Here's the article on its own without the pictures and page layout, its clearer to read too.

1. Double Page Spread Article
Walead Beshty Joins Brion Dillion to talk about his
new exhibition a year long in the making
Walead Beshty was originally born in London in 1976, he is artist and has lived most of his life in
Los Angeles America. His latest artistic piece is currently on display at The Curve exhibition room
ant the Barbican Exhibition Centre, London. Walead himself says he can barely remember the
name of his own piece, A Partial Disassembling of an Invention Without a Future: Helter-
Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at
Random All Over the Workbench. It has been one of his biggest endeavours and has taken him
over a year to prepare everything he needed for the piece. He started the work in his studio in LA
on the 1st August 2013. The idea of his piece was to collect thousands of different articles from
around his studio. Things like letters, cardboard, envelopes, invoices, scraps of wood and any
other organic material that he could find.
The process in which he made the blue stencil like prints on every asset is a process similar to
taking a photo. Each asset is called a Cyanotype and is created by coating the collected assets in
Potassium Ferricyanide and left to dry in the dark. Another object or tool that is found from around
the studio like a ladder, or a screwdriver or a pen knife etc is placed on the coated assets and left
in the sun exposed to UV rays. After some time around 15 minutes, the areas that were exposed
to the sunlight and not shaded by the object turn blue. The different shades of blue depend on the
level of UV exposure, more exposure makes the blue darker.
After many weeks of assembly in The Curve exhibition room which boasts an enormous 90 meter
long, 5 meter tall wall with a total surface area of 495 square meters. Many people were involved
in the process of tacking every single asset to the wall in the only order being that from right to left
shows the first and the last cyanotypes to be created. On the 26th of November, Walead joined
writer and curator Brian Dillon in conversation at the Barbican. I joined them to uncover the
meaning of the piece from that man who made it and to discover in detail about creative process.
The volume of assets that he had in his studio in LA made it impossible to sort through and to see
what he had actually collected. Therefore he said there is a good chance that the piece if work
actually contains very personal information, like bank statements, prescriptions and phone
numbers and addresses.
Walead described fitting stuff on the wall as playing a huge game of Tetris, as the people
assembling it had to fit all the different bits in under pressure of meeting the deadline.
People in the audience questioned, if there was a random assembly of the piece than does that
mean that true meaning of the piece was lost? He replied that not everything has a true meaning.
But everything has a meaning when you apply the analogy. ‘you can make an analogy between a
helicopter and my foot if you want’ the same you can make a connection and meaning for any of
his work.
Some people in the audience questioned what was the point of creating so many of the
Cyanotypes. They were all mass produced and all pretty much the same, so why have over 495
square meters of the same Cyanotype? Walead said that everything mass produced conceals
difference. He Picks up his costa coffee cup, he says that although these are mass produced
cups and the cup made a second before this cup may look identical, it is unique. Even though
they are all made from paper which is all made from cellulose, you can make every cup radically
different. Just like you can with every cyanotype on display at The Curve.
Lewis Kitchenham