Audience Implication: PVI Collection

Back in 1998, the PVI (Performance, Video, Installation) Collective were a neat group and a fledgling collective. In 2004, seven years and eighteen major works later, the group has expanded to include new members, in addition to remote cells and networks of groups and individuals across Australia. The PVI refer to themselves as shape-shifters, and in this sense the shifting evolution of the collective has been influenced as much by the consequences of their national and international residencies as their addoption of new technologies.

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Bridget Riley on Bridget Riley

Bridget Riley is an artist who has pursued her own agenda for over thirty years with no concessions and has made a place for herself within the heart of the art world not only with her work but through her extraordinary desire and willingness to communicate. On the occasion of her major survey exhibition in Sydney in the summer of 2004 at the Museum of Contemporary Art she kindly assembled for Artlink some excerpts from some of these interviews.

Bridget Riley

Exchange Value # 2. Keeping up the Momentum

Britton follows up from Peers examination of Art and Globalism to discuss the trends of international art residencies and the evident exchange in cultural values and creative receptibility that comes as a result of working in a foreign country; the buying of time away from other strategies for staying solvent - part time or full time jobs, or feeling under pressure to make work with commercial appeal.

Stephanie Britton

The In-Between: Hybrid Arts Laboratories as Places to Question

Hybrid art laboratories - both funded and semi-funded - are dotting themselves around the Australian arts landscape. Most of them involve time away from the everyday, where experience can be intensified and where a new set of meetings between artists can take place. It is an experimental environment encouraging a mode of artmaking that struggles to exist between art form and another, one identity and another, one technology and another, one world and another.

Rachel Fensham

The Winter (of our Discontent) Games

Blackmore Park Leichhardt 29 August 2004

Joanna Mendelssohn

Lost Plot

Adelaide Central Gallery 20 August - 12 September 2004

Sera Waters

The City of Light: Video Projection and Public Art in Adelaide

The recent initiative of the Adelaide City Councils Public Art Program Luminosity has seen the commissioning and exhibition of five temporal public art projections between June and December of 2004. The objectives of the initiative aim to foster the Citys image as a centre of creativity and innovation, supporting established and emerging artists through the encouragement of quality new media art, thus making a contribution to the social and cultural substance of the city space.

Annemarie Kohn

Location Location Location

The position of long-term visitor or unfaithful citizen affords a view from both within a culture and outside it. The art of Pasifika is as diverse as its people, it is a 21st Century hybrid reality. Pasifika is urban.

Tracey Clement

A Response by a Fringe Dweller

Debates about what is mainstream, whether in global or national terms, seem to perennial. Some have claimed Aboriginal art is now mainstream. Stephanie Radok takes this notion apart.

Stephanie Radok

Primavera

Museum of Contemporary Art Sydney

Chee-Sean Tan

Rick Amor

Niagara Galleries, Melbourne September 2004

Christopher Heathcote

Instinct

Emily Floyd, Sharon Goodwin, Irene Hanenbergh, Louise Hearman, Rebecca Ann Hobbs, Ronnie Van Hout, David Noonan, Lisa Roet, Kathy Temin. Curator Lisa Vasiliou Faculty Gallery, Monash University 9 September - 5 November 2004

Jazmina Cininas

Artrave

Artlink

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