Gorman Arts Centre

Poetry on the Move is a three-year poetry project hosted by the International Poetry Studies Institute (IPSI) based within the Centre for Creative and Cultural Research (CCCR), Faculty of Arts and Design, University of Canberra.
As we reach the mid-point of our festival, we move to the Contemporary Art Space at Gorman House in Braddon. Festival poet in residence, Philip Gross, is joined by Diane Fahey, from Clifton Springs, Victoria, and Adrian Caesar and Lesley Lebkowicz, both from Canberra. Make sure you're at the gallery by 2pm for a wonderful afternoon of poetry.

Full festival program and booking information available at:www.ipsi.org.au
Contact: Paul.Munden@canberra.edu.au

 

Melt is the solo project of Canberra musician Jordan Rodger (Wives, Cinnamon Records). Theta Waves sees Rodger collaborating with a cast of Canberra's most vital musicians. A hazy journey through many realms of punk, post punk and experimental sounds.

 

This years members' show celebrates the return of Back to the Future's Marty McFy to the present with a show devoted to time travel. So its time to get those time related masterpieces out from under the bed and bring them into CCAS by 5 pm on Friday 14 August. The annual member's show is a great opportunity for members to strut their stuff for a couple of days in the Gorman Art Centre Galleries and strut they do. CCAS is always looking for new talent and this is where we find Canberra's most creative and innovative minds. Always a great night - the opening and prize giving ceremony is Friday 21 August at 6pm.


Get your members' entry form here.

 

Image: Peter Mckay, installation detail, 2008.

 

Jones' exhibition, titled Lookin Up, explores ideas of how certain gendered and raced bodies are socialised to look up to masculine heroes, idols and role models. In examining which identities were privileged in her memories of growing up as a young girl, Jones moves from the personal effects to the wider implications of why specific figures were present in the position of role models or aspirational figures.

From essay by Dr. Odette Kelada.

Image: Dianne Jones, Ye Must Be Born Again John 3:7, 2008.

 

"In Bailey’s work, it’s okay to feel a little lost. These non-sequiturs are set in unsteady terrains. In the video work Desert Mouth (2009) Bailey himself is stoned and lost in the desert. He stumbles around in only a t-shirt adorned with a marijuana leaf and sneakers: ruder than nude. Lost and confused. The work could be construed as a portrait of a resident of post-heroic society. He is intoxicated by the reiteration of slogans, mottos, headlines, mantras, buzz words, jingoistic catch phrases and epithets. He hides in a haze of escape and intemperance. Like the portrait jamais vu."

From "Stuart Bailey: An Excercise in Imminent Doom" by Amita Kirpalani

Image: Stuart Bailey, installation detail, 2008.

 

"Cathy Laudenbach's photographs take on the difficult task of grappling with notions of the land and its capricious nature by reproducing images of sites where people have mysteriously disappeared. And there are many. Her images often emanate a seductive beauty and yet, tied as they are to specific events, they are also sometimes unassuming views. Unassuming because it is not only Australia's beautiful or significant landmarks that are culpable - and that's notwithstanding the most sensational disappearance at Uluru in 1980. This aspect of the work poses problems for both Laudenbach and her audience as the question arises how do we know what happened at this site and is it even necessary to know? Does the landscape produce a different aura following a disappearance and is it possible to generate a feeling of absence through a photograph which is essentially about presence?"

From catalogue essay by David Broker.

Image: Cathy Laudenbach, installation detail, 2008.

 

Image: Starlie Geikie, installation detail, 2008.

 

"In formulating the work for Gorman House, I was interested in activating the transitional zones between hearing and touch, between conscious and unconscious perception, the real and the illusionary, the understood and the not understood. I'm entertained by the notion that we are all world receivers tunes to a certain narrow range of frequencies, and that paradoxically it is our mechanism and action of reception which constructs the world to be received, floating as it might be on a sea of absolutes."

From essay by Chris Fortescue

Image: Chris Fortescue, installation detail, 2008.

 

The story of Erica Seccombe's Nanoplastica begins with a residency at the ANU Research School of Physical Sciences and Engineering when Dr Tim Senden x-rayed a variety of miniature plastic models from the artists collection on the Microcomputer Tomograph (XTC). In modern and post-modern times the "art of the everyday" has made frequent attempts to raise objects of humble origins way above their station and into the heady heights of masterpiece. Even so, there is something particularly "sad" about Seccombe's tiny plastic toys, representing as they do, a point at which consumerism and futility meet. Using scientific equipment that is rarely accessible to artists, Seccombe effects an extraodinary transformation in which her work becomes "a metaphor for contemporary scientific techniques and processes such as nanotechnology to examine issues of visualisation, replication and simulation of the natural world."

Image: Erica Seccombe, installation detail, 2008.

 

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