An episode from Shani’s Turner-prize-nominated DC Semiramis series,Paradise,
2017, is installed in Folke Köbberling and Martin Kaltwasser’s Amphis, 2008, structure. Featuring a performance from a blood-spattered Maya Lubinsky and a score from artist Maxwell Sterling, Shani’s
Promethean myth introduces us to Paradise, a figure formed by AI who mine human genomic data for trauma narratives. Stranded on a rock and eternally tormented, Paradise takes aim at her creators and those who ‘organised this violence’.
Warning: Paradise contains mature scenes.
A new sculptural and sound installation from Jill McKnight investigates inherited ancestral wisdom, the elasticity of time and the archetypal roles that contemporary life pressures us into assuming. The centerpiece of the work is a new radio play, recorded in Wysing’s Polyphonic Recording Studio and consisting of four characters: The Artist, The Writer, The Administrator and The Mother. The first three of these are represented in large scale-sculptures in hessian, plaster and steel. For these works, McKnight was able to work with steel that had been bequeathed to Yorkshire Sculpture Park from sculptor Anthony Caro, who had in turn inherited it from the American sculptor David Smith.
Acts, incitements, etcetera, 2019, is a new video installation from Pallavi Paul drawing on her 2017 residency at Wysing and research into the Bletchley Park archive and the 1923 Official Secrets Act. Composed of archival photographs, documents detailing the repercussions of spying operations and interviews with the women who worked at Bletchley Park, Britain’s central code-breaking site during World War II, Paul’s work asks what it means to hold a secret. Reflecting on the labour of code-breaking and its legacy beyond wartime as memories are suppressed, the work explores how people, as much as language itself, can become repositories for information. Acts, incitements, etcetera is installed on the boundary of Wysing’s site in an unused temporary structure.