Exhibitions and Events Archive - 2007
11 September - 7 December 2007
Biennale of Electronic Arts Perth 2007
Bill Viola, Observance, 2002, colour High-Definition video on plasma display mounted on wall, photo: Kira Perov
The theme for Biennale of Electronic Arts Perth (BEAP) 2007 has been contextualised around concepts of 'stillness'. BEAP is looking at moving beyond a point in time, looking at defining a parallel to duration, a contemplative desire to comprehend a contemporary stillness. BEAP will draw together significant works, exposing them to contemplation and discernment.
Discoveries in technology have quickened the pace of daily life to unprecedented levels. With growing recognition of the value of contemplation and principles of self-reliance, technology's potential for satisfying mankind's every desire is increasingly being scrutinised.
Presented as part of the 2007 Biennale of Electronic Arts Perth, impermanence will present a select group of innovative projects from artists around the world exploring the value of the contemplative in electronic art. impermanence showcases interactive artworks that interrogate the role new technologies can play in helping us better understand the changing world in which we live. These groundbreaking works will invite audiences to pause and consider the notion of stillness within the growing global technological maelstrom.
Lynette Wallworth, Still: Waiting2, 2006, commissioned by New Crowned Hope and Arnolfini, produced by Forma
Supported by Arts Council England and City of Melbourne Arts House program, Australia Council Fellowship New Media and Visual Arts Board
Christa Sommerer and Laurent Mignonneau, Eau de Jardin (c) 2004, interactive computer installation developed for HOUSE-OF-SHISEIDO, Tokyo
Mark Cypher, Darwin, 2007, internet data and games engine, image courtesy of the Artist
Daniel Lee, Origin, 1999-2003, DVD Video, image courtesy of the Artist
Pippin Drysdale, Tanami Traces Series V , porcelain vessels, installation, 2006, photo: Adrian Lambert, Acorn Photo Agency, courtesy of the Artist
For the past quarter century Pippin Drysdale has been refining her forms, her materials and her language to create a unique body of work that is responsive to the landscapes of Australia. Although an urban artist she seeks out places that have a special character or resonance, like the Tanami Desert in central northern Western Australia or the Kimberley Region in the northwest of the State. Once absorbed, the colours, sounds, patterns and ambience of the site are carried back to the studio where she patiently re-creates their ‘hum’ and ‘echo’ in the delicate web of glazes etched into the surfaces of her elegantly shaped forms - lines of sight, of smell, taste and memory.
The exhibition Lines of site will showcase works from private collections from the past fifteen years, as well as new site specific works.
This is the second in the IBT Education Australian Artists Series of exhibitions presented by the John Curtin Gallery. The Australian Artists series presents a major survey of work by a leading Australian artist who has built a solid professional reputation over the past decade of their practice.
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dOFa07 is an exhibition of works by graduating Doctor of Creative Arts, Master of Creative Arts and Master of Arts students from the Department of Art, Curtin University of Technology. The exhibition showcases a diverse range of artistic backgrounds and interests, from painting to large-scale audio-visual installations and digital artworks.
A copy of the dofa07 online can be downloaded here (1 Meg).
A copy of the dOFa07 opening address can be downloaded here (26KB).
The exhibited works not only explore how an Indian artist tries to re-map the fragmented notion of self-identity with relation to socio-cultural and political tensions in a contemporary society, but also examines how ‘body’ has to negotiate between different cultures through the process of inter-experiences gathered at the site called ‘go-between inter-play’. This site of enunciation will try to provide new orientations for performance as practice by re-examining the process of interpreting inter-experiences during performative interaction. This area of investigation was explored through Erwing Goffman’s readings of notion of interaction order.
The area of research over the course of my Masters of Electronic Arts has developed from my inbox. Two distinct and unrelated works evolved from this investigation.
The first is a web work that delves into forgotten junk mail; reconstructing text used to trick Spam Filters, creating an interactive non-linear narrative, Discordian Poetry for the Internet age.
The second is a series of works that evolved from reconstituting images that have crisscrossed the Internet, eventually landing in my own inbox.
Kalin Kosturkov, digital image, 2006, image courtesy of the Artist
Lin has created jewellery that has a relationship to the human body. Inspired by basic geometrical forms, he incorporated moving circles and swinging lines to present the moment of touching rippling water. Every piece presents a process of this fluid movement in an endeavour to provoke a sense of balance, peace and harmony.
Jinmi Lin, Kinetic Sculpture Ring, 2006, sterling silver, courtesy of the Artist
The exegesis title for my DCA is Exquisite Corpse: The Rainbow Serpent in the Garden of Eden. The garden, what I see in it, how I live in it, is a metaphor that migrated to Australia with my parents. It is for most Westerners our most abiding relationship with land. The paintings are of my mother's garden. Through them I have found a link to my past, a personal and cultural identity related to and formed by land. I have been inspired by the Aboriginal understanding that land is everything.
Anna Sabadini, The Exaltation of the Cross, 2005, oil on canvas, 1500 x 1500mm, image courtesy of the Artist
Kim Stanley Medlen
Kim Stanley Medlen is a visual artist whose jewellery-based work responds to contemporary issues that surround HIV/AIDS and gay male body image.
Stigmatisation by religious, political and medical institutions has had a considerable impact on gay males with HIV/AIDS living in Australia. To avoid discrimination it has become increasingly common for these men to alter their physical appearance through body building and cosmetic surgery. This hyper-masculine masquerade gives the appearance of conforming to Western cultural masculine and healthy body ideals, increasing their value and social status.
Kim’s visual art makes use of traditional jewellery making techniques such as piercing, dye forming and gold plating to express these ideas. He hopes to stimulate discussion and awareness of those who live on the boundaries of society.
Using sound, Williams mapped various locations around Perth, recording both within the gallery space and in the environment. The data collected has been re-augmented and presented in Re: Body. The atmospheric sounds are accentuated by a 3D video constructed from documentation of her earlier Sound Map performance/installation; presented here to reintroduce the artist’s presence back into the environment. This allows for a potential dialogue between the viewer and the artist on entering the space.
Pauline Williams, Re-Body, audio-visual installation, film still, 2007, image courtesy of the Artist
Peter Fitzpatrick, Edgar Evans , 1996-2005, pigment ink on canvas,1250 x 1250mm, image courtesy of the Artist
Peter Morse, Ice Cave, Mawson Station, Antarctica, 360 degree panoramic photograph, 2006, courtesy of the Artist
And now there came both mist and snow,
And it grew wondrous cold:
And ice, mast-high, came floating by,
As green as emerald.
And through the drifts the snowy clifts
Did send a dismal sheen:
Nor shapes of men nor beasts we ken—
The ice was all between.
Rime of the Ancient Mariner, Samuel Taylor Coleridge
Feared and desired but always demanding respect, Antarctica has fuelled imaginations for centuries as the great unknown south land. Identified by seafarers since the fifteenth century, much of Antarctica’s exploration has only been undertaken in the last century. A place still shrouded in mystery, it holds a fascination for scientists and a growing number of tourists. Antarctica’s value as a barometer for global climate change is vital as our awareness of the environmental dangers become increasingly apparent.
From Cook to Shackleton, Scott and Mawson, many have journeyed to this last great wilderness. Through the eyes of the photographers and artists that accompanied these early expeditions and the more recent Australian artists on their own voyage of discovery, this exhibition contrasts their visions of this extraordinary land. IMAGinING Antarctica describes this awesomely powerful yet deeply fragile and relatively untouched continent and affords us the opportunity to contemplate the spaces between the contradictions that are Antarctica.
IMAGinING Antarctica has been developed in collaboration with John Stringer, Curator of the Kerry Stokes Collection, and the UWA Perth International Arts Festival. The exhibition focuses on the Festival sub-theme of ‘Deserts’ and will feature works from the Kerry Stokes Collection and private collections. Contemporary artists included in the show are Stephen Eastaugh, Peter Fitzpatrick and Peter Morse.
An exhibition catalogue is available for purchase. For more information, visit the Gallery or contact Patti Belletty on (08) 9266 2259, or P.Belletty@curtin.edu.au.
2007 is the 100th Anniversary of the Ernest Shackleton, Nimrod British Antarctic Expedition 1907-1909.
2007–2008 is the International Polar Year (IPY), sponsored by the International Council for Science (ICSU).
Carol Rudyard, Apocryphal Tales: Untitled, video still, 1994
Apocryphal Tales is a major work by Rudyard held in the Curtin University of Technology Art Collection. The exhibition celebrates her nomination as an Elder of the Australian art community.
Apocryphal Tales has three components: Judith, Wunderhund and Guys and Dolls, all of which deal with violence in one way or another. Collages are constructed from video footage, National Gallery posters of (biblical) paintings, video games and advertising.
The spiritual collides with advertising in Judith as Rudyard superimposes biblical stories against Ayres Rock (Uluru). The interplay in Wunderhund is developed around Kafka’s story The Investigations of a Dog and a videogame called Wonder Dog, which see’s a mild little puppy sent to save planet Earth. Rudyard continues her biblical references with the collage of Dürer’s painting of Adam: Guys and Dolls presents a gun and a life-like baby doll that bleeds.