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
Allan cites a display in the Melbourne Museum presenting moving images of the elegant creatures that inhabit depths never before explored. For Allan this proves to be an inspirational space where movement is unrestricted, a space that is like Space. In these gravity free zones, awe becomes the driving force for paintings that deal with the increasing accessibility of previously inaccessible spaces: deep sea and deep space. But this is no space of fear and Allan evokes Bachelard’s “intimate immensity” in which the vast becomes a poetic space of meditation, a “philosophical space of daydream”.
In Nada and the Whale Allan appropriates the story of Jonah and imbues it with a distinctive personal perspective. Consisting of a grid of small paintings/collages Allan explores the idea of a universal mythic journey that continues to have contemporary relevance.
Excerpts from catalogue essay by David Broker; photograph by Brenton McGeachie.
There is an element in Hay’s work that is invested with emotion through which the audience’s consideration is elicited. This begins with modest seemingly uncomplicated materials that might be found or seen anywhere. Hay has the uncanny ability to pair the disparate in ways that suggest each component was made specifically for another. The classical Unprepared (2010) for example is a grand piano stripped of varnish, its front leg removed causing it to slide into the floor. Attacked; the lid is pierced by a hail of arrows evoking the incongruent genres of Western and (soap) Opera in a way that inspires simultaneous amusement and sadness. The arrow is a recurring motif in Hay’s work as seen again in Measure Once, Cut Twice, (2010) a bunch of caged walnuts pierced by a gigantic steel arrow. The arrow is a potent symbol of love and aggression.
As one struggles through Hay’s studio, stepping over a wheelbarrow with flight aspirations, avoiding a bent spike emerging from a fagot of sticks with red painted tips seemingly in dialogue with the red topped ladder from which grows a strange prickly copper protrusion – the barriers between found and made objects begin to dissolve. Hay makes objects that look as if they have been found and finds objects that appear to have been made by him. As he brings these together with objects that we know have been either made or found, a curious body emerges.
It seems almost unfortunate that Paul Hay’s sculptures must eventually leave his studio. This is not to say they should never be seen in public or they are unsuitable for a gallery, but rather, they reflect an energetic studio practice. In the nursery each work exists in relation to its siblings as well as to the tools of its making and an encompassing conceptual gestalt. Here, the eccentric objects of Hay’s imagination materialise from the vices, clamps, a gas cylinder, plastic bottles of toxic chemicals and the very benches upon which they were forged. The studio is a habitat, where everything fits and nothing, however odd, seems out of place. As one idea blends with another there are moments when individual works do not appear to have been separated. The curator who enters into this zone of cohesion with a view to making sense of the studio’s inspired chaos is immediately cursed. Hay’s work will not be easily evicted and will resist transportation.
Excerpt from catalogue essay by David Broker; photograph by Brenton McGeachie.
Debra Porch uses installation as a powerful catalyst to explore the visible and unseen ties that connect the past to the present. Her work draws attention to the way memory transforms the ordinary, emphasising the singular and exceptional in the everyday. Regards to the family begins from this premise, using specific objects and images as conduits for memory and the visual mechanisms of installation to re-orientate our sense of the familiar. The work refers directly to Porch’s Armenian heritage and to the way the work’s title communicates wider bonds with the filial appearing in and out of our memories. Porch grew up in the Armenian Diaspora — the dispersion of people following the 1915–18 genocide by the Ottoman Turks — and, like many of her generation, with limited connections to history and place. No one in her family had returned to Armenia and its traumatic history encouraged a collective silence. Regards to the family is in part a response to Porch returning to Armenia for a residency in 2010 and to the way these experiences made present a fusing of the self with memories recovered, retold and reinvented.
Excerpt from catalogue essay by José Da Silva; photograph by Brenton McGeachie.