Testing audio uploads
(2013)
author(s): Paul Draper
published in: Research Catalogue
Trailing some issues with uploads and audio transcoding
The Poetics of Flesh
(2013)
author(s): Mike Binzer
published in: Research Catalogue
The exhibition Let Me Remember You as You Were Before You Existed is an exploration of the subtleties of embodied experience drawing on what I call ‘somatic knowledge’—an embodied, preconceptual and nonpropositional type of knowledge. I developed a sensitivity to this form of embodied understanding through intense somatic training—sixteen years of schooling in ballet. The artworks presented in the R.H.W. Foundation Gallery at the MacKenzie Art Gallery are an attempt to examine, through paint, somatic knowledge and to present a sense of embodied experience that challenges the dualisms created by the representational theory of perception.
In an effort to present the subtleties of embodied experience—imminent embodied knowledge and meaning—I have faced the necessity of preventing the spectator from ‘reading’ the artwork and ascribing linguistic meaning to the paintings thereby transcending the materiality of the artworks with linguistic knowledge. Three strategies were implemented in my paintings in an effort to hold the spectator in a space of prelinguistic imminently felt meaning: dis-figuration, indeterminable spaces, and poetic titling. Dis-figuration is the process of reversing the signification of the painted body to present an asignifying flesh. The indeterminable space is meant to further unsettle the signifier-signified relationship by painting a palpable emptiness that is no place, but holds and envelopes the dis-figure. And finally, poetic titling is used for the paintings in an effort to have affective language intensify or point back to the affects presented in the artworks. I hope to exhibit a collection of paintings that present meaning that is not ‘read’, but instead felt, and touch upon a prelinguistic knowledge that expands a sense of who and what we, as human beings, are.
In the prison of permanent change
(2013)
author(s): Gerhard Eckel
published in: Research Catalogue
Put a loudspeaker in a room (this piece cannot be performed in the open air) and play a sine tone with fixed frequency and level of your choice. Make sure that the audience can move freely in the room.
LANDSCAPE, THE ARCHIVE AND ESCAPE
(2013)
author(s): Klaus Hu
published in: Research Catalogue
Landscape as projection,
economy, the archive and practices of escape.
Exhibition/Installation/Research.
Critical keynote, that challenges
maps and cartography in artistic practice.
“Born Digital – New Materialities”.
(2012)
author(s): Paul Thompson
published in: Research Catalogue
This paper presents the findings of new research undertaken amongst contemporary printmaking practitioners to determine markers of transition between traditional and new forms of printmaking, framed by conception of “Born Digital – New Materialities” - where a print object is conceived and/or created wholly in digital form (The-Library-of-Congress, 2010) whereby artists, utilising digital technologies, demand new conceptions, forms and aesthetics – “towards a new printmaking materiality”.
The research was undertaken through social network platforms to coordinate the collation and curation of a digitally mediated international exchange survey of contemporary “print” developed through digital mediation for digital exhibition, publication and editioning.
The research examines notions of “new materiality”, set against new concepts of electronic consumption for the second generation of printmaking formed by “ a multiply produced object made with a new type of template” [Kushner 2009] or printmaking 2.0, driven by burgeoning demand[s] for electronic distribution of digitally mediated prints.
FOREPLAY -Group exhibition
(2012)
author(s): Lucy Bleach
published in: Research Catalogue
The project aimed to investigate preparatory methodologies employed in the contemporary art making process by a number of visual artists. The study focussed upon that mostly unseen and typically unexperienced aspect of contemporary art practice, the incubation of the germ of an idea, with its heuristic exploration of the collision between content and form.
The proposition is that an artist’s subjective expression operates in advance of their actual realisation, once they become absorbed in the physical interplay of the various elements of image making. Such interactive sequences actually make for streams of thought, even as they reach into sensory spheres that mostly remain tentative. To achieve the aims of this project it was vital to be able to examine these formative catalysts as well as their visual art outcomes.
The vehicle chosen for investigation and publication was the art exhibition. Five artists presently working in different media were selected. The art exhibition, entitled 'Foreplay', incorporated both resolved artworks and speculative material, was held in the Plimsoll Gallery, Tasmanian School of Art, University of Tasmania, from 28 July to 19 August this year.
A published catalogue with an introductory essay, artist’s statements detailing their art practice, biographies and reproductions of explanatory background material, as well as exhibition artworks, accompanied the exhibition.
'Foreplay' brought to the forefront heuristic material considerations that are the very stuff of an experimental art practice. To this end, it was important that the curators selected artists whose art practice sought expression in the immensely fertile field of the unknown, which in itself established an exhibition platform for risk, chance and proposition.
Curator researchers Associate Lecturer Lucy Bleach and Professor Emeritus Geoff Parr, Tasmanian School of Art, University of Tasmania.
Plimsoll Gallery manager Pat Brassington.