Tuesday 25 May, 2010
Biljana Jancic, Reaching Green
Locksmith Project Space as part of SafARI 2010
Date: Tuesday 25th May 2010
Facilitator: Michaela Gleave
Participants: Anne Kay, Kathryn Gray, Michaela Gleave, Sean Lowry, Bonita Bub, Nick Strike, Ivan Muniz Reed
Reaching Green was presented by Sydney-based artist Biljana Jancic at Locksmith Project Space as part of SafARI 2010, a fringe event of the Biennale of Sydney.
Jancic’s new work Reaching Green was developed specifically for Locksmith Project Space, it’s form and sensibilities operating in parallel and responsive to the architectural quirks and intracies of the former shop front space. An arc of electric-green laser beams cut through the room, their visibility shifting almost imperceptibly with the fluctuating concentrations of fog in the space. Guiding the viewer diagonally through the space the beams were at once embracing and threatening, seemingly solid in their division of the room and almost didactic in the way in which they controlled viewer movement. The form created by lasers shifted as one moved through the space, the angles and relative placement of the beams carefully engineered by the artist to create a strangely ambiguous effect.
(Continued)
Jess Olivieri and Hayley Forward and the Parachutes for Ladies
PACT Theatre
date: Monday 8 March 2010
facilitator: Kathryn Gray
participants: Ashley Dyer, Susan Gibb, Anne Kay, Jess Olivieri, Sarah Rodigari, Emma White.
Dance of Death was a participatory performance presented as part of the Tiny Stadiums Festival in Erskinville, 6-7 March 2010. We staged this Free Association conversation the following evening in the nearby PACT Theatre, and there were interesting challenges involved. As the work was physically absent (present solely in our recollections) and was repeated within the public space and with different participants each time, for this feedback we were remembering different iterations of the work. In Anne’s case, she had missed the performances altogether, and recreated the artwork alone in the dark theatre space prior to the discussion.
The discussion began with recollecting our individual and collective experiences of taking part in this work.
(Continued)
Monday, December 14, 2009
The Machine Stops
Jai McKenzie
MOP
date: Saturday, November 14, 2009
facilitator: Anne Kay
participants: Biljana Jancic, Camille Serisier, Amanda Williams, Tori Lawson, Jai Mckenzie
The conversation for The Machine stops, a media installation by Jai Mckenzie, began by the discussion of whether to first read the Room Sheet which presented a quote from a Buckminster Fuller telegram to Isamu Noguchi from 1936. As the artist, Jai requested that we begin in this way because the text was a key part of the work.
The quoted text read:
EINSTEINS FORMULA DETERMINATION INDIVIDUAL SPECIFICS RELATIVITY READS QUOTE ENERGY EQUALS MASS TIMES THE SPEED OF LIGHT SQUARED UNQUOTE SPEED OF LIGHT IDENTICAL SPEED ALL RADIATION COSMIC GAMMA X ULTRA VIOLET INFRA RED RAYS ETCETERA ONE HUNDRED EIGHTY SIX THOUSAND MILES PER SECOND WHICH SQUARED IS TOP OR PERFECT SPEED GIVING SCIENCE A FINITE VALUE FOR BASIC FACTOR IN MOTION UNIVERSE STOP SPEED OF RADIANT ENERGY BEING DIRECTIONAL OUTWARD ALL DIRECTIONS EXPANDING WAVE SURFACE DIAMETRIC POLAR SPEED AWAY FROM SELF IS TWICE SPEED IN ONE DIRECTION AND SPEED OF VOLUME INCREASE IS SQUARE OF SPEED IN ONE DIRECTION APPROXIMATLEY THIRTY FIVE BILLION VOLUMETRIC MILES PER SECOND STOP FORMULA IS WRITTEN QUOTE LETTER E FOLLOWED BY EQUATION MARK FOLLOWED BY LETTER M FOLLOWED BY LETTER C FOLLOWED CLOSELY BY ELEVATED SMALL FIGURE TWO SYMBOL OF SQUARING UNQUOTE ONLY VARIABLE IN FORMULA IS SPECIFIC MASS SPEED IS A UNIT OF RATE WHICH IS INTEGRATED RATIO OF BOTH TIME AND SPACE AND NO GREATER RATE OF SPEED THAN THAT PROVIDED BY ITS CAUSE WHICH IS PURE ENERGY LATENT OR RADIANT IS ATTAINABLE STOP THE FORMULA THEREFORE PROVIDES A UNIT AND A RATE OF PERFECTION TO WHICH THE RELATIVE IMPERFECTION OR INEFFICIENCY OF ENERGY RELEASE IN RADIANT OR CONFINED DIRECTION OF ALL TEMPORAL SPACE PHENOMENA MAY BE COMPARED BY ACTUAL CALCULATION STOP SIGNIFICANCE STOP SPECIFIC QUALITY OF ANIMATES IS CONTROL WILLFUL OR OTHERWISE OF RATE AND DIRECTION ENERGY RELEASE AND APPLICATION NOT ONLY OF SELF MECHANISM BUT OF FROM SELF MACHINE DIVIDED MECHANISMS AND RELATIVITY OF ALL ANIMATES AND INANIMATES IS POTENTIAL OF ESTABLISHMENT THROUGH EINSTEIN FORMULA
BUCKY
(Continued)
Wednesday, October 21, 2009
Knife Edge: 3 Exhibitions, 12 Days
Rachel Scott
Firstdraft gallery 3
date: Thursday 15 October 2009
facilitator: Kathryn Gray
participants: Carla Cescon, Will French, Agatha Gothe-Snape, Michaela Gleave, Rachel Scott
On the day we met at the Knife Edge, it was in its final stage. The room-sheet mapped out the three exhibitions, the last being ‘14.10.09-17.10.09: Installation/Action’. It was like a battlefield. Rachel had painted most of the two gallery walls in big gestural stripes vs expressionist strokes, alternating between flat red and pearlescent pink. Underneath this, the clean gallery walls glowed a remarkable white. The edges of the wall-painting were sharply defined. Opposite, in front of the windows was a clear plastic dropsheet supported by a ladder and covered with the same lurid paint. Under the ladder was a piece of glass strapped up with black electrical tape. A roll of the same black tape nestled on the edge of the floor, underneath two nails almost invisible in the pink wall. A white envelope, sealed by a blob of pink and mounted in a white frame, hung low beside the entrance to the gallery. The gallery space was pristine and orderly, despite the emotive walls and abandoned construction materials. Michaela led this observation of the installation, noting these gestures and materials in detail.
(Continued)
Wednesday, August 5, 2009
Framing, framing of frames, within frames and the extended framing and reframing that must necessarily follow in a critical process which is the central to the practices associated with ‘Imprint’, an exhibition curated by Anneke Jaspers as Artspace, Sydney. The questioning of the way art frames the world and also the frames of art is important for the interrogation of the way past actions come to dwell in the present, which is important for evaluating the effects that legacy and memory have in shaping culture. Reflexivity on the multiple layers of framing experience often takes form of re-framing and re-representation, however when these re-creations are placed in a spatial context they allow for new histories to occur and perhaps create opportunity for new relations and mythologies to develop. After all, what is mythology if not a narrative for the creation and extension of collective identity or culture. There is a calculated diversity in the different approaches brought together in the exhibition which features: Kathryn Gray, Bianca Hester, Anne Kay and Teaching and Learning Cinema (Lucas Ihlein and Louise Curham). The works all contemplate the palimpsests of past actions and their place and meaning within the creative process.
(Continued)
IMPRINT
Artspace, Sydney
Curated by Anneke Jaspers
Featuring: Kathryn Gray, Bianca Hester, Anne Kay and Teaching and Learning Cinema (Lucas Ihlein and Louise Curham).
Date: 1 August 2009
Facilitator: Biljana Jancic
Participants: Agatha Goethe-Snape, Katherine Gray, Anneke Jaspers, Kylie Johnson, Anne Kay, Lisa Kelly, Clare Lewis
Facilitator’s Notes:
(Continued)
To Make a Work of Timeless Art: MCA Primavera Acquisitions
Curated by Isabel Finch & Clare Lewis
Museum of Contemporary Art
date: Thursday 12th March 2009
facilitator: Anneke Jaspers
participants: Anneke Jaspers, Michaela Gleave, Kathy Gray, Lisa Kelly, Jo Daniell, Joel Mu, Clare Lewis, Isabel Finch.
Listen to audio excerpts Part A and Part B.
(Continued)
-image of THISISCURATING 1-40 opening courtesy of Firstdraft
Notes on a state of conversation.
Lisa Kelly
essay commissioned and originally published
Runway
Issue 11: Conversation
edited by Anneke Jaspers
Winter 2008
HOW DO WE COMMUNICATE?
On the short term, phones and email can be used
to arrange meetings. But they often fail to provide
the impetus that actually brings people in
dialogue with one another. They act as alibis for
the commitment that may or may not be sufficiently
developed between people. Given the event-led
cultural economy we live in today, communication
after the fact proves to be the weakest link in
our development. One might envisage setting up
an AGENCY FOR AFTERMATH COMMUNICATIONS in
art practice… Face to face contact is precious.
- Clementine Deliss (1)
Over a recent three-week period I was immersed in an incidental but noticeable sequence of visual arts dialogue events and encounters. These seem useful material for a part round-up, part temperature check on how occasions to talk to each other – as artists, audiences, people, peers, and communities – are being generated out of local practices, projects and spaces. On the varying qualities of these occasions, differing approaches to facilitation, and the meaningful potential and effects of thoughtful discursive practice. (Continued)
Tuesday, January 13, 2009
Date: 6pm, 4th October 2008
Facilitator: Kathryn Gray
Participants: Mark Shorter, Michaela Gleave, Biljana Jancic, Lisa Kelly
This conversation took place around ‘The Role-System’, by which Sari TM Kivinen positioned her various performative roles within a gallery project.
Michaela led the observation of the works installed in the space, noting structures, decorations and artifacts, with video, photographic and puppet-like representations. Lisa recounted Kivinen’s opening night performance. Biljana read out the genealogy of the six roles in the system: fictional siblings Jessilina, Carolina and Stirella, the functional Manager and Therapist, and Kivinen herself. (Continued)
Saturday, November 8, 2008
The Free Association
Spring Retreat
Garie Beach, The Royal National Park
dates: Thursday 6th - Saturday 8th November 2008
facilitator: Anneke Jaspers
participants: Anneke Jaspers, Lisa Kelly, Filipa Raposo, Michaela Gleave, Madeleine Donovan, Emma White, Camille Serisier, Kathy Gray, Jessica Olivieri, Hayley Forward.