THE WASP WOMAN A LATE SATURDAY AFTERNOON WITH ERICA SECCOMBE AND DAVID BROKER
There is often something good about bad movies and The Wasp Woman, (1959) fits neatly into this category of cult classics. The Wasp Woman is the shocking story of Janice Starlin, a beautiful cosmetics entrepreneur who develops an elixir of youth from the royal jelly of Queen wasps. Needless to say the experiment goes seriously wrong and all hell breaks loose. A beautiful woman by day, lusting queen wasp by night - there is a message here for everyone. Along with Them (1954), Attack of the Crab Monsters (1957) and The Fly (1958), The Wasp Woman is one of several post war sci-fi/horror movies in which humanity’s quest for supremacy over nature unleashes sinister forces.
As part of Bloom Festival (Gorman and Ainslie Art Centres) and CCAS’s Science Fiction exhibitions Monster and Kynic, David Broker (curator) and Erica Seccombe (artist) discussed the malevolent role of isopods and insects in b-grade science fiction movies of the 1950s.
Saturday 27 April 2 - 5pm Theatrette Canberra Museum and Gallery
Introduced by Virginia Rigney Senior Curator Gold Coast City Gallery and Curator Imprint Growing Up Planned and Deborah Clark Senior Curator Canberra Museum and Art Gallery A seminar presented in conjunction with the exhibition Imprint Growing Up Planned showing at Canberra Contemporary Art Space 12 April – 18 May 2013 and the Society of Architectural Historians of Australia and New Zealand and the publication of a special issue of their Journal Fabrications for Canberra 100.
Deborah Van der Plaatt: Research Fellow School of Architecture The University of Queensland; Co-editor Fabrications Journal of the Society of Architectural Historians Australia and New Zealand Aesthetics, Spectacle and ideology in the Griffins’ proposed Capitol Building.
Quentin Stevens: Associate Professor and ARC Future Fellow School of Architecture and Design RMIT ; Reader in Urban Design Bartlett School of Planning University College London Visiting Research Fellow Humanities Research Centre ANU Planning Canberra’s Memorial Landscape: Death, Obscurity, and Reincarnation.
Roger Benjamin: Australian Research Council Dora Fellow 2013- 15 Dept of Art History & Film Studies Visiting Professor of Art History United States Studies Centre The University of Sydney. 10 Gawler Cres Deakin A paper which examines both the lived experience and architectural history of 10 Gawler Cres Deakin, one of only two domestic heritage listed properties in Canberra
Antony Moulis: Associate Professor Director of Research School of Architecture The University of Queensland Gods and Monuments: Figuring Canberra’s architectural landscape.
An evening or sound, performance, film and music in which the "players" produce a spontaneous cohesive composition based on an number of independent "acts". Using the entire gallery the audience is invited to wander among the performers, listening, watching and participating in the action. Spartak+ includes Shoeb Ahmad, Evan Dorrian, Matthew Lustre, Jonathan Corcoran, Sebastian Field, Paul Heslin, Grahame Thompson and Louise Curnham.
Teaching and Learning Cinema (Lucas Ihlein and Louise Curham) presents the inaugural work-in-progress re-enactment of Malcolm Le Grice’s 1971 Expanded Cinema work Horror Film 1.Re-enactments carried out by Teaching and Learning Cinema draw upon experimental film of the 1960s and 1970’s, bringing together conceptual art, cinema and performance. Horror Film 1 explores the physical and psychological play of body and shadows generated in the beams of three 16mm film projectors. The live performer, naked with her back to the audience, begins near the screen and during the course of the performance, moves slowly backwards until she reaches the projectors. All the while, she makes a series of movements with her hands, arms, shoulders, seeming to feel the boundaries of the projected rectangles of light. This re-enactment of Horror Film 1 will be accompanied by a discussion around ephemerality, documentation, archiving, and cups of tea.Teaching and Learning Cinema (Louise Curham and Lucas Ihlein)
Pocket Holiday, the second Zonk Vision event hosted by CCAS. Coordinated by Danny Wild who performed his new work in a big pocket this Friday night vacation included performance and video from a host of talented artists including Ellis Hutch and Lucy Quinn doing big origami, Greg Holden, Jason Galea, Danny Wild, Ben Jones, Kat Martin, Grace Blake, Kate Geck, Luke Penders, Kiah Reading, Sarah Bryne, Rachel Archibald, Sarah Nathan-Truesdale, Oscar Capezio, Timothy D, Elliot Schultz, Riley Post, Caitlin Franzmann and Raw Nature Films.
Danny Wild, Pocket Holiday digital video, performance
“Wonderful, immoral, tempting and terribly satisfactory”, Prime Minister Robert Menzies on Canberra, 1963
It’s unlikely that you have experienced Canberra in all its glory until you have seen it through the erudite eyes of Deb&Dave. Enlighten 2013 offers the first of Deb& Dave’s Architectural Bus Tours taking passengers on a heady excursion through Canberra’s salad days of the 50s, 60s and 70s when a trip to Civic required dressing for the occasion. Two of Canberra’s favourite arts personalities, Deborah Clark and David Broker, celebrate the marvels of post-war modernist architecture with witty informative commentary and fascinating stories of a bygone era. After a sunset tour with Deb&Dave you will never see Canberra in quite the same light again.
2nd and 9th March 6-8pm Buses depart from Old Parliament House (Museum of Democracy), King George Terrace, Parkes
Opening 6pm Friday 10th April.
Works by Rachel Bowak, Nic Hempel, Pamela Lofts, Kim Manhood, Pip McManus and Andrew Moynihan.
A unique response by six artists to time spent on a gold mine in rehabilitation mode in the Tanami Desert.
The artists wish to thank Newmont Australia for their generous hosting of the artists and the Warlpiri Traditional Owners for allowing access to their country.
Pamela Lofts, This Dark Thing, 2014; photography by Brenton McGeachie
Science Fiction provides an overarching framework for Monster and Kynic, two exhibitions that explore notions of scientific reality and its mutations within popular consciousness and media. Science Fiction brings together Erica Seccombe and Benjamin Forster, two artists who employ bona fide scientific methodologies for work that examines the tensions between science and its suspect appearances in popular culture. Both to some extent work in the “god” zone, albeit with tongues in cheek, using science to suggest the construction of creatures that exist outside the “natural world” and thus have the potential to wreak havoc upon humanity. They draw upon the familiar, common garden organisms and the family pet to produce alien objects and ideas. Their works critique and even mock the idea of artists being scientists and vice versa; blending empirical method with fantastic imagination their work reflects a divergent yet electrifying relationship between science and art.
Benjamin Forster’s attempt to fuse the blood cells of artist Billy Apple with that of a canine, to produce a viable human-canine hybridoma, or an immortal cell that contains both human and canine DNA, is a project that has its roots in the ancient Greek philosophy of Cynicism. In their quest to lead virtuous lives at one with nature, original Cynics such as Antisthenes (445-365 BC) and Diogenes of Sinope (404-323 BC) inhabited the streets; like dogs. The original derivation of cynic was kynikos or dog like. Although Forster’s experiment has significant ethical implications his intention is pure. It is less to conceive a mythical lycanthrope (werewolf) in a petri dish and more to produce an allegorical totem that reflects an “ideal position” for contemporary artists and scientists in the tradition of ancient forbears who saw the creative benefits of nonconformity. For six long months Forster worked in the laboratories of SymbioticA, at the University of Western Australia where he became intensely immersed in the science of cross species hybridisation.
Adapted from catalogue essay by David Broker
Benjamin Forster Knowledge Intermediate You (Considering Serres), 2013, deconstructed LCD screen, DVD, light bulb; photo Brenton McGeachie
Artists: Emma Beer, Chris Carmody, Tim Dwyer, Daniel Edwards, Natalie Mather, Suzanne Moss and Daniel Vukovljak
This is the fifth year Blaze has set CCAS alight. In what is fast becoming a tradition, not to mention a helpful platform for artists between just-finished-art-school and fully-fledged-artist, Blaze represents a quality sample of emerging artists working in Canberra.
Photograph by Brenton McGeachie.
As the title suggests, Half Circle Scroll surrounds the audience by way of a cinematic curve that also suggests the notion of an unfinished journey. Glikson’s scroll is an archive of visualized encounters that attempts to define an imaginary line that the artist crossed while living and working in India and Pakistan. This line as described by the scroll is a transitional point of crossing from one culture to another where one eventually becomes thoroughly immersed in the new culture.
Having developed an interest in Australia’s links to the Indo-Pak Subcontinent while studying post-colonial theory, Glikson explored the extent to which the creation of colonies such as Australia was linked to, for instance, the British Raj in India. During further study for a Masters Degree in Painting at the University of Vadodara in India, 2010 she found the legacies of Imperialism pervasive in the ways people talk and behave. These experiences among many other vestiges of colonial rule reverberate through her paintings.
Excerpt from catalogue essay by David Broker