Harold Offeh’s Reading the Realness is a spoken-word performance based around a conversation that occurred on the American talk show The Real involving activist Rachel Dolezal. Dolezal came to public attention when she was controversially ‘outed’ for being trans-racial and living as an African-American woman. Offeh’s performance adopts the form of a script reading workshop featuring participants from a range of backgrounds.
Paul Kindersley and a troupe of performers will perform Ship of Fools, a play written by Kindersley and inspired by a painting by Dutch artist Hieronymus Bosch (1450-1516). Bosch’s Ship of Fools depicts a boatload of merrymakers indulging in earthly pleasures while unwittingly sailing towards their doom. The performance will last 30 minutes and will take place amongst Kindersley’s installation of handpainted drapery in the gallery.
FREE, come along.
FREE, booking required.
About Open House
Open House is a long-term collaboration between Kettle’s Yard and our neighbouring communities in North Cambridge.
Open House welcomes an Artist in Residence each year, selected by the community, to explore the local area, collaborate with local residents and create new artwork together.
Join Sarah Wood for a talk about her work in ‘The Cambridge Show’.
FREE, come along
Paul Kindersley and a troupe of performers will perform Ship of Fools, a play written by Kindersley and inspired by a painting by Dutch artist Hieronymus Bosch (1450-1516). Bosch’s Ship of Fools depicts a boatload of merrymakers indulging in earthly pleasures while unwittingly sailing towards their doom. The performance will last 30 minutes and will take place amongst Kindersley’s installation of handpainted drapery in the gallery.
FREE, come along.
FREE, booking recommended.
Programme
As part of this event artist Paul Kindersley and a carnivalesque troupe of performers will perform Ship of Fools, a play written by Kindersley and inspired by a painting by Dutch artist Hieronymus Bosch (1450-1516). The performance will last 30 minutes and will take place amongst Kindersley’s installation of handprinted drapery in the gallery.
In this new series of beautiful, large-scale and prints, New Zealand artist Marian Maguire imagines how the passing millenia might have affected the traditional roles of the ancient Greek goddesses.
Assuming the Greek gods are immortal and therefore have a continued presence, Maguire wonders: would they do things differently? Would they stay the same and maintain the status quo or would they choose to change, if they could see us now? Would they stay, or would they walk away?
Can we listen to a painting? What does music look like?
Artistic and musical collaborations for the stage sit alongside works which employ music-making as a visual metaphor for love. Others reference music’s ability to trigger an emotional response without a visual cue. The tension between abstract and figurative, graphic and sonic, is alluded to through the display of musical scores alongside drawings and prints.
Rembrandt made etchings of female nudes during two distinct periods of his career: in the 1630s, and another two decades later. He depicted his models naturalistically, naar ‘t leven (‘from life’), in informal poses, concentrating on the sensuousness of their flesh rather than on the idealised female body. From shortly after Rembrandt’s death up until the mid-20th century this unidealised treatment was fiercely attacked by critics, who used words such as ‘intolerable’, ‘ill-shaped’ and ‘monstrous’ to describe his departure from the classical norms of beauty.
This research‐led multi-sensory exhibition will showcase hidden and newly‐conserved treasures from the Fitzwilliam and other collections, and features four spectacular historical reconstructions with food at their centre, including a Jacobean sugar banquet, a European feasting table and a Georgian confectioner’s workshop.
