“There aren’t that many organisations in the UK offering time, space, funding and a creative environment to artists with no imposed pre-defined outcomes. We really do want to help artists make the work that they want to make, and not what someone else wants them to make.”

Wysing Arts Centre’s artistic director Donna Lynasis is reflecting on the organisation’s approach to supporting artists’ creative and professional development. It’s something Wysing, based near the village of Bourn in rural Cambridgeshire, has been doing for the past 25 years. To celebrate this landmark, it has just launched a series of exhibitions, residencies and events under the banner of Wysing Arts Centre 25. The programme looks to celebrate past achievements while exploring what the future might hold for artists, arts organisations and society.

Lynas joined Wysing in 2005 and helped steer to completion in 2008 a £1.7million capital development project initiated by former director Trystan Hawkins. From humble beginnings in 1989, when founders Jenny and Terry Brooks and artists Annie and Age Bunnetat set about transforming old farm buildings into studios and a gallery space, the organisation now has 10 buildings including a live-work residency space, specialist new media facilities, a gallery and education facilities. A 17th century farmhouse is used as accommodation for residencies and retreats, alongside permanent studio space for 18 artists.

Lynas, though, is keen to stress that Wysing is about enabling artistic ideas to flourish rather than bricks and mortar. “We have a unique site plus some very experienced people working here, who artists enjoy working with,” she says. “But first and foremost we are interested in the artist and the potential of new work that has yet to be realised, in whatever form. We’re not driven by the gallery model and so don’t set about trying to make artists deliver work for gallery exhibitions. There are plenty of galleries out there doing that.”

Conversations and collaborations

Residencies at Wysing are grouped into ‘environments’, with themes that have emerged from the organisation’s geographic position and its origins as a space for artistic experimentation and innovation. Artist Emma Smith, who has been involved in several projects at Wysing, believes these environments help to facilitate an exchange of ideas, and to develop creative relationships between artists working across diverse practices.

“The themes are very open to give scope for interesting relationships between different practices,” she says. “It’s a starting point whose research structure is then shaped by the artists, and this provides a great shared territory through which to exchange ideas. The residencies are really well curated, bringing artists together with interlinking practices but who operate in different ways. This leads to some really interesting crossovers, conversations and collaborations.”

Seb Patane agrees. He took part in the Convention T residency programme in autumn 2013, and his work is included in the Annals of the Twenty-Ninth Century exhibition that launches the Wysing Arts Centre 25 programme. For him, Wysing’s supportive atmosphere is particularly important.

“There is a warmth and genuine enthusiasm about everyone at Wysing, he says. “Everyone involved is extremely attentive, they have a very good understanding of the artist’s work before we even get there, so you kind of feel ‘understood’.”

Patane also praises the way the residency is structured. “It’s ideal as it puts you in touch with inspiring curators and fellow artists, and this promotes a very healthy, challenging yet exciting exchange. This drags you out of the kind of solitary confinement of the studio – it reminds you what’s good about being an artist.”

Patane’s work for the Annals of the Twenty-Ninth Century exhibition, which brings together artists from the 2013 residency programme, came about when he asked the artist, activist and fellow residency holder Gustav Metzger to read from The Political Theatre, a book by early 20th century avant-garde theatre director Erwin Piscator.

“I had a bit of an epiphany and thought it would be interesting, if not amazing, to ask Gustav to be recorded reading a very short excerpt. I liked the idea of fiction, theatre, artifice; an artist interpreting another one, both German, both politically involved. It was the idea of playful make believe, yet on a very serious matter that intrigued me.”

Looking to the Futurecamp

The Wysing Arts Centre 25 programme has been developed as a framework to explore future potential by drawing on the knowledge and experiences of the past. “We were keen to use the programme as a way to think about our history, whilst at the same time look to the future,” says Lynas. “So the exhibitions Annals of the Twenty Ninth Century and Hey, I’m Mr Poetic, both have an element of looking back to understand how we are looking forwards.”

During the summer, an ambitious series of residencies and fortnightly events under the title Futurecamp will see artists, scientists, politicians, philosophers, economists and architects come together “to explore the future from five specific positions”.

For Emma Smith, it’s this intriguing mix of programmed events, combined with a space to develop new work, that makes the Wysing experience so special for artists. “Wysing is a unique place to live and work and the events programme and visiting speakers bring in further voices and input. This fosters long-term relationships, so you feel supported in an ongoing way.

“The staff really understand your work, and the organisation offers space to develop new work in a really well curated group context. The focus is on what is most useful to your practice rather than pre-determined outcomes – it is a really productive time.”

Annals of the Twenty-Ninth Century continues at Wysing Art Centre, Bourn, Cambridge, until 30 March. www.wysingartscentre.org


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