ Yeah, the broken one)(*() the people who just bow their heads *()*() +++++ Yeah, the broken one

Tony Bevan * The Meeting Acrylic on canvas, 1992 © 2008 Tony Bevan Courtesy of James Hyman Gallery, London Richard Billingham * Untitled Black and white print on aluminium, 1990 © 2008 Richard Billingham Courtesy of Anthony Reynolds Gallery, London Derek Boshier The Stun Print on news sheet, 1977 Anthony Davies Young Punk Linocut and monoprint, 1992 Paul Graham * Fading Political Posters. Co. Tyrone (Troubled Land) Photograph, 1985 © 2008 Paul Graham Courtesy of Anthony Reynolds Gallery, London Siobhán Hapaska * Sad Fibreglass, two pack acrylic paint, stainless steel and coconut, 2003 © 2008 Siobhán Hapaska Courtesy of Kerlin Gallery, Dublin Paul Hill Don’t Forget the Fish Oil on paper, 1993 Paul Hill * Four Rings Oil on canvas, 1990-1997 © 2008 Paul Hill

John Kindness * Dog in Searchlight Beam Chalk on sandpaper, 1985 © 2008 John Kindness Jock McFadyen Spigot Lithograph, 1991 Jock McFadyen Spud Lithograph, 1991 Jock McFadyen * Two Dogs Etching, 1992 © 2008 Jock McFadyen Paul O’Donnell Untitled Photographic prints (set of 6), 1990s Eduardo Paolozzi * B.A.S.H Screenprint, 1971 © Trustees of the Paolozzi Foundation, Licensed by DACS 2008 Larry Rivers * Boston Massacre Screenprint, 1970 © DACS, London/VAGA, New York 2008 James Rosenquist * F1-11 (1-4) Lithograph, 1974 © DACS, London/VAGA, New York 2008 Paul Seawright * Column C-type print fuji crystal paper mounted on aluminium, 2002 © 2008 Paul Seawright Courtesy of Kerlin Gallery, Dublin

Paul Seawright * Horizon C-type print fuji crystal paper mounted on aluminium, 2002 © 2008 Paul Seawright Courtesy of Kerlin Gallery, Dublin Joe Tilson Jan Palach Screenprint and collage, 1970 © Joe Tilson. All rights reserved, DACS 2008 Joe Tilson * 'Letter from Che' (Valegrande Bolivia) Screenprint and collage, 1969 © Joe Tilson. All rights reserved, DACS 2008 Andy Warhol * Jackie Silkscreen oil paint on canvas, 1964 © 2008 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York/ DACS, London

* Works illustrated in catalogue All works courtesy of Wolverhampton Art Gallery

ME v U Artworks from Wolverhampton Art Gallery’s Collection and newly commissioned work by Rabab Ghazoul Young Curators 2008 Oriel Davies Gallery 9 August – 4 October 2008 Exhibition curated by the Young Curators 2008: Carys Corfield, Rhian Davies, Besi Jarman, Leanne Jarman, Becca Jones, Daniel Perry, Lucy Richardson, Marijka Thomas and Gemma Williams. Oriel Davies Gallery and the Young Curators would like to thank the following who have made the programme, exhibition and publication possible: Marguerite Nugent, Rachel Lambert-Jones, Kim Chesters, Anthony Shapland, Elen Bonner, Gaynor Rees, Sean Edwards, Alex Boyd, Amanda Farr, Neil Fowler, Francis Corfield, Clare Martin, Helen Kozich, Helen Lawson, Adrian Plant, Matthew Richardson and Ruby Ireland. Oriel Davies Gallery extends great thanks to Wolverhampton Art Gallery for the loan of works from their collection, and to Rabab Ghazoul for the creation of new work in collaboration with the Young Curators. Introduction by Amanda Farr. Essay ‘ME v U: an introduction to conflict’ by Sean Edwards. Text Insertions by Rabab Ghazoul. Notebook Insertion by the Young Curators 2008. Designed by the Young Curators 2008, Sean Edwards and Matthew Richardson. Edited by Alex Boyd and Amanda Farr. Printed by MWL. Published by Oriel Davies Gallery 2008 ISBN 978 1 870797 45 0

Oriel Davies Gallery, The Park, Newtown, Powys SY16 2NZ Telephone + 44 (0) 1686 625041 Fax + 44 (0) 1686 623633 Email: enquiries@orieldavies.org For further information about Oriel Davies’ Young Curators Programme go to: www.orieldavies.org or email: alex@orieldavies.org

Unless otherwise credited, all images reproduced courtesy the artists and Wolverhampton Art Gallery. Texts © Oriel Davies Gallery, Sean Edwards, Rabab Ghazoul and the Young Curators, 2008. While every effort has been made to trace copyright, in some cases it has not been possible to contact the copyright owners. In case of omission we would be grateful if any copyright owners uncredited were to contact Oriel Davies Gallery. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electrical, mechanical or otherwise, without first seeking permission of the copyright owners and of the publisher.

The Young Curators Programme, exhibition and publication are supported by the Paul Hamlyn Foundation. Exhibition and publication are also supported by the Esmée Fairbairn Foundation and the Arts Council of Wales.