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Who Is Victoria Baamonde? Who Is Nikita Dragun? Who Killed Rita Roy? Who Is Richard Lomotey? If I totally let go All images courtesy of the gallery. So the year-old Chicago native came up with publishing open edition fine art posters——the printing process of which allows him to sell his pieces at an approachable price point for the people he wants to reach. And you can peruse Nava's current stock, here. The artist's fascination with these subjects started from a young age, where she often found herself noticing the disconnect between actual food and what ends up on your plate for dinner.

Now, Surdam looks to illuminate grotesque realities in the present day from the inside out—literally. Staging raw ingredients from liver to fish and even raw birds just to name a few , the artist offends the viewer's appetite while simultaneously drawing us in for more. The graphic artwork is juxtaposed against elegant backdrops with torn-out pieces from vintage American cookbooks and hidden butt plugs.

In their final form, the images leave the viewer in an ultimate state of illusion. Unable to look away once it has caught your attention, her works challenge the idea of beauty and the preconceived notions of perfection to its modern interpretation of truth. Though only two hours outside of New York City, the center feels far removed from urban life. On spaces of soft dirt, one travels a garden spanning the entire grounds. While such opaque guidelines for decorum may open the door to all kinds of fun, a darker message rests beneath the surface of the cardstock.

More until there is no more therefore reads as a series of entendres—a literal celebration until the close of the night; the last hurrah of irreverent opulence; a contemplation of the blank slate of a new covenant. Underneath the stars in a forest that toed the line between utopia and dystopia, guests wandered through the loosely packed dirt trail to uncover the conceptual vision of the artists, performers and curators. Atop a purpose-built cottage, three performers in red-feathered suits play dissonant string instruments. Haunting frequencies emanate from speakers placed in the flowerbeds and bushes that ring the pedestrian avenue.

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This decision can tell you the kind of stocks and shares that you need to be buying. Prior to your acquire a computerized Fx trading siftware program program be suire that you have one who fits your personal requirements. The slftware program is ineffective for you unless you realize it will suit you. Other visitors experienced an open gallery with a section of roof removed with the Cambridgeshire sky and flight activity on view from within the space. These two places and viewpoints were brought together in the double projected film shown in the gallery, also entitled Minus Roof.

In recent years A Kassen evolved their work into a collaborative playground for projects that seek to re-imagine the encounter between artwork and public; realising projects that have a comic book quality and in fact even producing a comic book of their ideas. During her residency Helen Stratford used site-specific and audio-based interventions to make visible the practices that produce and maintain public space in the nearby settlement of Cambourne.

Gathered during her residency, which continued through August, these practices include the voices of local residents, teenagers, groundsmen, road sweepers, light scouts, planners, and people working on their allotments. Her research revealed both the heavily maintained, and the overlooked and un-noticed public space in Cambourne, and proposed alternative uses for them. Through her residency Stratford drew on the practices of on performance, architecture and writing to explore how places and identities are produced and performed through every day objects and activities.

This reflection is often playful and invites participation. For their residency, Townley and Bradby spent three months living at Wysing with their children. Often working in collaboration with their children, they created an intimate portrait of the landscape and the communities around Wysing Arts Centre. They developed and tested out a variety of tactics to inhabit open spaces in and around Bourn and Cambourne, as well as making journeys across South Cambridgeshire. One event involved chalking out the swift, complicated and coordinated patterns of car parking outside the village nursery at drop-off time.

In another event Townley and Bradby took a 1. They used the ball to measure and activate fields that will be covered with houses within the next few years. Please ask if you would like to borrow it! Performed presented a selection of video, photography, installation, performances and documentation of performed actions and interventions by ten artists based in the east of England.

Video works included R. His projects are delivered with an improvised aesthetic, where the appearance of the installed objects and stage props is often subordinate to their performative function. Click here for the accompanying programme of events. A limited edition A2 silkscreen print by Simon and Tom Bloor accompanied the exhibition. A catalogue supported by The Elephant Trust was also available during the exhibition.

Exhibition organised by Eastside Projects , Birmingham. Animated includes work by artists which is grounded in contemporary culture and prods and pokes at our everyday existence with a mischievousness and gentle humour. Jo Addison is an artist who transforms ordinary, modest objects into imaginary alternatives, challenging our perceptions of our everyday surroundings. As tour guide, she invites the viewer to see the humour and elegance in the mis-spelt, the crossed-out, the improvised or the handmade.

In the work Services , a cardboard turntable suggests perhaps a desolate landscape. Her juxtaposition of celebration, humour, the unsavoury and the commonplace becomes an uplifting experience. Julie Brenot explores the territory between fiction and reality. Referencing visual, pop and music culture, she takes recognisable objects and alters them slightly.

The featured works include a series of paintings and installations using already existing pictures, novels, vinyl records and posters which are then reinterpreted to tease, puzzle and deceive the viewer in a light hearted way. Matt Cook works primarily in performance and sound. His work explores rhythmic structures in site-specific situations, capturing the daily cycle of everyday life, then animating it and replaying it back.

His work invites us to observe, reconsider, question and appreciate the nuances of our everyday surroundings. This new composition captures the everyday sounds of the local area. Sarah Evans investigates light, space, movement and time as it appears in nature, and then transforms it, creating new and imaginary environments using drawing, animation and sound.

I nfected with something beautiful: part one is a looping, hand drawn, color pencil, animation that has been created specifically for the iPod. The film is a low tech, silent, slight and playful intervention for what is a familiar contemporary audio technology, with the sense of sound inferred through rhythm, flow, pulse, and breath.

Simon Liddiment works conceptually using diverse materials. Typically, his work takes the point of departure in familiar identities and materials, which he then manipulates discreetly, exploring the humour in everyday objects and playfully re-interpreting them.

For example in the piece entitled 1 , he presents a visual pun with an economy that belies the painstaking and careful decision making process involved in creating the work. Or in another work Feint Horizon Liddiment has carefully redrawn an A4 ruled sheet on a larger piece of paper, framed in a solid box. By redrawing the note paper he is discreetly reinventing its daily function.

Though still recognizable, the paper is all of a sudden suggesting a feint horizon. Anne-Mie Melis explores scientific, environmental and ethical issues in an objective and unbiased way using primarily drawing, sculpture, animation and photography. Focusing specifically on plants, she has been working with plant geneticists to explore the visual nature of genetically engineered plants. In the animation series A Case of blushing, New Window, How to conform , she explores the possibility of how our everyday surrounding plants might evolve and develop into something entirely different.

Her playful yet slightly disturbing work falls somewhere between science and art, natural creation and interference, raising questions about the engineering of nature into a new world. Alex Pearl explores the acceptance of failure or disappointment as important parts of the human condition. The works presented here are a mix of epic mini films, installation and sculpture that make light of big issues and are in turn both haunting and funny. In Sing , an animation film, a lollipop stick sings a haunting lullaby, yet there are five different versions, all performed separately on five different screens.

Like an out of synch barbershop quartet, the work is playful yet acknowledges its own limitations and a hopeless desire for greatness. Simon Woolham is concerned with occupied spaces, the environment that surrounds us and the narratives that unfold within them. Through biro drawings, paper interventions, animations, for example school playing fields, junked underpasses, broken fences, and worn paths, he unearths the unpredictable and fragile process of memory, bringing to life familiar scenes and motifs with humour and wit. In his pop-ups an often hilarious universe of grotesque stories and situations are made public.

For example the pop-up work entitled We bought a load of fireworks and let them off in the sheds, it only went a bit wrong highlights in a humorous way the fragility of human social behavior. N55 is a collective of artists based in Denmark who see art as part of everyday life and who are particularly interested in architecture and design.

It is a non-commercial platform and they document their works and interventions in the form of manuals, so they can be developed by third parties. Their vision of a democratically organised collaborating body of self-reliant individuals is described in their writing and embodied in their designs. Most of their writing takes the form of manuals, and for Wysing Arts Centre they produced a Walking House manual. The manual was developed into a fully functioning object following Interact, an Arts Council funded placement.

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Working closely with specialists at MIT Institute of Engineering in Massachusetts they built a fully functioning Walking House — the house walks using adapted linear actuators. The design allows the structure to move slowly at the same pace as a human can walk, about 5km an hour in real terms.

Artists took over kitchens, offices, greenhouses and the gallery spaces as an alternative take on the open studios format, revealing hidden and unseen places that may never have been noticed before. Wysing Inside Out ran for three weeks during which we programmed a weekly series of events, film screenings in association with the Cambridge Film Festival and artist led alternative site tours, live music and performance evenings as well as three weekend workshops for all ages. Over the weekend of the September in particular we linked up around the Region to celebrate the launch of the Cultural Olympiad.

The London based artists collective Public Works worked with Bourn map-makers, ramblers, land-owners and local primary school for a year looking at creative ways of talking about the local area. For three days before the exhibition launch a temporary structure was sited at Riddy Lane, Bourn, from where guided walks, talks and rambles took place, followed by map making workshops led by artists at the structure itself and back at Wysing's new Reception building.

Wapke Feenstra from Myvillages. Wapke Feenstra and the Bibliobox - a travelling archive of rural art practice featured in the gallery exhibition - the culmination of the past year's residencies. The occasion was marked by an exhibition of work by the twenty four artists who were working from studios at the time. An exhibition of drawings for sale that were donated by artists was also exhibitied as part of the launch. During Wysing re-located to central Cambridge, converting a discused car showroom in the Romsey area into a temporary gallery and project space. We invited five international artists' collectives to be resident in a programme that celebrated the marginal.

Mess Hall from Chicago incorporated a whopping twelve different events into their residency — everything from clothes-making and franken-furniture recycling workshops to a communal hugging events and sewing workshops, which included sewing members of the public together via their clothes. The fourth collective to occupy the space were Platoniq Spain. As well as a more formal exhibition they turned the space into an alternative learning centre, staging skills swaps and talks on knowledge exchange, including creative commons and open-source software.

Platoniq used the space as their HQ from where they web streamed all events and activity. The third collective to occupy the space were La Culpable Peru. La Culpable embraced being on Mill Road and for two weeks were in the space every day and evening, talking and interviewing local residents for an ongoing radio broadcast. They also compiled a CD of music, recipes and opinions of Mill Road residents and then broadcast it in the space and also hosted a number of film screenings and events.

They also installed a kitchen area and cooked many delicious free meals for the public. The second collective to occupy the space were i-cabin Juliette Blightman and Sebastian Craig, London. They invited artists who had set up their own project spaces to comment on how they operated in an arts scene dominated by so many other galleries, all of whom were apparently pursuing the same artists for their programmes. We invited five international artists' collectives to be resident in the space, in a programme that celebrated the marginal. First to take up residence was Danger Museum Norway and Singapore.

They also curated a film series by other artists including John Smith and Jacques Tati. Beneath the floorboards of the forest, empty space was a text based computer game and visitors were invited to play the game. Part of the game was written at Wysing and visitors familiar with the area will spot local places and landmarks. The two bands worked independently of eachother, designing and making their own costumes, creating publicity material, making artwork for cd sleeves and writing their own songs which they recorded at a professional recording studio. Samantha Clark was in-residence at Wysing throughout during which time she researched various ideas relating to the common ground between Romanticism and scientific enquiry.

The resulting work, The Subtle Ether, was a 22 minute long video that was projected in Wysing's gallery. David Kefford, who had a studio at Wysing at the time, spent the summer of transforming Wysing's gallery into a total environment of new work, produced in the gallery space over a period of one month. David Kefford was commissioned to create new work for the gallery at Wysing, with a proviso that he should not incorporate any pre-existing work but use the time to develop a new series of works in response to being in the space.

The resultant exhibition was an energetic and psychologically charged immersive environment of objects that were formed of found materials. Throughout the residency period, David welcomed many visitors into the space to talk about the work as it was in the process of being developed. Dismiss this message. We use cookies to enhance your experience whilst using our site and anonymously collect and analyse data on website usage. Find out more. Donate Current Funders. Social Media Podcasts. Warning: Paradise contains mature scenes. Exhibition open: 7 July to 25 August, 12—5pm daily Biographies For artist biographies, please click here.

Press "Everywhere you look in the work, there is this extrapolation from the mundane to the extraordinary. Warning: Some of the works in the exhibition contain explicit language. Click on the above image to see more installation photos.

The exhibition is open every day, 12—5pm and continues until 26 March. The exhibition is made possible with a generous grant from the Arts Council England. Open daily pm The Practice of Theories is a group exhibition of work by artists with a connection to Wysing who seek to make visible the intangible, or share knowledge or complex theories through their work and working methods. Click on the image above for a slideshow of installation views. Click on the image above for a slide show of installations images. Open daily, 12noon-5pm, until 5 July.

Exhibition closing event 4 July, pm. Click on the image to see more installation shots of the exhibition. Click on the image above to see a slide show of installation views. Click on the image above for a slide show of installation views. Click on the image to see more photos of the exhibition and opening event. Click on the image to see a selection of work. Exhibition open every day, pm until 7 July. Closed Bank Holiday Monday, 27 May. Click on the image to see installation shots of the exhibition. 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.

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