The Influence of Furniture on Love14. Sep - 2. Nov 14 / ends in 31 days Wysing Arts Centre
12pm - 5pm
The Influence of Furniture on Love with An Endless Supply, Ruth Beale, Juliette Blightman, Ben Brierley, Céline Condorelli, Seb Patane, Florian Roithmayr, Phil Root, Laure Prouvost, Cally Spooner, The Grantchester Pottery, Philomene Pirecki
The Influence of Furniture on Love with An Endless Supply, Ruth Beale, Juliette Blightman, Ben Brierley, Céline Condorelli, Luca Frei, Seb Patane, Florian Roithmayr, Phil Root, Laure Prouvost, Cally Spooner, The Grantchester Pottery, Philomene Pirecki , Elizabeth Price, Jess Flood-Paddock, Gil Leung, Mark Aerial Waller, Neal White and Lisa Wilkens.
The Influence of Furniture on Love is an exhibition in Wysing Arts Centre’s 17th century farmhouse. The title of the exhibition is taken from an unpublished essay by economist John Maynard Keynes entitled “Can we consume our surplus or the influence of furniture on love” (1909), a handwritten copy of which is held in the archives of King’s College at the University of Cambridge. In the essay, Keynes discusses whether it is possible for the rooms within which we live to “suggest to us thoughts and feelings and occupations?”
Wysing’s Grade II Listed farmhouse, which was built in the early 17th century reputedly from timbers of ships salvaged from the sinking of the Spanish Armada in 1588, has hosted many hundreds of artists since the organisation was founded twenty five years ago.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. All the artists in the exhibition have been in-residence at Wysing over the centre’s 25 year history.
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. Taking place in Wysing’s gallery, the dinners will be devised by the artists and will include events, performances and screenings.
Giles Round has had a close association with Wysing since he was first in-residence at the centre in early 2011. 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.
“Can we consume our surplus or the influence of furniture on love” (1909), by John Maynard Keynes is copyright of The Provot and Scholars of King’s College, Cambridge.
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