His work stems from an ongoing concern into the ways that power and ideology affect our intuitive interactions with the world. The paintings are produced by a process of recursive construction and de-construction, built in layers of material and meaning over time. Erica Scourti has created a number of new works for the exhibition. In this more personal version, she has shared readings from her sketch and notebooks from on YouTube, generating automatic subtitles, which have been partially rewritten.
The Study Week is structured with reading groups, film screenings and group practicalities, punctuated with invited speakers and walkers. Full details here. Handwritten annotations on the tape sleeves imply a hasty, sketchy gathering of material as thought process, while later recordings seem more ordered and carefully grouped; with their typed covers. Three listening stations next to the archive offer an insight into the diversity of material gathered by Toop. An afternoon of presentations and performances accompanies this exhbition.
Details, here. The Uncanny Valley is a phrase that was coined by robotics professor Masahiro Mori as a way to describe an emotional response that can be measured when encountering objects that are hyper-real; where there is a moment of uncertainty about what is being viewed that gives way to a feeling of discomfort or disorientation. This group exhibition aims to explore the phenomenon, alongside contributing to the discourse around screen based and digital works, by exploring the aesthetics of the uncanny.
Joey Holder has created a new work that provides an immediate introduction to the exhibition; visitors are required to literally step onto a terrain that has been created by Holder and which covers one third of the gallery floor. The song and video question both what is real and whose position in the video is authentic, perhaps neither is.
A narration offers a biography of the mask as it explores its own motivation. Again made in response to the theme of the uncanny valley, the work appears to suggest a possible new life form, one with occasionally recognisably human elements, assembled to an unknown pattern.
The object has been glazed with fleshy tones that belie its brittle materiality. The ponderous narratives link disparate, often surreal, subject matter that reflect on overlooked details of everyday life. It is the first in a new strand of exhibition programming that reflect on subjects being explored and discussed at the centre.
Click here for further information about the exhibition closing event. The title of the book references Marx and Friedrich Engels' statement at the beginning of The Communist Manifesto that a "specter is haunting Europe. Although not directly addressed by the artists, an unidentified presence lurked at the edges of this tightly knit group; strangers until situated together in rural Cambridgeshire for six weeks.
During this intense period, away from the city and its routine of toil and commerce, they worked independently in studios, coming together for evening meals and occasional trips out. The slippage between fiction and reality becomes intensified during times like this; an unusual situation to be located within, sharing a home and thoughts with a group strangers brought together by a person, or persons, also unknown to them. This heightened intensity became part of the residency day-to-day; moving across the unlit site, in and out of artificial light and intense darkness, from studio to house, occasional visits to the city and back again.
Perhaps it is unsurprising that the phantom of The Fifth Artist emerged as a symbol of an unknown presence, and also perhaps a liminal space; a threshold. The Fifth Artist is the title of this exhibition but the act of naming, giving it material form, also makes it a contributor to the exhibition. The Fifth Artist is the unknown and the unknowable, the shadows without, the oppressiveness of an uncertain future and also perhaps an enquiry into the condition of being human.
Olivier Castel 's work is situated at both the periphery and the centre of the gallery. A hinged luminous door, hollow at its centre, exists as both an object and a void that the visitor steps through. Alternatively by turning the door's handle and pushing it open, the visitor holds the exhibition in the palm of their hand, sweeping the enclosed lights throughout the space. Julia Crabtree and William Evans have begun developing the framework for a pseudo-sci—fi film based around a misunderstanding of the function of the C. Considering the C.
The artists have focused on object and image making; exploring the relationship between theatre and sculpture and the performative potential of materials. Jesse Darling presents new sculptures made from welded steel; the European technology of war that facilitated colonialism and created the foundations for the built environment.
These new pieces examine the archetypes and mythologies of modernity through a queer and animist lens. Today left for the sake of coming back tomorrow or impossible loves ; a sculptural video installation by Alice Theobald is made up of dramatic verses and a composed soundtrack, shown alongside a wall-based text work. This exhibition is in our grade II listed farmhouse.
Access to the exhibition is via steps to the ground floor and a small narrow stair case to the first floor rooms. The farmhouse is where artists live, sleep and eat, and where together they discuss the works that they are developing during residencies and retreats.
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Wysing has invited artist Giles Round, working with Wysing Curator Lotte Juul Petersen, to transform the farmhouse into a public space, installing works by a selection of artists who have stayed there over the years and in response to its rooms. A number of the works will remain in the house as a lasting contribution to the site, for future artists to enjoy. To bring the intimacy of the farmhouse into the public realm, a series of dinners, hosted by artists in the exhibition, will make public some of the ideas and discussion that usually takes place in the privacy of the farmhouse.
Further information in Events, here. Giles Round has had a close association with Wysing since he was first in-residence at the centre in early That same year, Round established the decorative arts company The Grantchester Pottery at Wysing, with fellow residency artist Phil Root, and subsequently both The Grantchester Pottery and Round have contributed to a large number of exhibitions and events at Wysing. An Endless Supply , Harry Blackett and Robin Kirkham, were in residence in during which time they carried out research on the typeface Curwen Sans. Juliette Blightman was in residence in when Wysing re-located to central Cambridge for six months and invited five international artists' collectives to be in-residence in a programme that celebrated the marginal.
As an artist, her works have been shown at Rowing, London among others. Seb Patane was in residence in , and collaborated with Gustav Metzger on a new sound piece, in which Patane invited Metzger to recite a passage from The Political Theatre by experimental German theatre director Erwin Piscator. Since his residency, Patane has further developed this work further for a solo show in Gallery Fonti, Naples, He also worked with a locally based car wrapping company to transform Wysing's mundane Renault Kangoo into a mobile artwork.
The process was filmed and edited into a video which was later shown at the Treignac Project, France, Laure Prouvost was in residence in and used her time to develop the new work The Lot in collaboration with Francesco Pedraglio. Philomene Pirecki was in residence in when she created a new body of photographic work that later shown in her solo exhibition Image Persistence at Supplement, London in Since her residency she was also shortlisted for the Max Mara Prize for Women The Grantchester Pottery has transformed the ceramics studio at Wysing into an art work in its own right.
They had a solo exhibition at the ICA, London in In he returned to Wysing, invited as a speaker during the retreat Ways and Means. Lisa Wilkens has worked from a studio at Wysing since Her work is represented in numerous private collections and has recently been acquired by Saatchi Gallery. This exhibition marks the completion of a six week summer school at Wysing, during July and August, in which the fifteen artists have spent time developing and exploring their art practices in a variety of ways, including individual research, workshops and discussions,as well as studio-based making.
Works include sound and video installation, sculpture, drawing, photography, site-specific and installation work. An event, on 21 August from pm, will draw the summer school to a conclusion and will include film screenings, durational performance and readings by the Scholars, to supplement the exhibited works. The exhibition will also be open.
Please do join us. Scholar Gabriella Beckhurst offers a free yoga class entitled room to manoeuvre, discourse in exercise on 18 August, 11am The workshop is limited to 12 places and is free but booking is essential. To reserve a place click here. Iyengar Yoga is a form of Hatha Yoga that emphasises detail, precision and alignment in the execution of the postures and breath control.
The Iyengar method is a carefully graded system adapted for individual needs. Props, such as blocks and belts may be used to improve understanding of the postures. The class will consider how yoga practice might function as a discourse in exercise, serving to work ideology through the body. Fully qualified Iyengar Yoga teacher Arabella Wright will lead the class. Beginners are welcome and all equipment will be provided.
Open every day, pm. The exhibition is a playful take on what artists do and make and what histories and stories can be told institutionally and artistically. Via art works, objects, images and experiences are rethought, reordered and recreated, to make the ordinary extraordinary, or the mundane revelatory. The drawings and language where their personal responses to the physical and psychological journey that Wendling had taken them on. Soheila Sokhanvari has produced a series of new works, using her father and family as subject matter, exploring how we form our identity, in paintings that use the classic Persian miniature as their format — something she has done all her life, since her Iranian father taught her as a child.
Ben Wilson was one of the first artists to live and work at Wysing, where he made a large out door sculpture entitled the Tree Keep on the landscape, which still exists today. This is a radical act of transformation, turning unwanted litter into colourful portraits, signs, abstractions, or aspects of the urban environment that surrounds him. At Wysing, Juneau Projects will work with Circuit to present an exhibition of things made by year olds. Across this time, although the freedom of vision that being an artist enables has remained consistent, the idea of what role an artist takes, what they do, how they live, what they make, and how this relates to the world around us is constantly evolving.
Whereas Blair suggested passive spiritual change, Metzger advocates decisive responsive action. The search for — the need to encapsulate varying kinds of contradictory elements, the urgency of stopping sharp — extinct — twist and: razor-sharp endpoint. After the experience, we expand reconnect with a normality which is not the same as it was. But normality once changed, is not the same. The eleven artists included in the exhibition, whose work emerges from a wide range of working practices and methods, each share in common the time they spent at Wysing in residency as a point of transition.
These new works exhibited allow reflection on where their work has come from and together allow for speculation on where the work may go next. Whilst in residency, Seb Patane collaborated most closely with Gustav Metzger, working on a new sound piece. Patane invited Metzger to recite a passage from The Political Theatre by experimental German theatre director Erwin Piscator which he used to create a new sound piece.
The text recounts a description Piscator wrote of his ill-fitting army uniform just before going to war. As a result of his residency, Dean began work on a graphic novel dealing with the confusion of intimacy, communication and physicality. His initial graphite drawing for one of the first pages, an ambiguous narrative formed from amalgam of cartoon tongues, will be on display.
Housed in an MDF domestic tableau, the viewer has to lift and hold a concrete tongue sculpture to view the work. The work will be presented in two parts, the first of which is a series of 3 sculptures developed with Cay Green, PhD Candidate in the School of Design. The pieces are mundane personal effects- a comb, a screwdriver, and a pair of scissors- modes of technology with relative immunity to updates and upgrades. The files produced from the design collaboration will be 3D printed and presented in front of location studies that will be used in the subsequent part of the work, a video featuring the object.
The project is an inquiry of the emotional investment of devices and the transient nature of spirit. The voiceover was constructed from multiple versions of a text which Barham processed through rudimentary speech recognition and synthesis software and subjected to repeated edits and reprocessing. Made on the same machine that is the main protagonist of the video, the prints point to the many different feedback loops used as methods of production within Barham's work. The rhythmic repetition of images and text is typical for Keren Cytter 's work, and in her new work Corrections she makes exceptional use of camera work and editing.
In a heavily structured and tangled plot, two men plan their parents' murder under the watchful eye of witnesses. The unending deconstruction forces contemplation of narrative structure. For this new commission Beckett has taken the starting points of Russian Suprematism and the role-playing game Dungeons and Dragons. Whilst on residency at Wysing, Norfolk produced his first moving image work, Balls. Made through digital editing, it depicts a convincing display of a clearly impossible occurrence through its precise composition and pace. As if the product of an amateur philosopher, the work appears as both a Cartesian diagram and a table made from seemingly ad-hoc material parts, like a quasi-scientific still-life.
Distance and desire are key tropes in the physical display of Charlotte Prodger 's work. Recent works fetishistically reference the visual vocabulary of retail design and the slick functionality of high-end sportswear. The gesture of punching through to the image creates a restricted opening into a terrain that is at once familiar and oblique.
The two banners display images of earplugs held in both left and right hands with a clinical, instructional aesthetic. They display a moment of calm irresolution, the thought of use rather than silence, the form that they now take and the potential space they may inhabit. Deshayes works with glossy, synthetic materials, such as anodised aluminium and vacuum-formed plastic, to create skins, bulges and organic forms. For this commission Deshayes has created a visceral work akin to a gastrointestinal tract, into which visitors can insert their donations. A new publication produced with An Endless Supply accompanies the exhibition.
The publication collates responses to the question "Where do you see yourself in twenty-five years? Annals of the Twenty-Ninth Century launches a significant year for Wysing, as we mark our 25th birthday. Throughout our programme will aim to look at the potential of the future through what we know of the past; realised through ongoing residencies, artistic retreats, events, exhibitions and an innovative Futurecamp during the summer of The title X-Operative is taken from an essay by Ksenia Cheinman, who uses the term to describe common places where the cultural space becomes creative, productive, commercial, domestic, and educational all at once.
The five artists, who all have a strong relationship to writing in their practice, have each taken one of the themes as a starting point for their commission. This space will be used for performances in the events programme, also functioning as a space for conversation, reading and discussion for the duration of the show. While they accurately reproduce the experience of wearing Freud's glasses, they simultaneously hopelessly fail to allow us to experience what Freud would have seen. You are invited to try them on and examine the journals and texts placed alongside. In a performative event at the start of the exhibition books on production are shredded and reformed into eleven cast concrete tablets which remain for the duration of the show.
The carefully selected books are handled by Olabarrieta in ways which pull out the performative practices of their authors and subjects, with her constructions created as their stage set. Over the duration of the five weeks, each construction will become activated as the focus of a packed events programme focusing on each theme including talks, screenings, workshops, readings and performances. After an introduction to X-Operative by Eleanor Vonne Brown artist and publisher Keef Winter activates his installation, shedding books about production and reforming them into concrete book blocks throughout the evening.
Alongside, Lucy Woodhouse uses printers and scanners to create live visuals and unique prints in the gallery. Saturday 30 November pm Day for the exchange of ideas led by Eleanor Vonne Brown pm Publishers Lunch pm Reading and discussion group, workshops on the themes of production and distribution for independent publishers with Adam Burton, Anagram Books and And Public. From 1- 2pm there will be a free lunch available for publishers and those interested in publishing to meet and discuss new projects they have been working on. Afterwards there will be discussion on the theme of distribution led by artist Adam Burton.
Speakers from varied fields, bookshops, a distributors, online platforms and independent publishers will meet to discuss solutions to current problems with distribution. Playing with ideas of repeating patterns and cryptic codes whose hidden meaning is always just about to be revealed , the piece even promises to be the definitive word on its subject, while self-consciously disclaiming how this knowledge could ever be possible.
The screening will be followed by a signing of the accompanying publication Plans and Spells by the artist. Supported by Arts Council England. This event is part of Film and Video Umbrella's 25 Frames. Live musical performance with Chris Evans and Will Holder. Evening reception to mark the close of their residency Thursday 22 August, pm, all welcome. Plus join us for an evening reception to mark the close of their residency Thursday 22 August, pm, all welcome.
A strange cross between a butchers shop and a nightclub ; a solo exhibition and performance event, 26 May — 7 July The exhibition will be composed of felt, knitted and ceramic sculptures both as object and costume , corn dolly masks and wall prints, presented as an installation around a centrally constructed stage. Works will reference elements as disparate as pagan ritual, archaeological excavations, the art of corn dolly making, mimicry, the carnivalesque and theatre, ancient stone monuments such as Stonehenge, and Samuel Beckett's televised work Quad Jonathan will talk about the exhibition with curator and writer Kathy Noble, previously Head of Exhibitions at Nottingham Contemporary and Curator at Tate Modern, at a special in-conversation event on Saturday 29 June, pm.
Costumes as sculptures, masks and objects in the exhibition will be worn and used as tools for the performance. Jonathan Baldock b. The exhibition gives an insight not only into the ambitious work produced at Wysing but also the research, discussion and exchange of ideas that happens during residencies at our rural site outside Cambridge. Central to the Relatively Absolute is the idea that hidden systems and structures can be used to uncover meaning, narrative and paradox.
Nicolas Deshayes presents a new sculpture of three steel framed tables with tops made from vacuum-formed yams, mirroring the tables of clay test pieces he produced whilst working at Wysing. Two new works by Jonathan Baldock combine the tradition of abstract painting with ceramic forms presented on a boldly coloured surface.
Flora Parrott contributes a new shrine-like installation, whilst Stuart Whipps shows new prints of casting moulds produced in Mexico for large concrete structures. Text works also play an important part in the exhibition, with a new text by Ed Atkins produced a small publication and a wall-based piece by Nilsson Pflugfelder.
Material includes Palaeolithic hand axes c. A review of the exhibition by Maggie Gray for this is tomorrow is here. Curated by Gareth Bell-Jones. Click here for more information. Download the exhibition text here. Subsequently, the artists have formed an informal, evolving collective. The exhibition is part of our ongoing Wysing Arts Contemporary series and all work is for sale. Mat Do lives and works between Southend-on-Sea and London. Working across a range of media including film and video, digital print and performance, his practice explores ideas of ambition and reinvention at odds with the physical and psychological topography it inhabits.
Clare Gasson lives in London. She works in a variety of ways: from working with the voice, performance, film, photography, posters, sculpture, city walks to writing scripts and scores. She is interested in exploring how ambivalent experiences of the human psyche, shared visual culture and flows of capital, may relate to opposing individual and collective desires to objectify, control and fix human experience.
Glen Jamieson is an artist photographer who lives and works in Norwich. Kit Poulson is interested in conversation, in matter and mutter, in negotiation. Much of his work has been concerned with an exploration of how we use the static as the recognition and apprehension of vitality. He works with a variety of media, particularly painting and installation.
He frequently collaborates, and this reflects an interest in thought as a performance and a concrete happening. In these collaborations he has worked at various points with sound, music, sculpture, dance, text. Kari Rittenbach is a critic and curator based in New York. She organizes small-scale curatorial projects as primary work surface. Florian Roithmayr lives in London. His work often refers to a particular experience of environments as actualized manifestations or testing-sites for abstract ideas. Alan Stanners trained at Glasgow School of Art.
His work poses questions and sets out manifestos, exploring the legacy of surrealism, through bold abstract paintings and texts. Downloads: Exhibition text. An exhibition of newly commissioned and existing work that looks at the idea of architecture as an expanded personal archive and a depository for memories. Part of the national Love Architecture Festival in June, it includes talks and events looking at the space between art and architecture.
This exhibition of newly commissioned and existing work explores the notion that a building can act as an expanded personal archive and a depository for memories. A range of sculpture, drawing and video, work with, or reference, the connection between architectural space, memory and experience. Throughout the exhibition a number of events brought artists and experts together to discuss the relationship between art and architecture - listen to these events here. Jackie Chettur currently works with text, photography and performance to uncover the ways that we imagine and remember spaces.
For Recollect she presents new work exploring the physical space of the house as a metaphor for the emotionally claustrophobic relationships in the book Ethan Frome, by Edith Wharton. By selecting sections of text and printing them as new titles on collectable editions of the book, Chettur reframes this widely-read book. Both pieces use old technologies stereoscopes and the printing press to present a contemporary reading of the text, written in Jackie Chettur also has a studio at Wysing, click here for more information.
As the title suggests, the work looks at the construction of reality and the deconstruction of built space and language. By showing the mechanisms of television: the make-up room, the studio, the green screen and the auto-cue, Coy demonstrates how even simple experiences are layered with visual and technical tricks. Each of these two elements contains one meteorite which is visible in the surface of the concrete. Through representing the Central Library, a condemned Brutalist building from , Kihlberg and Henry play with the architectural model as a sculpture of a finished and flawed building rather than a proposition for something new.
The concrete forms seem to represent the storage of static information at odds with the fluid way in which we visualize the consumption of knowledge with new technology. A series of tenses applied to simple verbs are expressed in relation to various types of space; the abstract mathematical space expressed in the book Analytical Geometry of Three Dimensions , the physical space of a gallery building, its architectural maquette, and the projected space of the video itself within that space.
This layering of perspectives demonstrates the fluidity with which we experience seemingly static spaces. The video 4. The narrator describes unusual experiences or bizarre sensations, raising questions about reality and perception. By co-opting a public space for private use and allowing access to this act only through mediated images the group play with tensions between public and private space.
Two prints by Sean Edwards made as part of a residency in the Maelfa Shopping Centre, Llanedeyrn, are included in the exhibition. The Maelfa, once a busy shopping centre situated on the outskirts of Cardiff where the artist grew up, was due to be demolished when Edwards took up residence to record the space in an act that sits between personal recollection, nostalgia and documentation.
The care taken over documenting this seemingly failed public space speaks of the importance of personal memories and insights in spaces controlled by public planning. Focusing on small moments in the fabric of this large architectural setting Edwards makes intimate yet abstract images that could describe spaces familiar to many people. Despite the architectural scale of the prints, they are pasted onto the wall in a low-fi manner that suits the un-monumental imagery they convey.
Rosie Pedlow and Joe King exhibit Bivouac , a large sculpture and a carousel of 80 photographic slides. The slides show structures made from organic materials that frequently and anonymously sprang up over the course of a year in an area of Suffolk woodland surrounding the artists.
Encountering the structures only as traces the artists associated them with the mysterious, potentially mischievous activity of sprites or ethereal characters. The spaces represent the construction of informal architectures built as and used for play. A programme of events will run as part of the exhibition. Works in Recollect could be purchased through Own Art, the interest-free loan scheme.
Click here for more information about The Cosmos residency.
Adam Kario – road2
Each artist developed a distinct body of work in response to this residency and through conversations with a range of local experts and enthusiasts in a programme of public events and informal meetings aimed at exploring the huge concepts that constitute our understanding of The Cosmos. These new works explored, in some way, the manner in which we structure knowledge in science, spiritualism and in human culture more generally. This period of research has generated the beginnings of many projects and the works shown at Wysing are the first iteration of larger bodies of work that the artists will continue to develop.
Salvatore Arancio developed a series of works playing the visualisation of science and the merging of fact and myth in knowledge. Drawing on his interest in historic illustrations of geological discoveries he is exhibiting a large screenprint of minute grains of a piece of granite, alongside a series of small collage works. A series of new works in clay, undergoing a period of drying before being fired, are shown in our ceramics studio, where they have been made. Our recycled structure Amphis , , is the location for the screening of a video made entirely from clips from the series The Cosmos by Carl Sagan with a new soundtrack by Arancio.
The film encompasses imagery picturing theories from physics, the human body and built environments through history and has the visionary, almost psychedelic, low-fi appearance of a s vision of the future. The sculptural works developed by Flora Parrott during this residency and presented in the gallery, attempt to think through abstract concepts using manipulated organic materials including coal, silk and oyster shells. Four compositions of images and objects act as frameworks to understand four particular concepts: deep time and compression, singularity and expansion and interconnectedness and the primordial mound.
Through research into the use of Mandalas, ancient tools for spiritual focus, Parrott has been exploring the physical and psychological filters that people instinctively put in place that allow us to define the limits of conscious thought and prevent constant contemplation of enormous, paralysing ideas. The works presented here could act as frameworks that interrupt or disrupts these filters to allow fluid thought. The work of Nilsson Pflugfelder Magnus Nilsson and Ralf Pflugfelder is situated on the intersection of critical spatial design, architecture, art and discourse.
As a response to The Cosmos they have proposed a large, gleaming outdoor structure to be situated in the grounds of Wysing. This galvanised steel triangle will act as a contemporary folly-like space with no obvious function and no obvious entrance. Although the sculpture will have a minimal, futuristic feel, its typology, proportions and atmosphere reference ancient structures. The lack of discernible purpose for this strangely rarefied space may give it the feeling of a site of pilgrimage.
Within the gallery is sited a black object which will become the central element of the structure, once complete. Stuart Whipps often takes overlooked narratives from recent history as the starting point for making films and images. During The Cosmos he researched Edward James, an eccentric character who used his personal wealth, power and influence to solidify and materialise his unconventional beliefs. The images, projected medium format slides, show the casts used to make the concrete sculptures, the sculpture and its surrounding forest.
This year artist Patrick Coyle documents the residency programme through performance and writing. Read Patrick's blog here. Over the previous months, Wysing Young Artists, who are aged between 14 and 19, have visited studios, made trips to galleries and been mentored by some of Wysing's studio artists. Their exhibition over the weekend of 24 and 25 March offered a chance to see a culmination of their work so far. The exhibition also launched the new Wysing Young Artists in Residence programme. Click here for more information about the programme.
The exhibition includes site-specific works, moving-image, sound work, sculpture and prints that loosely explore systems and structures of space and time. A central principle of astrology is integration within the cosmos. The individual, Earth, and its environment are correlated with each other as one; time and space is equivalent. Changes observed in the heavens are therefore reflective of similar cycles of change observed on earth and within the individual.
As above, so below; as below, so above. There is a symmetry in the individual as a microcosm and the celestial environment as a macrocosm. Alongside are reproductions of the original performance at Riverside Studios. The story of humanity occupies the 13 bands from 17 - Human experiences lower down the spectrum are baser and more animalistic, higher numbers represent more enlightened experience. Two stacked chairs are positioned on the time base, one painted black, represents the least event. The other, painted white and stacked on-top, represents the universe as event.
The exhibition is lit by a new installation by Giles Round. The Diagonals of March for Diego Rivera uses two full walls of the exhibition space. The idea for the work was conceived in the house of Diego Rivera and Frida Kahlo and uses the same plaited cabling and lighting structures as employed in Mexico. The geometric mural of coloured cabling ends in a series of spotlights which illuminate the gallery space.
Evoking the celestial in the mundane, the work consists of a series of photographs of linoleum which slowly fade from one to the next. The work is charged by the lighting around it which forms its physical memory. A new commission, Slowly Crunching by Nicolas Deshayes consists of two large polystyrene panels at the end of the space.
Images from the film burn into the paint forming a lingering after-image. The work is a reconstruction of a film according to its recollection through subjective memory. A friend of the artists was asked to recall a film which had moved him in some way and made an impression on his life. His recollection of The Fallen Idol by Carol Reed was recorded and used as the narrative structure to re-edit the visuals of the film. Confusions, alterations, hesitations and added events were reanimated in the reconstruction of the film-as-memory.
This work, a visual work described through sound, addresses the audience directly and personally. What is before the camera obscures what Provoust is attempting to describe. Passing all sorts of apocalyptic landscapes and scenarios, the one-hour video leads you through the future from until The film tries to examine the way the future has been given shape and how the different scenarios relate to each other. They are part of a series of works that layer investigations into libraries and books with acid trip-outs, to explore the tandem possibilities of mental and social emancipation.
The wrought steel sculptures form an endpoint amidst Wysing's winding concrete. They also serve as a stage for a performance and as bolt plates capable of supporting sculptural elaboration. A new publication by An Endless Supply accompanies the exhibition. Slipped presented the work of artists who bring a criticality to the history and materiality of ceramic. The approach that the artists in Slipped have taken to working in clay is as an extension of their performance, painting or sculptural practices, resulting in work that often takes the materiality of clay as a starting point for pieces that combine the tactile nature of ceramic with conceptual rigour.
Slipped highlighted the potential of Wysing to act as a catalyst for collaborations between artists; much of the work was created in Wysing's on-site ceramics studio especially for the exhibition. Works demonstrated an interest in folk arts, craft, British modernism and legacies of twentieth century art and design and included domestic, potentially functional objects, painted plaques, small installations and freestanding sculpture.
Drawing on historical precedents such as Roger Fry's Omega Workshops, The Grantchester Pottery is interested in collective approaches to production. Similarly, Coco Crampton pursues an interest in the heritage of traditional craft disciplines, creating idiosyncratic collisions of materials and processes that explore the polarised relationship between tradition and the modern, and their relative percieved values.
Crampton's Bowers reference systems of growth and natural order; modular stacks of unitary components, branch-like wooden constructions, faux effects surfaces, and spiral growth patterns in hand thrown clay. Sharing an interest in architectural surface with Crampton, Giles Round offered a Fuming Pot of sage to cleanse the gallery space as part of his Neo Brutalist series of works that take on the texture of broken concrete at Wysing.
The Wasters, a number of selected clay off cuts become distinctive architectural forms presented on the classic, functional Universal Shelving System designed by Deiter Rams in Mark Essen 's clay pipe and ashtray presented an interest in the fine line between the functional and obsolete.
Essen employs wood and marble shaped by use to display his ceramics which are small observational gestures formed in a material he finds complelling because of its long history and malleable but functional properties. His expressive approach to sculpting and glazing stoneware resulted here in four individual intricate, abstract scenes that share common motifs and gestures. This process of layering is made visible in Swimmin Pool and Always Fashion and matched by an overlaying of Wine's points of reference: contemporary consumer culture; design; pornography and traditional art from around the world.
Lucy Conochie 's standing plaques and assemblages were an investigation into an ambiguous space between devotional painting, the sculptural object, and the still like within the history of painting. Each piece could also act as a linguistic signifier, with Conochie building a relationship between the languages of painting and poetry. These earthenware tablets referenced drawings and larger unmade sculptures. The works encourage us to examine the way that information is presented and read, drawing out a wider concern of the Department around the way that history, and the information that forms it, is created, developed, preserved, presented and understood.
Though both fun and knowing in its use of form, the Forster play perpetuated the problems with pageants by not challenging timeless notions of rurality and class hierarchies. The form of the pageant popular from s was that of an historical reenactment centred around a particularly linear, empirical telling of history. She has taken an antiquated form, reinvented it and is using it to explore the very notions of historicisation and preservation that it represents.
The score presented here is the outcome of a body of research into the use of bell ringing as an ancient mode of communication. Smith has worked with bell ringers and mathematicians to construct a coded language based on the mapping of ringing methods. Through this layering process the main thoroughfares and boundaries determine the rows to be played. Converting this geographic map back into sound Smith has developed a composition that can take its player on a journey from the tower at Bourn Church down all the village roads to the extent of the parish boundary.
The wallpapered design stand presented by An Endless Supply houses a page type specimen, designed and published by the duo as part of a body of research into the activities of the Curwen Press between and The specimen features Curwen Sans, originally drawn by Harold Curwen in , and uncovered and redrawn by An Endless Supply years later. The font has been redrawn from original prints sourced from the Curwen Press Papers held at Cambridge University. The type specimen functions as a critical history of the typeface featuring new writing on the processes of revival and acting as a vehicle for considering the study of history in general.
The screenprinted wallpaper that forms the dust jacket of, and backdrop to the specimen is a redrawn version of one of many wallpaper designs by the Curwen Press. This work not only raises questions about the revival, reinterpretation and representation of overlooked design but actively enters into them by digitising and making available this typeface which although a forerunner to more avant guard typeface design has now slipped into obscurity. The link between the construction of grammar and architecture is made explicit through the rhythmic correlation of the visual and audio. The complicated way that we construct time, and the language that conveys its construction becomes apparent as the voiceover explores a range of possible conjugations of these four fundamental actions and their representation in a visual grammar.
By taking a single shot of a book and expanding it out into the space in which the film was shot and is now shown, and then into the exterior of this space, and finally its architectural plans Kihlberg and Henry open up not just the mechanisms of filming and screening but the way in which we engage with architecture and documents within time.
Pursuing the Turquiose Universal was a gallery presentation that marked the close of The Institute of Beyond's Department of Psychedelic Studies , a six week residency during which artists Mark Essen, Hilary Koob-Sassen and Kate Owens researched and produced new bodies of work that explore the psychedelic in new and nuanced ways. Filmed in the area around Wysing, Archangel George presents the traces of human disruption in a landscape that is now abandoned and deserted.
His solar powered radio, which appears heavy and inert, is in fact an active and receptive object with the ability to pick up information from a wide geographic area. Like the societal structures they describe, these nautical sculptures are bold yet fragile forms. The black marble he uses is carved down until it becomes a series fine, flowing slivers that are monumental but frail.
By offering physical representations of ideal structures, and possible economies and ecologies, Koob-Sassen condenses his complex concepts into tangible sculptural forms. Frankie Frankenstein is a figure of human endeavour, whose ground is Filletville, a model of biological scale. Frankie in Filletville models human culture within the larger biological narrative, punctuated by the origination of new scales of body. Koob-Sassen presents these two pieces at a moment when one possible structure is being abandoned in favour of a new, potentially improved model.
The figure Frankie is perhaps in transit between two vessels embodying different systems for living. The prints were produced by pressing heavily onto the surface of 17th century oak beams, while the sculptures are energy drinks reduced down to a solid state. The act of compressing causes the material to relinquish its conventional form, taking on a more concentrated yet elusive structure. These glitches awaken a sense of materiality and human presence within the building. Acting as reminders of past history and missing knowledge, these irregularities become triggers for the imagination; creating space and freedom within the restrictive and sometimes oppressive, context of a listed building.
Two particular beams have sections cut out at picture hanging height, as if to make enough room to hang a painting. Isolated from their original context, the prints taken from these two beams appear as brackets framing an ever expanding and contracting gap. The potential force contained within each ml can of energy drink has been re-routed into an alternative output. By boiling off the liquid the drink is reduced to a dry black solid. The resulting sculpture holds the essence of the original material, presented in its heightened state. Damien Roach, who launched the exhibition with an exploratory DJ set, also presented a new limited edition book , Jim Gets Belligerent - published by his own imprint fromadarkenedsunroof.
The source for the publication is a Google Video clip from of a young man - Jim - smoking the psychoactive plant Salvia Divinorium and filming himself. Jim discusses what is occurring throughout, in an attempt to accurately relay his experiences real-time. The text was produced by providing a transcription company with the clip's audio track, which was then notated in detail, including every sound and word. The result is an often poignant series of reflections that offer a platform from which to consider some fundamental ideas around the nature of reality, language, expectation, transcendence, leisure, boredom and hope.
This exhibition was an attempt to create a dialogue between artistic interpretation and psychedelic experience. The exhibition was devised by curator Paul Pieroni in response to an invitation from Wysing Arts Centre to produce a project with the resident artists from the Department of Psychedelic Studies. At the far end of the gallery was a film. In their collaborative performances Upton and Taylor channelled a poetical mode of reading artworks that transgresses the basic rules and codes of artistic language and interpretation. Psychedelic experience has a very interesting relationship with language.
In a psychedelic state e. Such experiences however defined propose new and variegated modes of enunciation that push language and meaning to their very limits and sometime well beyond. In effect, psychedelic experience cannot be quantified by the toolbox that regular linguistic structures provide. It pushes things further…. Upton and Taylors reading of works by the residency artists is an example of a psychedelic symbolic possibility within the mode of seeing and speaking about art.
And while of course we need regular standards within artistic interpretation in the same way as we need normal language , by momentarily exposing normative hermeneutic procedure to a converse force here psychedelic language , we enact a temporary reframing of the situation, exposing for a short time a truly perverse set of possibilities lying internal and ever-present to the mechanisms of meaning itself….
Phil Root explores painting through different mediums to create multi-layered environments that can be viewed as whole or separate entities. The motivation to create an environment rather than a singular work is so that people can have a bodily, as well as intellectual, interaction with the work. Untitled Legs was inspired from a figure in a tarot card and is deliberately medieval. The patterning and bordering are suggestive of card like qualities, bringing out its relationship to image and object.
The work is also the basis of the limited edition screen print produced for the show. The piece explores the idea of erasure and references works by Francis Picabia such as En faveur de la critique Root exhibited a range of new work created especially for the exhibition including installation, sculpture, ceramics, paintings and wall drawings. In the exhibition space which he filled with musk incense, Filby exhibited a new body of sculptural work including re-conditioned glow-in-the-dark agricultural parts, re-coloured newspaper, and a sausage casing 'necklace'.
Filby's practice is interested in the meaning and unmeaning object, and amused by the possibility of communication through such convoluted and obtuse means as art making. His limited edition comprised an insertion into a local paper advertising some of the exhibited works as for sale. The artists developed new work in relation to the residency theme, part of The Institute of Beyond.
More info on their residencies here. The works provided mesmerizing juxtapositions of images, text and sound with a clear focus on broken up narrative. During the exhibition launch an interior designer from the nearby village of Cambourne was on hand to describe the mood boards to visitors. Two new sculptural counterparts that re-imagine the mood boards were also offered, presented on the furniture work of Giles Round. Presented upon one table was a sculptural work loosely based on the erotic drawings of Bloomsbury painter Duncan Grant.
The Department closed with a dinner, Wysing, an archeology, hosted by Round on Sunday 17 April from 7pm in which the furniture found a new use. Cally Spooner writes in dialogue to perform absurd collisions of arguing characters, looping narratives, miscommunications, mis-readings and interruptions. Her new work, a filmed monologue, performed the crisis of acting out-loud, achieving excellence, and finding something useful to say, in public.
On Sunday 17 April 5. In the project they investigated the relationship between drawing and writing. During the exhibition the studio installation hosted one of their meetings, open for visitors to encounter. He invited the artist Karolina Kowalska to show the work. The curator and three of the artists involved in EASTgoesEast, Karolina Kowalska, Jonathan O'Dwyer, and Krisztian Kristof, all contributed material to presenting different areas of interest within the common resource and further expanding this international partnership.
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