The Third International symposium on Electronic Art (TISEA) which took place in 16 venues in Sydney from 9 -13 November 1992 converted the whole city into a massive hologram event.
Exhibition review Crossings Mary Knott: Drawings and Sculptures 1988 - 1992
Curated by Tony Geddes
The Art Gallery of Western Australia
October 3 - December 13 1992
Geraldton Regional Gallery
December 18 -January 21 1993
Bunbury Art Galleries
January 30 - March 7 1993
John Hughes independent documentary film on Walter Benjamin One Way Street was screened on ABC television in December 1992, the centenary year of Benjamin's birth. The film has been released to festival audiences in the US and Europe and will theatrical release in Sydney and Melbourne in 1993. Here John Hughe slips into pause and explores an opening on certain scenes.
In the incredible shrinking space between 1984 and 2001 the distinction between social-issue documentary and surreal fiction is collapsing - almost as fast as Australian capitalism or Soviet communism.
Surely one of the powers of cinema is the aesthetic redemption of everyday reality, a poetics in motion that can distill and energise mundane objects, be they tiles on a kitchen wall, the fluorescent facade of an airport terminal, a luminously white T-shirt being twisted and tugged or the compact shapeliness of Y-fronts on a young body emerging from bed.
In the decades prior to the expansion of art-house cinemas and television programming, 'independent distribution and exhibition' denoted a more specific activity than it does in the 1990s.
Blotting paper, alchemy or potent cocktail. When radical European film-makers in the 1950s with the Nagra sound recorder and noiseless, hand held camera, the Eclair, launched what they called Cinema Verite, they thought they had discovered a way to film truth on the move.
It is diversity, and the celebration of the marginal which makes Australian film innovative. Diversity provides the opportunity for people in Australia to enjoy and reflect on the cultural heterogeneity rather than on the alienating myth with which we are so familiar.
Tracey Moffatt offers her personal insights on the making of 'Bedevil' made in 1992 with Film Finance Corporation Trust funds. Due for release in 1993.
The emphasis in this collection has been on the films and videos themselves rather than the structures which support their production and circulation but they have not been overlooked....