Gavin Turk: In Search Of Ariadne

About

In Search of Ariadne unravels the cultural meme of the reclining figure in art. The exhibition aims to unpack the questions: What is the reclining figure? Why it is something that artists have been intrigued with for centuries? And from where does this form originate?

The form of the sculpture is familiar from centuries of depictions of reclining forms from Michelangelo to Henry Moore. Turk uses this familiarity to subvert the viewers expectations. His Ariadne is under cover, forever hidden. Wrapped and secured with ropes, she seems to be in transit; between places; on her way.

IN SEARCH OF ARIADNE at The Heong Gallery explores the metaphysical, art historical, and social underpinnings of Ariadne Wrapped, giving visitors the tools to unwrap and unpack the form, context, and narratives wrapped up in the sculpture.

Praise for Ariadne Wrapped

‘This is what underlies Gavin Turk’s statue, with a twist – because the outline of the famous Ariadne is clear enough, but she is wrapped up ... There she is, but you can’t actually see her! The message? Well, antiquity is still with us, but always a bit buried? Come to Cambridge and we will unwrap this for you?’ – Prof. Mary Beard
 
An instant enigma, sited in the ‘square’ outside Cambridge station, its form is inspired by de Chirico’s paintings, set against the station’s Italianate arches. ‘Ariadne Wrapped’ does that rare thing in public sculpture of activating the surrounding space, even reimagining all of Cambridge as a surrealist, dream city! – Andrew Nairne OBE (Director, Kettle’s Yard)

Gavin Turk (b. 1967) is an internationally renowned artist, whose influential works have appeared in many of the ground-breaking visual art exhibitions and events of the last 30 years. He has pioneered many forms of contemporary British sculpture, including the painted bronze, the waxwork, the recycled art-historical icon, and the use of rubbish in art.
 
Gavin Turk’s installations and sculptures deal with issues of authorship, authenticity, and identity. Concerned with the ‘myth’ of the artist and ontological questioning, Turk’s engagement with this modernist, avant-garde debate stretches back to the ready-mades of Marcel Duchamp.