Exhibitions / MOSTYN | Bedwyr Williams: Hotel 70° [institutional leadership, art management]

18.04.2014 to 06.07.2014

Encompassing performance, sculpture, painting and video, North Wales based Bedwyr Williams’s practice is marked by his unique brand of humour that is informed, in part, by his upbringing in Wales. Drawing from his life experiences, Williams’s work, on the one hand, offers a sharp critique of our everyday world, and on the other a relief and antidote to life’s pressures – a celebration of the obscure and the seemingly normal.

At the heart of Williams’s exhibition at MOSTYN is a full-scale re-creation of the top section of the iconic Hotel 70°, which once stood high on a cliff overlooking the nearby town of Colwyn Bay. The hotel was noted for its peculiar architecture where everything from the carpets to the stairs followed the 70° and 110° angles of the building. From a builder’s point of view this type of construction resulted in a waste of materials but for many locally the hotel provided cherished moments and fond memories, with its peculiarities, its location near the coastline and its fine dining and service. This full scale reconstruction will house a film made with the aid of computer modelling to rebuild the hotel, which was demolished in 2007.

Also on view is a video piece and elements from the artist’s critically acclaimed exhibition, The Starry Messenger, which represented Wales at the Venice Biennale in 2013. Pondering the cosmic as well as the microcosmic the video will be shown for the first time since Venice.

Collaborative work by the two artists will be shown in both Chance Everything and Hotel 70°. The works include a pair of obituaries written by the artists about one another, as well as a joint narrative following a similar structure; the works deal with the concept of collaboration head on. The artists’ first meeting at MOSTYN in 2000, when Gander was an exhibiting artist and Williams a staff member, is represented by the reworking of a piece by Gander as it was originally, and accompanied by a work in reply by Williams.
While the exhibitions are to be viewed and understood as separate entities, they also interweave and are in dialogue with one another.

Bedwyr Williams’s exhibition has in part been supported by the Colwinston Trust.