15 May — 16 May 2010
A special events weekend to accompany the exhibition Presents.
Saturday 15 May
Arts commissioning agency Kaavous-Bhoyroo hosted a discussion on artists’ editions. Kaavous-Bhoyroo was established in 2008 to commission new works by emerging and established artists, providing them with an opportunity to explore new ideas. For the exhibition Presents all of these editions were shown as a retrospective installation in Wysing’s gallery. Artists contributing to the discussion included Coco Crampton, David Kefford, Simon Liddiment and Lee Marshall.
Aid & Abet is an artist-led initiative based in Cambridge, co-founded by Wysing studio artists Sarah Evans, CJ Mahony and David Kefford. For the Special Weekend they were in-conversation with London-based letter press studio, A Two Pipe Problem, print-makers who designed Aid & Abet’s first print material featuring their name as well as two new posters from the Exquisite Corpse Series.
The artist group C-o-l-l-i-d-e-r created Pipeline for the Presents exhibition; a long structure of pipe material connecting a booth in the gallery and Amphis (the recycled building made on Wysing’s site in 2008). For the weekend, Katie Jane wrote a ‘snooping diary’, part real and part imagined, on those entering the booth, two poets from very different traditions were brought together and the resulting dialogue broadcast into the gallery via loudspeakers and Bettina Furnee invited visitors to play ArtFair, a one-day long word association game.
Sunday 16 May
Visitors were invited to bring their own picnic and join in with remote signalling games across Wysing’s fields. Artist initiative PROJECKT and Field Broadcasting artists, including Richard Bevan, Dan Coopey, Fritha Jenkins, Jen Southern, Simon Faithfull and Laura Wilson celebrate the end of Field Broadcast; a project that enables artists to stream live work from fields around the world to your computer. Visitors were asked to listen out for the bell in the gallery – when it rings there is a live broadcast. All works, whether video, animation, performance, sculpture or live data were created in the field with no editing or post-production. Each broadcast was viewed by a dispersed international audience, at office desks, in cafes, on trains and at kitchen tables, and of course at Wysing itself.
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