Search
You searched for articles tagged with Technology ...
Caroline Durré: Reforming the earth
Drawing Studio and Program Co-ordinator at Monash University Stephen Garrett examines the optically challenging artworks of Caroline Durré which blend patterns and perspectives.
The Poliness wall drawings: not quite right
Artist Kerrie Poliness writes about her wall drawing projects, one of which appears in the exhibition 'Art, Pattern and Complexity' at RiAus, Adelaide from 16 February to 16 May 2012. The wall drawings begin with the artist's instructions but are produced with intuition rather than rulers.
Mesne: Stitches in the Air: computational craft
Media artist, techno-evangelist and digital nomad Fee Plumley responds to Mesne Design Studio's lacemaking environment 'Pricking Version 2.0' which is their answer to the question “what happens if you apply computational processes to the historical notion of craft?”.
Shape of the wind: pattern & chaos in Sue Lovegrove's island art
Head of Environmental Studies at the University of Tasmania and writer Peter Hay describes the recent paintings of Sue Lovegrove made from her experience of different islands off the coast of Tasmania - Maatsuyker Island, Egg Island and most recently Tasman Island. Lovegrove began with painting clouds but has moved on to paint the shape of the wind.
Mesne: Pattern In(formation)
Tim Schork and Paul Nicholas founded MESNE Design Studio, an innovative architecture and urban design studio working globally as one office from London and Melbourne, to explore the relationship between architecture and divergent domains of knowledge through the use of computation in order to create innovative design strategies for novel spatial structures. They write about the back story of the project "Pricking', an interdisciplinary collaborative project between MESNE Design Studio, Ian Maxwell (supermanoeuvre) and Indae Hwang, which involves an interactive lace-making table with an infra-red based multi-touch interface.
Pipilotti Rist I Packed the Postcard in my Suitcase
Australian Centre for Contemporary Art, Melbourne 21 December 2011 – 4 March 2012
Medi(t)ation - 2011 Asian Art Biennial
1 October 2011 – 1 January 2012 Curator: Iris Shu-Ping Huang National Taiwan Museum of Fine Arts?(NTMoFA) www.asianartbiennial.org
Everyday the possible
Sonia Donnellan, Anna Hughes & Sonja Porcaro South Australian School of Art (SASA) Gallery 14 August - 16 September 2011
Sequences and Cycles: contemporary ceramics from the desert
Pantjiti Lionel, Mel Robson, Pip McManus, Patsy Morton, Suzi Lyon, Amanda McMillan Co-curators: Jo Herbig and Franca Barraclough Araluen Arts Centre, Alice Springs 19 November 2011 - 22 January 2012
Revealed: Emerging Aboriginal Artists from Western Australia
Curator: Thelma John Gallery Central, Perth 24 October - 12 November 2011
The James C. Sourris A.M. Collection
Gallery of Modern Art, Brisbane 12 November 2011 – 19 February 2012
2112: Imagining the Future
Curator: Linda Williams RMIT Gallery, Melbourne 2 December 2011 - 28 January 2012
Threads: Contemporary Textiles and the Social Fabric
Curator: Ruth McDougall with Maud Page and Russell Storer Gallery of Modern Art, Brisbane 1 October 2011 – 5 February 2012
The Underpass Motel
This project grew as an extension of a Fellowship awarded to Stuart Elliott in 2006 from ArtsWA – the major arts funding body of the WA Government. Artists involved: Stuart Elliott, Graham Taylor, Patrizia Tonello, Amanda Williams, Peter Dailey, Ben Jones, Richard Heath and Si Hummerston. The Underpass Motel, DVD premiere and gallery exhibition opens at Turner Galleries 9 October - 7 November 2009. www.turnergalleries.com.au Visit the website: http://members.iinet.net.au/~reuham/theunderpassmotel.html
Visual arts at OzAsia
The 2009 OzAsia Festival runs from 3 – 17 October, and also includes a fantastic family-friendly program of theatre, dance, film, food, as well as the free community opening event, the Moon Lantern Festival in Elder Park. See www.adelaidefestivalcentre.com.au Open from 29 September - 1 November at the Festival Centre Curious Screen: Festival Theatre (FT) Foyer The Sum of Cultures: Piano Bar Follow, Northern India: Faces and Words and Okami: FT Foyer Miss Taken: Space Theatre Foyer 'this reminds me of some place': FT Foyer 29 September - 8 November, Following Threads: Artspace Gallery (Upstairs, Dunstan Playhouse)
Living palely
The Stoics may have taken rationality too far in their resolute minimisation of all feeling. Are emotions no more than disturbances in the logical landscape? What of Pascal’s ‘the heart has its reasons that reason is not acquainted with’? Perhaps the rationality/emotion divide is overdrawn, risking battle lines forming around pure opposites never found in real life examples. Yet the issue has bite, relevance to intimate features of our life: our friendships, our sense of safety in the world, how much we give of ourselves and give up of ourselves to our working life and the living texture of what it feels like to be us: fugitive, or having the ‘warm antiquity of self’.
Speed of dark: Boris Eldagsen
Artist Boris Eldagsen and writer Robert Cook are both looking down the barrel of forty. Cook is fascinated by other members of his exact generation. In his words: 'They are alternative selves, part of my body. Mid-life is hard life, the life as lived not the life not lived, the other path, the no stepping back.' Cook and Boris did not meet.
Strange bedfellows
Why write or think about the work of Patricia Piccinini and Richard Billingham together? Because the work of each of them elicits a visceral response, a response characterised by emotion and gut feeling. Because the border between humans and animals and the relationships between us are examined by both Piccinini and Billingham in a manner that emphasises our relatedness. These are intensely moral artworks with a strong documentary flavour that ask us questions about responsibility and connection that go to the very heart of our lives.http://www.artlink.com.au/admin/article_edit.cfm?id=3280
Notes on melancholy and anxiety in the works of Sanja Pahoki
The artworks of Sanja Pahoki walk a zigzag between melancholy and its contemporary cousin, anxiety. Curator and writer Hannah Mathews interviewed Sanja Pahoki about her recent work while thinking about Daniel Birnbaum's comment about the relationship between melancholy and the arts: "The idea of the melancholic as someone not only passive and depressed but also creative is the basis for the Renaissance idea of the genius – the dialectic between darkness and light, destruction and creation."
Astra and the ventilation hypothesis
Astra Howard’s 'Action Research/Performances' necessarily require participation by members of the public. This makes them unpredictable. Astra’s presence is not about entertainment. It is not a show. There is no star. There is no attempt to expose any individual. There are simply sincere attempts to understand them. Astra acknowledges and responds sincerely to one of our deepest and most affective human needs – our need for emotional expression. Our need to have our voice heard. Our need to vent.
William Kentridge between chance and a programme
Pat Hoffie interviewed William Kentridge on the phone to 'draw' out some of his ideas about drawing and art. His work remains committed to a sense of the tactile, and to the slow grainy effort of drawing. In his words: ‘I would repeat my trust in the contingent, the inauthentic, the whim, the practical, as strategies for finding meaning. I would repeat my mistrust in the worth of Good Ideas.'
Personal Political Emotional
Artist Megan Evans was for some years the partner of Aboriginal activist and artist Les Griggs who suicided in 1993. Fifteen years later she has begun to write his story - a story of reconciliation with herself and her country, through a relationship that undid her and put her back together again.
Ann Newmarch: Opening Pandora's box
In 2007 Ann Newmarch was represented in 'WACK, Art and the Feminist Revolution', a major exhibition in the Museum of Contemporary Art, Los Angeles. Newmarch embraced feminism in the early 1970s. Her art practice manifests the view that all representation is political. Her new work, reiterates a position that she adopted in 1972 : "I try to get onto the page visual images that combine to make memory: past memories incorporated in new sensations and new images related back to past experience. Contemplation ...of our environment that recalls other times, places and relationships."
The Second Life of Pye: Daniel Jay Mounsey
Social media is the new buzz word and trend - like it or not. Daniel Jay Mounsey is ahead of the pack in having Pyewacket Kazyanenko as his well-established alter-ego in Second Life, AND collaborating and performing online through an avatar with Stelarc and others, AND(!) performing onstage live as anime character Hell Girl. Curator and writer Charity Bramwell interviewed all she could find of him.
Art and occupation: Raeda Saadeh
Raeda Saadeh is a Palestinian artist who was born in Umm Al-Fahem, a Muslim village (now a city) in the northern region of Haifa. She completed art studies at the Bezalel Academy of Art and Design in Jerusalem, where she now lives. Her questioning of the forces of both political occupation of the Palestinian territories, and personal occupation by traditional cultural and social expectations, have inspired her to focus on her own body with performance and photography.
Choosing who will keep the stories strong
In early 2006, the renowned Liyagauwumirr painter Mickey Durrng Garrawurra died in his home on Milingimbi. For many years, Durrng (1940-2006) and his brother Tony Dhanyala (1935-2004) were the only people authorised to paint the Liyagauwumirr’s most important clan designs. Before his death, however, Durrng made the seemingly unorthodox decision to pass this knowledge and authority to his sister Ruth Nalmakarra (b.1954) and her family. What followed was a flowering of tradition, as Nalmakarra and her sisters used this broadened authority to instigate a cultural revival that united their community around these ancient designs.
Inside Sydney's new Outsider art centre
Outsider Art is enjoying increasing attention in Australia. STOARC – the Self-Taught and Outsider Art Research Collection – at the University of Sydney opened its public face at Callan Park Gallery in March 2009.
Len Lye: An Artist in Perpetual Motion
Len Lye: An Artist in Perpetual Motion Curators: Alessio Cavallaro and Tyler Cann ACMI, Melbourne 16 July – 11 October 2009
53rd Venice Biennale: Making Worlds
53rd Venice Biennale: Making Worlds Bantin Duniyan, Hacer Mundos Director: Daniel Birnbaum 7 June – 22 November 2009
Reconstruction Works: Paul Caporn
Reconstruction Works: Paul Caporn Turner Galleries, Perth 17 April – 16 May 2009
Nobody Likes a Show Off: Richard Lewer
Nobody Likes a Show Off: Richard Lewer Curator: Kirrily Hammond Monash University Museum of Art, Melbourne 1 July – 5 September 2009
Not Absolute
Not Absolute Curator: Janice Lally Flinders University Art Museum, Adelaide 24 July – 27 September 2009
SRL: Stigma Research Laboratory
SRL: Stigma Research Laboratory Philippa Steele, John Vella, Scot Cotterell Moonah Arts Centre 8 May – 21 May 2009
A New Truth to Materials
A New Truth to Materials Boxcopy (Miles Hall, Chris Handran, Chloe Cogle, and Ross Manning) Curator: Raymonde Rajkowski Level 3 Metro Arts, Brisbane April 30 - May 30 2009
Drifting in My Own Land: Nalda Searles
Drifting in My Own Land: Nalda Searles John Curtin Gallery, Curtin University of Technology, Perth Touring Australia 2009 – 2013 19 June - 30 August 2009
Integration Assimilation and a Fair Go For All: Khaled Sabsabi
Integration Assimilation and a Fair Go For All: Khaled Sabsabi Gallery 4A, Sydney 13 June – 25 July 2009
Upturns, Props and Portals: Bec Stevens
Upturns, Props and Portals: Bec Stevens Curator: Sean Kelly Kelly’s Garden Curated Projects Series 1 Salamanca Arts Centre, Hobart 5 June – 3 July 2009
Oh that I were where I would be
Oh that I were where I would be Andrew Baker Art Dealer, Brisbane 10 June – 4 July 2009
Transforming East and West dialogues
Haema Sivanesan, Curator and Executive Director of SAVAC ( South Asian Visual Arts Centre) in Toronto Canada, analyses the current situation of Asian contemporary art by looking at work that is not only cross-cultural but concerned with bridging cultures and being a form of social action rather than simply engaging with commodity culture.
Collapsing the Bilateral: creating consciousness
The Long March Project founded by Lu Jie is an ongoing art project that began with a philosophical evaluation of the complex role and meaning of art and selfhood, in all its political, economic, cultural, and social guises. It is critical that new opportunities are found for artistic reciprocity that exist beyond the presumed centres of art validation (ie. America and Europe). The Long March directs the gaze of Chinese cultural producers to re-assess how art can be a tool through which ideas of making – self, thought, object – can be critically empowered and conceived.
China welcomes Australian ceramics
Potter and Head of Ceramics at ANU School of Art Janet de Boos writes about her journeys to China since 1996 and her current collaborations in bone china tableware. She writes : 'Rather than just a place where we can appropriate techniques and technologies and source cheap labour, China becomes a place for Australians to work and research collaboratively with fellow artists.'
Resuscitation through paper
On a residency at the Taipei Artists Village in Taiwan in 2007 Gregory Pryor researched a plant from which tongcao or pith paper was traditionally made. The complex collaborative journey to find the plant and the way its pith is removed forms a celebratory echo to his previous work Black Solander 2005 about endangered plants in Western Australia.
Hired hands: the Filipino collaborations of David Griggs
Neil Fettling asks; 'Why does an Australian-based artist like David Griggs, living and working in the first world, have such strong connections with a third world community, and how do these linkages affect his work?' and answers this question through an analysis of Griggs' recent art as well as comparing it to the work of Pat Hoffie and Wim Delvoye.
Jelek in East Timor
*(jelek means ugly in Indonesian) Artist Ruth Hadlow lives and works in East Timor. Her thoughts about it question notions of beauty and ugliness.
Contemporary Art in the Hermit Kingdom
Artists who have created fascinating works within the DMZ (Korean Demilitarized Zones) include the Spanish artist Santiago Sierra, the Italian artist Armin Linke and the Australian artist Lyndal Jones.
New climate for an old world: Paul Carter's Nearamnew
Paul Carter's Nearamnew, a public art work which is embedded in the 7,500 square metres of paving at Federation Square, asks for multiple, inclusive and open-ended responses.
Old Gods new lives: Exhibiting traditional Cook Islander art
In late 2008, the National Gallery of Australia (NGA) established its first Pacific Arts department. From the opening of the controversial Musée du quai Branly in Paris in 2006, to the New York Metropolitan Museum of Art’s creation of permanent new galleries for Oceanic art in 2007, there has been an international surge of interest in Pacific art, accompanied by hot debate surrounding exhibition protocols. Among the many works exhibited at these institutions are rare carvings of traditional gods from the Cook Islands: works that are still of great cultural significance to many Islanders today. Jacqui Durrant asked artists, curators and cultural professionals in the largest of the Cook Islands, Rarotonga, their opinions as to how images of their ‘old gods’ might be best exhibited, to see what a Western art gallery might take on board.
Bilum breakout: fashion, artworld, national pride
In the past decade bilum fashion has really taken off in Papua New Guinea and is now getting wider exposure through a few PNG gallery and designer websites like Pasifik Nau and Lava Lava Innovations. Since the late 1990s, local trendsetters of high fashion, including Cathy Kata and Florence Jaukae, have made a name for their original bilum outfits.
An Unlandscape of words and painting: from Meenamatta to paradise
This article explores new territory opened up by a cross-cultural collaboration between Indigenous poet Jim Everett and visual artist Jonathan Kimberley.
Threads, traces and legacies of the mission
Artist Kylie Waters works with the history of her own family and the way it is embedded in South Australian history. Specifically she explores the space between negative and positive evaluations of Lutheran missions in Central and South Australia.
Island improvisations: Nathan Gray
In 2008 Nathan Gray spent two months on Itaparica, a Brazilian island in the Bahia region, as part of an exchange initiated by The South Project Inc. At the end of the year the exhibition Tudo Que Acho was held to show the work created and produced as a result of the residency. The title in English means ‘everything I think’. In Portuguese the phrase also denotes discovery, as ‘to think’ and ‘to find’ signify the same act. Tudo Que Acho: Nathan Gray was shown 4 – 20 December 2008 at The Narrows, Melbourne.
Talking about my g-g-g-generation: Mark Siebert
Mark Siebert: Forever 27 is at the Experimental Art Foundation, 15 May – 13 June 2009.
The sound of many hands clapping: Ten Days on the Island
Ten days on the island 24 March - 5 April 2009
Nam Bang!
NAM BANG! Curator: Boitran Huynh-Beattie Casula Powerhouse Arts Centre 4 April - 21 June 2009
Yellow Vest Syndrome
The Yellow Vest Syndrome: recent West Australian art Curator: Jasmin Stephens Fremantle Arts Centre 31 January – 29 March 2009
The China Project
The China Project: Three Decades; William Yang; Zhang Xiaogang GOMA, Brisbane 28 March – 28 June 2009
Artroom5
Three artists – in the world: Anne Kay, Irmina Van Niele, Sera Waters artroom5, Adelaide 4 – 21 March 2009
Paul Zika
Paul Zika: Home and Away – reconstructing artifice Curator: Philip Watkins Carnegie Gallery, Hobart 26 March – 3 May 2009
The Enchanted Forest
The enchanted forest: new gothic storytellers Curator: Jazmina Cininas Geelong Gallery, 12 April - 9 June 2008; Bendigo Art Gallery, 19 July – 17 August 2008; Shepparton Art Gallery, 1 November – 14 December 2008; Latrobe Regional Gallery, 21 February – 19 April 2009; Swan Hill Regional Art Gallery, 1 May – 7 June 2009; Dubbo Regional Gallery , 4 July – 13 September 2009; Tweed River Art Gallery, 1 October – 15 November 2009
Temperature
Temperature 2 : New Queensland Art Museum of Brisbane 6 February – 8 June 2009 Curator: Frank McBride
Anne Ferran
Anne Ferran: The Ground, The Air Curator: Craig Judd Wollongong City Art Gallery 21 March - 17 May 2009
Caitlin Yardley
spill, the insistent body Caitlin Yardley 6 March – Sunday 12 April 2009 Heathcote Museum and Gallery, WA
Little Red Riding Hood
Little Red Riding Hood Curator: Victor Medrano Inflight ARI, Hobart 11 April - 2 May 2009
Gosia Wlodarczak
Gosia Wlodarczak: Conversation Helen Maxwell Gallery, ACT 22 February – 28 March 2009
The Secret Life of Plants
A Secret Life of Plants Curator: Andrew Gaynor Linden Centre for Contemporary Arts 4 April – 17 May 2009 Fremantle Arts Centre 30 May – 19 July 2009
What would you do?
A number of practising artists were invited to respond to a scenario in which a local council asked them to organise an exhibition featuring local artists from a sister city in a third world country. It seems a noble gesture, but one fraught with potential missteps. How would they proceed?
NAVA Now
Timothy Morrell provides the reader with a keen description in relation to the role that the art organisation NAVA (National Association for the Visual Arts) has within Australia's government but also the empowerment they claim to provide practicing artists. Morrell also includes some insight towards the rights of the common artworker by presenting some examples as to where they stand within Australian society but also how they operate in co-relation with the governments guidelines and in particular the controversial portrayal of nudity in art. A conclusive article articulating the importance of government organisations such as NAVA, Morrell provides an insightful discussion towards the role of the artist within Australian society but also the co-operation needed from the government to enable a sufficient means of expression from artists.
Entering the Screen
New interactive screen spaces of the web, games and virtual worlds act as portals allowing us to become a part of the media image rather than just watching it. No longer content to just watch the action, were creating our own online identities and becoming our own screen heroes acting out our own virtual adventures. This article focuses on the new virtual world of Second Life and discusses the idea of avatar (virtual pictorial) identities via the works of a selection of new media artists: Neal Stephenson, Eva and Franco Mattes, Emil Goh, Adriene Jenik and Lisa Brenneis, Adam Nash, Christopher Dodd, Kyal TripodiGazira Babeli and Pierre Proske.
Memoirs of a Videophile: Video Cannibalism, A Personal View
In this article David Broker looks selectively at the brief history and development of video art, a trying medium voluntarily lost to him around 1985. Broker uses three examples of the video grande- Francesco Vezzolis Comizi di Non Amore, Emmanuelle Antilles Angels Camp and a work by Miguel Calderon featured in the 2004 Sao Paulo Biennale. Each work exists in its own way as a continuum upon which the trajectory of the technologies they have absorbed is not only clear but also fundamental to the work. As Broker declares the video revival has in itself been a spectacle, with digital video driving its acolytes to ever-greater heights of excess.
Black Box/White Cube: Cinema in the Gallery
Historically, the relation between art institutions and film has been fraught with every imaginable problem and inequality. How to truly bring cinema and art into dialogue, to create real interpenetrations and hybrid forms that move well beyond the ephemeral fireworks of yesteryears between-images? Martin proposes that the gallery needs to take its filmic pedagogy outside its lecture rooms and onto the gallery and film works need to be fully valued in themselves by curators, audiences and the entire, increasingly dominant promotional machine attached to our major galleries for their history, their value, their power and (yes) their art.
Look Into My Eyes: Behind the Screens with ACMI
This article looks at the current state of screen culture in Australia, focusing on the program architecture of ACMI (Australian Centre for the Moving Image) in particular. For screen culture in Australia, the market-driven economy has provided a great number of challenges in the kind of content it can exhibit and the ways in which it can be exhibited in a sustainable and meaningful way. For ACMI one of the key points is in providing the discussion platform by which screen artists or even mathematicians, writers and psychologists can participate it is through this approach, applying the filmic principles and content concepts to broader social issues and discussions that the greatest power amongst audiences arrises.
Databases: Recombinant Interactives
Ann Finegan looks at the world of interactive media arts, in particular database content interactivity. One example Finegan uses in her discussion is Josephine Starrs and Leon Cmielewskis Seeker, winner of an Award for Distinction for Interactive Art at Ars Electronica 2007. Seeker belongs to an emergent genre of database works which draw from the broader media, putting the viewer into the web of connections through which the forces of politics and economics determine the fate of peoples and of persons. Other artists discussed are Josh On, Lev Manovich, Linda Dement, Troy Innocent, Doll Yoko (aka Francesca da Rimini aka Gash Girl), Stephen Honegger, Rachel Baker, John Tonkin and Barbara Campbell. Finegan proclaims that at present the future of interactives is weighed in a choice between the seductive action of computer gaming as sites for artistic intervention, and data-mapping with its deep and active connections in realworld events.
A Detour Off the Art-Path
Whilst in Europe this year, Julianne Pierce made a detour and visited the small city of Wolfsburg in central north Germany where she visited the privately run contemporary art museum Kunstmuseum Wolfsburg. A delightful discovery was made in the retrospective exhibition of Douglas Gordon, an artist who works with the time-based foundation of cinema and transforms it into stripped back experience of time and motion. He is interested in the epic nature of cinema the big screen, the close-up, the majestic soundtrack but is concerned more with an extended experience of time and memory. Viewing several works together projected large in a darkened monolithic space brought Gordons fusing of cinema and visual arts into a mesmeric articulation of his vision and practice.
The Space of Presence: Leigh Hobba
This article examines Australian video and performance artist Leigh Hobbas recent retrospective The Space of Presence at the Tasmanian Museum and Art Gallery. The exhibition presented a precise slice of Hobbas electronic oeuvre including twelve works which highlight the materiality and texture of video as a medium. Together they convey a sense of awe, a pre-verbal ambiguity, recontextualising Hobbas recurrent and connected themes. This article also raises issues of space, infrastructure and technical facilities when considering the ways in which new media art is to be viewed.
New Media at the Venice Biennale and Documenta 12
Jasmin Stephens presents a personal recollection of this years Venice Biennale and documenta 12. As Stephens states, Venice reflected the worldwide trend of artists reappraising iconic moments from Conceptual Art from the early seventies and in so doing taking up the low-tech equipment associated with them. Artists here discussed are Aernout Milk, Willie Doherty, Paolo Canevari, Sophie Whettnall, Shaun Gladwell, Yang Zhenzhong, Emily PrinceSusan Norrie, Joshua Mosley and Tabaimo, Nedko Solakov, Mario Garcia, Felix Gmelin, Steve McQueen, Rafael Lozano-Hemmer, Ines Doujak, Lili Dujourie, Zofia Kulik, John McCracken, Harun Farocki and Artur Zmijewski.
Phoenix Halle: Model for a Media Centre
The privately funded centre of the PHOENIX Halle, which grew out of a small media arts organization called HMKV (Hartware MedienKunstVerein), stands alone in a derelict steel mill in Dortmund, Germany. Established in 1996 by German curators Iris Dressler and Hans D. Christ, HMKV is dedicated to curatorial research and practice in the media arts field. HMKV and PHOENIX Halle are fundamentally exploring how artists create meaning and interpret the rapid states of change in our contemporary post-industrial society. Julianne Pierce briefly examines the work of HMKV and the PHOENIX Halle during her travels in Germany.
Playing Biennially: Experimenta Playground
Experimenta Playground, an international biennial exhibition of media art, marks Experimentas 21-year commitment to innovation in both production and in promoting and exhibiting new media art throughout Australia and abroad. With artworks that engage with the creative possibilities emerging from a dynamic interaction between the moving image, art and new technologies, each artist in the exhibition creatively expands the definition of play, performance and ritual. Here the revelation of technology and spatial features create new ways of appreciating the construction of fantasy. Participating artists include : June Bum Park, Guillaume Reymond, Shu Lea Cheang, Hiraki Sawa and Tomoyuki Washio, Jennifer and Kevin McCoy, Madeleine Flynn, Tim Humphrey and Jesse Stevens, Golan Levin and Zachary Lieberman, Philip Worthington, Gavin Sade, Priscilla Bracks and Matthew Dwyer, Stelarc, Marina Abramovic, Kuang-Yu Tsui, Eugenio Ampudia and Robert Hughes.
BEAP 07: A Meditation
This examination of the 2007 Biennale of Electronic Art Perth (BEAP), lead Marshall to an ultimate abandonment of its underlying theme of stillness, instead choosing to look at the profusion of Australian and international art on offer. This article details key works by artists Christa Sommerer, Laurent Mignonneau, Bill Viola, Seiko Mikami and Sota Ichikawa, Orlan, George Khut, Hannah Matthews, Boris Ledagsen and Natascha Stellmach and Ulf Langheinrich.
Crossing Over: Digital Media at the Adelaide Film Festival 2007
The Adelaide Film Festival (AFF) is an event that has always had an eye on technological innovation and evolution and it is a tenet of AFF to celebrate screen culture in all its genres and formats. This years AFF was the host of a suite of symposiums, exhibitions, thinktanks, and screenings that spotlight the popularity and possibilities of content outside the linear feature film. This article details three of these events in particular Crossover, the Broadcast Summit and one focused on machinima. The evidence of AFFs Digital Media strategy, focusing on seminars that invite audience interaction and discussion, means that Adelaide audiences will be part of this exciting artistic and technological discussion.
Taipei 101: Video at the National Palace Museum
Discovering the Other National Palace Museum, Taipei, July 7 to August 19, 2007
Merilyn Fairskye briefly discusses her journey to Taipei where she took part in an exhibition of video installations Discovering the Other, the first ever contemporary art exhibition to be held at the National Palace Museum. Curator Gertjan Zuilhofs discription of this exhibition can be seen as a metaphor for his world view shadows, spirits and ghosts seemed to be everywhere, while at the same time the works engaged with the world of people and place, and the precarious struggle to maintain individual and cultural identities. Featured artists included: Deborah Stratman, Ella Raidel and Lin Hongjohn, Apichatpong Weerasethakul and Merilyn Fairskye.
Merilyn Fairskye briefly discusses her journey to Taipei where she took part in an exhibition of video installations Discovering the Other, the first ever contemporary art exhibition to be held at the National Palace Museum. Curator Gertjan Zuilhofs discription of this exhibition can be seen as a metaphor for his world view shadows, spirits and ghosts seemed to be everywhere, while at the same time the works engaged with the world of people and place, and the precarious struggle to maintain individual and cultural identities. Featured artists included: Deborah Stratman, Ella Raidel and Lin Hongjohn, Apichatpong Weerasethakul and Merilyn Fairskye.