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Arte kaleidoscope12/5/2023 ![]() It is a space for everyone to enjoy and experience contemporary art, for free. Modern Art Oxford is an arts charity founded in 1965. John S Cohen Foundation, Doris Field Charitable Trust, Ernest Cook Trust, Govett-Brewster Art Gallery, New Plymouth (NZ), The Henry Moore Foundation, PF Charitable Trust, Mr & Mrs JA Pye's Charitable Settlement, The Rothschild Foundation, The Staples Trust, The University of Oxford Small Community Grants Scheme, Westgate Alliance.Ĭasey Kaplan Gallery, Darcy Lange Estate, Frith Street Gallery, Galerie Gisela Capitain, Kerlin Gallery Dublin, Kraupa Tuskany-Zeidler, Lisson Gallery, Marian Goodman Gallery, Sofia LeWitt, Marcel Broodthears Estate, Spruth Magers, Anne Madden, Stedelijk Museum, Tate & the National Galleries of Scotland, Stuart Shave/Modern Art, The British Museum, Thomas Dane Gallery, Tiwani Contemporary, Victoria Miro Gallery, Vigo Gallery, Walker Gallery and White Cube. ![]() Lavazza, Warburg Pincus, Art Fund, Bonhams, Culture Ireland, German Embassy London, Heritage Lottery Fund, Penny & Sinclair, Oxford Bus Company, HMG Law, Polish Cultural Institute London, Wenn Townsend, Rise, Laurent-Perrier, Private Cellar, Chris Lewis Security. Partners and supporters of Modern Art Oxford and KALEIDOSCOPE: Thank you to all our Director's Circle members, Patrons, Friends, corporate supporters and sponsors, and the trusts and foundations that enable Modern Art Oxford's work. Modern Art Oxford is supported by Arts Council England and Oxford City Council. Project management by Curt Riegelnegg with Jonathan Weston. Production management by Scot Blyth with Andy Owen. The KALEIDOSCOPE Programme was curated by Emma Ridgway, Sally Shaw, Stephanie Straine, Ciara Moloney and Ben Roberts, with historical research by Hilary Floe. Modern Art Oxford's director is Paul Hobson. As part of this project, BL trade union workers were invited for an afternoon at the gallery and A Breed Apart was also exhibited in St Luke’s Church hall, next door to the plant in East Oxford. His artistic response was this series of seven photo-collages, which juxtaposed scenes of racial violence including BL vehicles, with Jaguar advertisements and quotations from corporate press releases, the UN Security Council, and the UK parliament to suggest (among other things) that BL was in contravention of international law. Haacke became interested in the Apartheid connections of Oxfordshire’s largest employer at the time, the automotive conglomerate British Leyland (BL), which was supplying military vehicles to the South African government. At this time, Haacke was becoming well known for an uncompromising body of work that directly articulated the connections between art, politics and economic power. In 1978 Hans Haacke was commissioned to produce a new work for his solo exhibition at Modern Art Oxford.
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