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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.

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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. 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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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