ART
The Relics of Time: Exploring Daniel Arsham’s Outdoor Exhibition
Yorkshire Sculpture Park presents the first UK museum display of work by Daniel Arsham
BY VANESA KRIZONYTE
Daniel Arsham with Unearthed Bronze Eroded Melpomene, 2021. Installation view at Yorkshire Sculpture Park. Courtesy Perrotin Gallery and Arsham Studio. Photo Courtesy of YSP. By © Anthony Devlin/Getty Images.
A week before the de-installation of Daniel Arsham’s two-year grand exhibition Relics in the Landscape at Yorkshire Sculpture Park, we found ourselves embarking on an archaeological journey. The unique blend of classic and contemporary art challenged our notion of time, decay, and memory. We explore the social impact of Arsham’s artwork and the innovative ways display breaks the boundaries of art engagement. Arsham’s work takes on a new light that contrasts the rigid confines of indoor museums with the freedom of nature.
Standing atop the horizon of the Yorkshire landscape, surrounded by trees and a lake, the hills echoed Henry Moore’s rawness while Damien Hirst’s disruption lingered in the distance. The progressive journey towards the Daniel Arsham garden offered an archaeological sensation as we mapped our way to find Arsham’s treasure. The first we encountered, Bronze Eroded Bunny (2022) represented Arsham’s childhood Bugs Bunny plush toy, now decayed and a symbol of passing time. The disfigured and pigmented sculpture, surrounded by the buzzing of wasps, reminded us of the natural ageing cycle. It reinforced the themes of growth, progression, and change.
Daniel Arsham, Bronze Eroded Bunny (Large), 2022. Installation view at Yorkshire Sculpture Park. Courtesy Perrotin Gallery and Arsham Studio. Photo Courtesy of YSP. By © Anthony Devlin/Getty Images.
The child-like movement through the tree branches toward the Bronze Extraterrestrial Bicycle (2022) to find the bicycle seat surfaced with crystal growth and worn-out tyres collectively evoked how childhood fades into the past. These relics prompted us to reflect on our childhood icons and feel the passage of time.
Daniel Arsham, Bronze Extraterrestrial Bicycle, 2022. Installation view at Yorkshire Sculpture Park. Courtesy Perrotin Gallery and Arsham Studio. Photo Courtesy of YSP. By © Anthony Devlin/Getty Images.
Recently, Daniel Arsham was granted access to the original foundry molds of France’s iconic classical sculptures housed in the Louvre, including a 3.9-metre-tall female figure. This statue, known as Melpomene, represents the Greek muse of tragedy. Unearthed in the 15th century, it is now one of Arsham’s most significant inspirations. The incorporation of historically finest classics, within the Bronze Eroded Melpomene (2021) and Bronze Eroded Venus of Arles (2022) evokes emotions tied to the realities of aging. The sinking of Melpomene’s head into the historical richness of Yorkshire grounds is a sense of burial, while the body of Arles’ speaks of love and beauty. By manipulating time and compressing history, Arsham heightens our awareness of the brevity of existence. Based on our experience of finding the Melpomene head on the grass and children running towards the sculpture shouting “TREASURE” and “DIAMOND” Arsham’s greatness is in the rediscovery of classic sculpture, often only found once by an archaeologist. Arsham’s reinterpretation of Venus of Arles is a direct parallel to the original Greek sculpture through the lens of modern materials. Arsham’s Venus of Arles becomes a dialogue between the past and the present, linking François Girardon’s original artistic timeline with Arsham’s contemporary vision.
Daniel Arsham, Bronze Eroded Venus of Arles (Large), 2022. Installation view at Yorkshire Sculpture Park. Courtesy of YSP. Photographed by KRIZONE.
The decay represented through missing body parts and crystals growing out of the cracks with copper running down the green patches is captivating to experience as classic sculptures in new materials encounter 21st-century decay. Curiosity builds to explore how these sculptures would react to nature if left for another 100 years. Is the imitation of decay a creditable artistic expression? How would the sculptures look if Arsham had not manipulated decay? The key to acknowledge is that the authentic decay of a sculpture is impossible to witness in a lifetime, especially classic art. Arsham’s garden allows the imagination to walk around the world of the impossible and paint an illusion in time. Again, the play with time grasps our human fragility.
Imagine touring the Musée du Louvre to admire the Venus of Arles marble sculpture, only to encounter a barrier. Arsham’s sculptures, by contrast, invite direct interaction. The openness of Arsham’s sculptures uplifts viewers’ experience and creates a closer connection to the artist. This tactile engagement is a rare privilege, not offered by institutions.
Daniel Arsham, Unearthed Bronze Eroded Melpomene, 2021. Installation view at Yorkshire Sculpture Park. Courtesy of YSP. Photographed by KRIZONE.
The outdoor climate caused Arsham to adapt his signature style of using natural crystallization with the alternative of stainless steel. Projecting us and the surroundings in the silver reflection. It is fascinating how the outdoors can play with the understanding of value. The setting of classic art in modern bronze material and reflective stainless steel offered a great approach to connecting generations. Would Arsham’s Melpomene be approached differently within the Louvre grounds?
In essence, the exhibition’s themes and materials compel us to rethink our digestion of time. The outdoor display has been significant in our engagement as it spoke volumes about Arsham’s philosophy. The use of childhood and classic art to define decay shows the inevitable power of nature. It is crucial to remember Arshams’ words:
“As history progresses, all objects become antiquated and in some way, they all become ruins or relics, disused or buried. In 1000 years everything that we own will inevitably become one of those things. I don’t particularly see that as having an apocalyptic quality – it’s sort of just the march of time moving on.”
– From YSP Daniel Arsham Press Release, October 2022.
Daniel Arsham: Relics in the landscape, 1 October 2022 – 30 March 2025, Yorkshire Sculpture Park
Following the exhibition, a selection of Daniel Arsham’s artworks will remain on display at the park. Please visit the Yorkshire Sculpture Park website to find out more.
Deepest gratitude to Daniel Arsham’s creative mind. Thank you to Yorkshire Sculpture Park for the UK display. Thank you to Gemma Donovan for providing Press access and Publication Approval.
Links:
Yorkshire Sculpture Park: https://ysp.org.uk/whats-on/exhibitions/past-exhibitions/daniel-arsham-relics-in-the-landscape
Press information: https://ysp.org.uk/press/daniel-arsham-relics-in-the-landscape
