I am delighted to invite you to the Private View of a new exhibition at the Ruskin Gallery and studios in Cambridge School of Art, Cambridge, England opening on 21st June.
POETRY, LANGUAGE, CODE - Sourcing the In-visible.
Artists: heath bunting, Elena Cologni, Ernest Edmonds, Kip Gresham, Eduardo Kac, William Latham, Liliane Lijn, London Fieldworks (with Steve Beard and Kaffe Matthews), Mariana Manhães, Gustav Metzger, Alex McLean, Alan Sutcliffe.
Private View 21st June at 6.00 pm Performance 7.00 pm. The Ruskin Gallery and Studios (for directions see www.visualisecambridge.org)
The exhibition made specially for this site explores the dynamic, constructive and formal relationships which artworks contain within themselves: the visual language, codes and grammars which artists often invent, appropriate or borrow to make art work. Exposing the often unseen underlying interior typologies, this is an exhibition about form-finding, about the processes by which visual communication occurs or composition happens. It is also a play with identity and with artistic signature in a context of the generic, the generative and the collaborative. Artworks are counterpointed with diagrams and flow-charts, with texts and subtexts and organic machines. We see the possibility of luminous human machine interaction as well as the intuitive crafted work of the hand. We understand the production of form from the inside-out and the often slow morpho-genesis by which works emerge. The exhibition includes works from the last five decades including early examples of concrete poetry and relates these to the development of computer-based artworks. A collaboration with The Print Studio Cambridge and Kip Gresham brings to us perfectly made screen-prints accompanying magical texts. The mutable, protean, traversal routes which artists take through processes of ‘formation’ are exposed and revealed. We watch how analogue moves to digital and back to analogue again. At heart is the idea of liveness, of the containment of that which might be mutable and reflexive, of biological and computational processes of regeneration from system to system in poetic circuits of flow and interaction.
The exhibition is timed to open on the centenary of Alan Turing’s birth and also pays homage to the work of the Cambridge Language Research Unit from where Margaret Masterman and Robin McKinnon devised one of the world’s first Computer Poems (Computer based-Haiku) for the Cybernetic Serendipity exhibition in 1968 at the ICA in London. An unpublished original text by Gustav Metzer, who studied at Cambridge School of Art in the 1950s, will also be displayed.
In the slipstream of this lineage and more recent Cambridge-led developments such as the Human Genome Project internationally acclaimed artist Eduardo Kac shows for the first time a new work called CODA specially commissioned by the Visualise programme. This work is the culmination of a series called Edunia, within which Kac hybridised his own DNA with plant DNA, to form a new transgenic work in keeping with his invention of the term ‘ bioart’ for living artworks. Kac will also bring to the studios a work-in-progress commissioned by Visualise’s Art and Technology strand which connects bio-conductive ink, silk-screening, MBED circuits by Cambridge company ARM and a sound score developed with Dr Rob Toulson of the Anglia Ruskin CoDE Research centre.
The bio-morphic and biological is also at the heart of the work of William Latham who began as an artist in the early 1980s at Ruskin College in Oxford and won a Henry Moore Scholarship to the Royal College of Art from where he moved to become one of the first UK fine artists to sustain an engagement with computers – the progression of his work from print to interdisciplinary bio-informatics research and from fine art to gaming is depicted here in the Ruskin Digital Gallery and studios.
Other works by the artists in the show will demonstrate intensive working with embedded poetics, collaborative, aural and visual languages. We show in a visual arts exhibition for the first time concrete poetry works by Ernest Edmonds and particularly reflect on the evolution within his work between 1967 and 1968 when he first began to use computer programmes within the production of his artworks. Ernest's ongoing series, Shaping Form, will be displayed on the ten digital screens of the Ruskin Gallery.
A series of events accompany the exhibition: on 23rd June the Institute of Astronomy in Cambridge is the site for 'The Limits of Seeing: the View from Above and Below' a series of artistic interventions in and among 19th c telescopes and observatories and in the auditorium a series of art films relating to space will be shown including works by semi-conductor and Liliane Lijn as well as talks by heath bunting, Liliane Lijn and Professor of Experimental Psychology, Gerry Gilmore.
In a world first, on 5th July, Liliane Lijn presents Power Game Online a game for Twitter which players worldwide can join in as well as those in the gallery. For more information about how to play and to vote see www.visualisecambridge.org or email me for more information.
Hope to see you some of the New Media Curating network in Cambridge soon.
Guest Curator, Visualise