Published 01 June 2017
Published 01 December 2016
Published 01 September 2016
Published 01 June 2016
Published March 2016
Published December 2015
The term “performative” has crept into the
vocabulary of the visual arts from its origins in the philosophy of language as speech acts.
Published September 2015
Peter Robinson and Jacqueline Fraser were the first two New Zealand artists ever to be included in the Venice Biennale. Both were chosen as a result of their work, rich in conceptual layering and with roots in Maori culture, but wrapped in appealingly conventional presentation styles with plenty of hooks for an international audience. This fact leads Butt to the discussion surrounding the support for New Zealands arts and culture sectors, pointing to a few examples such as Cuckoo, The Physics Room web project series and artists such as Sean Kerr and Warren Olds.
Published September 2001
Stephen McLaughlan Gallery
6 - 30 June 2001
Machan turns the light on and examines the fears associated with technology - mystical secret language, complex software, indecipherable code - and furthermore those associated when art is involved. She proposes that the use of technology in everyday life be an experimental process, more aligned to the ways it is used in an art-based contexts. She states that: through risk taking with fragile technologies we not only accelerate our knowledge but also accelerate relationships formed from the very human experience with technology.
In a work that refuses language and conventional psychologising, Mary Moores production Exile, which opened at the Sydney Spring International Festival of New Music at The Studio, Sydney Opera House in 2000, the ascribed meaning is an experience rich in identification. This is pleasurably disorienting theatre that says it all about the immersive experience from 3D to Cinemascope to TODD-AO to Cinema to VR. Other new media performance and installation works are brought into focus such as the Melbourne-based Company in Space work Trial by Video (1997), Liquid Gold by Lisa ONeill, that of Queensland media artist Keith Armstrong and the Melbourne performance company The Men Who Knew Too Much.
13 May 6 June
Time is the key. They say that the only law of physics that absolutely requires time is the second law of thermodynamics, the law that says systems tend towards entropy. That tendency is time's arrow, the ineluctable winding down of the universe. Except, of course, for life.
Many new media works contribute to the field of hypertext despite not being concerned with the literary. Corroli refers to Adrian Miles who likes to think of hypertext as being primarily about links and nodes and their relations, which may or may not privilege words. This topic is examined using examples where hypertext has become a primary focus such as the partnering of eWRe, trAce Online Writing Centre and ANAT who developed a series of online writing residencies in the late 1990s. Artists also discussed: Anne Walton, Francesca da Rimini, Sally Pryor, Diane Caney and Robin Petterd.
Robert Klippel 1920 - 2001
Through a process of active lobbying by various people around the country in the mid-eighties, the funding and institutional support for art and technology practice in Australia began to materialise. Some key figures in this push were Stephanie Britton, Louise Dauth and Gary Warner who saw the Australian Network for Art and Technology (ANAT) come into existence. The progress of the Australian new media arts scene is here documented from these early years and the various initiatives and supportive programs and events through to what is now the fundamental arts and cultural practice of the twentieth century. Artists Maria Miranda, Norie Neumark and Mari Velonaki are featured.
5 May 1 July
S H Ervin Gallery
Art Gallery of WA
12 April - 4 June 2001
Agnieska Golda, Zofia Sleziak, Stephanie Radok, Frances Phoenix, India Flint, Lisa Harms, Julie Robinson
17-24 June 2001