Review: Found Cities, Lost Objects
Anna Jackman visits ‘Found Cities, Lost Objects,’ Leeds Art Gallery’s most recent exhibition.
The much-anticipated exhibition ‘Found Cities, Lost Objects’ opened its doors at Leeds Art Gallery on the 26th January and will remain open till 21st April 2024. Curated by the Turner Prize-winning artist Lubaina Himid, the exhibition explores the urban environment through the eyes of women and gender non-conforming artists in an arts council collection. The exhibition explores themes ranging from identity and navigation to the dynamics of power and belonging within the urban landscape.
As you walk into Leeds Art Gallery, you are immediately greeted on the right, opposite the Tiled Hall Café, to the start of the exhibition. The signposting includes the usual title, artists included, and a brief description of what the exhibition aims to explore. However, interestingly, it also includes questions to consider whilst exploring the exhibition, including: What would a feminist city look like? How do we reshape the city to work for everyone? Can we ever reclaim the night? I found this particularly poignant as it was interesting to bring this immediate sense of contemplation to the exhibition, as well as immediately enforcing its themes, and acknowledging the privileges which allow some people to roam freely whilst also considering the boundaries that may curb the experiences of others. It invites viewers to contemplate how the buildings, streets, and neighborhoods you inhabit shape you and your life.
The exhibition overall felt striking, with many of the individual pieces being extremely thought-provoking. Despite this, the overarching curation seemed to lack cohesiveness, leaving viewers grappling to find the thread that tied all these amazing pieces together. Besides this, the labelling of the pieces was inconsistent with some offering a deeper insight into the work whereas others just offered the name, artist, and medium it was made in. Therefore, as I stepped into the gallery space, I was met with a sense of disconnection and inconsistency rather than a cohesive narration.
The exhibit offers a variety of mediums, styles, and representations including film, sculpture, painting, maps, embroidery, collage, and photography.
I found the short films to be particularly successful when exploring this exhibition, specifically the film by Chloë Brown A Soft Rebellion in Paradise 2019, where 200 women gathered in Paradise Square, Sheffield, a site known as a place for protest. These women come together to perform a series of ‘soft rebellions’ including clapping, being silent, and chanting a specially commissioned poem by Geraldine Monk. This idea of a ‘soft rebellion’ is compelling, as is perhaps the most actionable idea for the viewer. I found this short film empowering, and it highlighted women specifically can assert their autonomy within systems that may seek to suppress or limit their freedoms. By subtly challenging norms, women can assert their right to make choices that align with their values and desires. This can be as simple as being silent or clapping.
Despite the slight lack of cohesiveness of ‘Lost cities, Found Objects,’ it would be remiss not to acknowledge the strength of the individual artworks which manage to leave a lasting impression. The individual brilliance of the featured artworks offers poignant moments of reflection on the complexities of urban life and gender representation. Moreover, the exhibition serves as a testament to the importance of providing platforms for marginalised voices. Despite its flaws, it remains a valuable contribution to the ongoing dialogue surrounding gender, urbanity, and representation in contemporary art. Overall, I really enjoyed the exhibition, and I would encourage people to visit and contemplate about their own city and experiences.
Words by Anna Jackman
