Exhibition Guide The Maxwell Centre is the centrepiece for In the Maxwell Centre, research scientists industrial partnership with the physical sciences from industry occupy laboratory and desk and engineering on the West Cambridge Science space alongside their University collaborators. and Technology Campus. The two-way flow of We are commissioning facilities such as the ideas and researchers promoted by the Centre suite of equipment for advanced materials adds value by bringing together ‘blue skies’ characterisation and others that will be activities with research objectives relevant to made available to industry and particularly economic growth. The substantial industrial to small and medium-sized enterprises, involvement in the Centre will be increased which will be encouraged to increase their through the activities in the new building, engagement with the University. The building in the collaborating Departments and in the now hosts the partnership between the commercial space on the West Cambridge site. University Technology Centre and the leading An overall economic impact within the UK ball bearing manufacturer SKF, and is due will be generated by the associated industrial to be the Cambridge site of the Sir Henry research, development and manufacturing. Royce Institute for Advanced Materials Research. It also provides the hub for two Our objectives are to carry out world-leading Engineering and Physical Sciences Research research in the physical sciences, developed Council Centres for Doctoral Training. from both near-term but also long-term industry objectives. There is the opportunity to build on the core of innovative ‘blue-skies’ Richard Friend research activity supported by the Winton Cavendish Professor of Physics Programme for the Physics of Sustainability. Director, Winton Programme for the Physics That programme is directed toward research of Sustainability that is not ‘more of the same’, but truly original Director, Maxwell Centre and innovative; it enables greater risk-taking beyond the scope of normal research grants. minutes, Courtesy the artist and Matt’s Gallery, London Gallery, minutes, Courtesy the artist and Matt’s 23 (detail), HD video, 2014 , Mainland Rock , UK), 1977 cover: Benedict Drew (b. Benedict Drew cover: INTO BOUNDLESS SPACE I LEAP Science is an exploration of the unknown. My It is only since spending time at the Maxwell fascination with the thrill of not knowing is Centre that I have come to realise just what drew me to science. Where I discovered how much of the knowledge that we have that far from the realm of clinical predictability, about the world around us is down to the delving into scientific worlds is a journey of creative brilliance of our scientists and their heart-stopping unpredictability, where electrons uncompromising, unstoppable search for and atoms dance in mysterious patterns to answers. It is their curiosity that has led to the create astonishing physical phenomena. innovation that allows us to carry the internet in our pockets, communicate with the world This may sound as though I’m speaking of arts, at the touch of a button and explore every not science – but these realms are surprisingly corner of our vast planet. Their dreams allow similar in their passion, creativity, and search for us the chance to fulfill our dreams, faster. worlds beyond. This is what we are looking to convey through the synthesis of arts and science When Kettle’s Yard was invited by the Maxwell in our exhibition Into Boundless Space I Leap. Centre to curate a project that would help to Science is too often walled off, considered too celebrate the opening of this important new technical, incomprehensible, and the preserve building, we leapt at the opportunity. Like of specialists. The new Maxwell Centre is science, art has the power to change the way designed to make science more accessible, and its we see and interact with the world around us. boundaries more porous; to facilitate academic Whether it is through Hito Steyerl’s work that conversations with industry, interdisciplinary tests the impact of new technology on society, partnerships, and fluid interfaces between arts Laura Buckley’s beautiful studies of light, or and science. Maxwell conceived a world of Wayne McGregor and Haroon Mirza’s new invisible fields – where electricity, magnetism, performance that explores the body’s interaction and light waves interact as one with each with light and space; these artists each share other. Decades later, radio, TV, radar, and with their scientific counterparts that same mobile phones carry information via Maxwell’s tenacious curiosity and appetite for discovery. electromagnetic fields – a triumph of scientific imagination translated into technology. It is this appetite that drives artists to observe and interrogate their continually shifting Our exhibition is a celebration of scientific and surroundings, and to make work that invites us artistic discovery. The Cavendish Arts-Science to see the world differently. I believe that like Project partnership between scientists at the art, curiosity is something that is so important Maxwell Centre, curators at Kettle’s Yard, and to being human that it can, and should, be collaborating artists, has proved an exciting shared by all. exploration of each other’s worlds. We hope that it gives you a glimpse of those worlds too, and ignites your scientific curiosity and Guy Haywood imagination – to see further, and dream bigger. Curator of Into Boundless Space I Leap Kettle’s Yard Suchitra Sebastian Director, Cavendish Arts-Science Project Maxwell Centre, Department of Physics 14A 15 13 11 14B 12 10 9 6 5 4 8 A 7 ENTRANCE 1 2 3 FACILITIES There are two facility areas on each floor with toilets, stairs and lift. Rana Begum (b.1977, Bangladesh) Mark Titchner (b.1973, UK) 1 No.657 LFold, 2016, paint on mirror finish 3 Let Old Words New Truth Inspire, 2016, stainless steel printed vinyl No.659 LFold, 2016, paint on stainless steel Courtesy the artist and Vilma Gold, London Courtesy the artist and Galerie Christian Mark Titchner has created a new graphic text Lethert, Cologne work especially for the Maxwell Centre, which Rana Begum’s sculptures are displayed on the is displayed on the surface beneath the feature high wall of the entrance space to the Maxwell staircase. Taking a phrase from James Clerk Centre and are visible from each floor. Taking Maxwell’s extensive poetic writings, Titchner inspiration from the colliding colours, shapes presents a mantra-like text that chimes with the and patterns that make up the built environment Centre’s culture of cutting-edge creative thought around us, Begum’s ‘folds’ appear deceptively and the persistent search for answers. Let Old light, like paper origami sculptures, but are Words New Truth Inspire suggests the emergence made from folded pieces of stainless steel. These of novel scientific ideas and discoveries from the geometric forms interact with the spaces in which fabric of enduring scientific principles. they are displayed – ambient light bounces from their brightly coloured, highly polished surfaces, Paul Purgas (b.1980, UK) deflecting colour onto their surroundings. As the 4 Source/Cell/Magnitude, 2016, live viewer moves around the sculptures their shapes transmission equipment, directional speaker are further activated as the surfaces intersect with Courtesy the artist one another and create new colours. This new experimental sound piece explores the ubiquitous nature of electromagnetic waves. Wayne McGregor (b.1970, UK) and Haroon Purgas uses a series of special microphones that 2 Mirza (b.1977, UK) have been connected to scientific equipment in A new commission choreographed by Wayne the Maxwell Centre’s basement laboratories. McGregor and performed by Jason Mabana These translate electromagnetic fields directly and Julia Anna Sattler into audible sound. The broadcast is transmitted Haroon Mirza, Transverse Waves for Wayne live from the new quantum materials laboratories (Solar Symphony 10), 2016, photovoltaic in the basement of the building on the FM radio panel, van door, speakers, electronics, LEDs frequency 89.2. Directional speakers activate the Courtesy hrm199 Ltd sound as visitors ascend the staircase. Film by Ravi Deepres (b.1969, UK) In this new commission, choreographer Wayne Laura Buckley (b.1977, Dublin) McGregor and artist Haroon Mirza explore the 5 White Light Waves 1, 2016, C-type print body, sound and space. The interactions between White Light Waves 2, 2016, C-type print these creative forms physically embody the Courtesy the artist, with thanks to Wysing Maxwell Centre’s ethos of creative exploration Arts Centre and pioneering experimentation. This is the Made by Laura Buckley at the Cavendish artists’ second collaborative work to combine Laboratory in March 2016, these prints form the light, sound and movement. The dancers’ bodies most recent part of a body of work that she has activate the sculptural soundscape that is created been developing since 2012. Buckley manipulates through the connecting elements of solar panels, objects, materials and surfaces on top of a electricity and light sources. photographic scanner whilst shining light back The work will be performed live on 9 April. into its beam. She creates abstract, experimental Thereafter, a film of the performance will be images that not only challenge the technology viewable in the atrium space; the film is a creative but also offer a new way of seeing around, collaboration between McGregor, Mirza and through and in between materials. These new British artist and filmmaker Ravi Deepres. works were created by ‘scanning’ one of James Clerk Maxwell’s glass shapes, a cross, which Ulyana Gumenuik (b.1975, Ukraine) he used for studying light transmission through 8 Elements 1.1 (Iron), 2016, oil and graphite glass that was subjected to different levels of on canvas pressure. These glass shapes are displayed in the Courtesy the artist cabinets on the top floor. Ulyana Gumenuik was previously a Fellow Commoner in Creative Arts at Trinity College, Benedict Drew (b.1977, UK) Cambridge.