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Contributors
Artlink
Adrian Martin
Alan Dargin
Ali Gumillya Baker
Alta Winmar
Amita KIrpalani
Andrea Bell
Andrew Varano
Andy Kiwat
Ann Finegan
Anna Eglitis
Anna Epstein
Anna Zagala
Annabelle Sheehan
Anne Kirker
Anne Marsh
Anne Rutherford
Annette Blonski
Ashley Crawford
Astrid Lorange
Audrey Yue
Barbara Creed
Ben Eltham
Ben L Yengi
Bob Weatherall
Brenda L Croft
Brendan Lee
Briony Downes
Bronwyn Bancroft
Cait Wait
Carol Schwarzman
Cecelia Cmielewski
Charlie Schiavone
Chris Berry
Christine Lennard
Christine Watson
Christopher Hodges
Claire Capel-Stanley
Craig Judd
Darren Jorgensen
David Broker
David Bromfield
David Kerr
David Wroth
Deane Williams
Deb Verhoeven
Derek Sargent
Diane Moon
Djon Mundine
Dorothea Philips
Dorothy Erickson
Dylan Rainforth
Ellen Jose
Elly Kent
Eve Sullivan
Felicity Wright
Francesca Da Rimini
Freda Freiberg
Geoff Narkle
Gordon Du Rich
Helen Hughes
Helen Vivian
Howard Morphy
Jan Birmingham
Jane Deeth
Jasmin Stephens
Jenny Green
Jessyca Hutchens
Jim Everett
Jo Higgins
Joanna Mendelssohn
Joel Smoker
John Conomos
John Cumming
John Hughes
John Kean
John McConchie
John Neylon
Jonathan Marshall
Julianne Pierce
Kathy Barnes
Kathy Cleland
Kay Hannaford
Ken Bolton
Ken Canning
Kerry Giles Kurwingie
Kevin Gilbert
Kirsty Darlaston
Leon Marvell
Leone Stanford
Leonie Naughton
Lesley Fogarty
Liang Luscombe
Libby Morgan
Lin Onus
Louise Dauth
Mabel Edmund A M
Maggie Fletcher
Marcus Breen
Margaret O'Shane
Issues
Performative
Issue 35:3 | September 2015
Screen Deep
Issue 27:3 | September 2007
Film & Video
Issue 13:1 | March 1993
Contemporary Australian Aboriginal Art
Issue 10:1&2 | June 1990
Articles
Video and performance: Many chronic returns
Robert Nelson on the death and rebirth of performance in the video loop
Alicia Frankovich: Toward a republic of the post-human multitude
Toward a republic of the post-human multitude
Fly In Fly Out artists of Western Australia
On artist residencies and site-specific projects that don’t always go as planned
Perspectives on contemporary dance
Julianne Pierce on multidisciplinary approaches to working across contemporary dance and visual arts
Bound and Unbound: Sovereign Acts (Act 1)
Ali Gumillya Baker with Faye Rosas Blanch, Natalie Harkin and Simone Ulalka Tur on decolonising methodologies of the lived and spoken
Entering the Screen
New interactive screen spaces of the web, games and virtual worlds act as portals allowing us to become a part of the media image rather than just watching it. No longer content to just watch the action, were creating our own online identities and becoming our own screen heroes acting out our own virtual adventures. This article focuses on the new virtual world of Second Life and discusses the idea of avatar (virtual pictorial) identities via the works of a selection of new media artists: Neal Stephenson, Eva and Franco Mattes, Emil Goh, Adriene Jenik and Lisa Brenneis, Adam Nash, Christopher Dodd, Kyal TripodiGazira Babeli and Pierre Proske.
Memoirs of a Videophile: Video Cannibalism, A Personal View
In this article David Broker looks selectively at the brief history and development of video art, a trying medium voluntarily lost to him around 1985. Broker uses three examples of the video grande- Francesco Vezzolis Comizi di Non Amore, Emmanuelle Antilles Angels Camp and a work by Miguel Calderon featured in the 2004 Sao Paulo Biennale. Each work exists in its own way as a continuum upon which the trajectory of the technologies they have absorbed is not only clear but also fundamental to the work. As Broker declares the video revival has in itself been a spectacle, with digital video driving its acolytes to ever-greater heights of excess.
Black Box/White Cube: Cinema in the Gallery
Historically, the relation between art institutions and film has been fraught with every imaginable problem and inequality. How to truly bring cinema and art into dialogue, to create real interpenetrations and hybrid forms that move well beyond the ephemeral fireworks of yesteryears between-images? Martin proposes that the gallery needs to take its filmic pedagogy outside its lecture rooms and onto the gallery and film works need to be fully valued in themselves by curators, audiences and the entire, increasingly dominant promotional machine attached to our major galleries for their history, their value, their power and (yes) their art.
Look Into My Eyes: Behind the Screens with ACMI
This article looks at the current state of screen culture in Australia, focusing on the program architecture of ACMI (Australian Centre for the Moving Image) in particular. For screen culture in Australia, the market-driven economy has provided a great number of challenges in the kind of content it can exhibit and the ways in which it can be exhibited in a sustainable and meaningful way. For ACMI one of the key points is in providing the discussion platform by which screen artists or even mathematicians, writers and psychologists can participate it is through this approach, applying the filmic principles and content concepts to broader social issues and discussions that the greatest power amongst audiences arrises.
Databases: Recombinant Interactives
Ann Finegan looks at the world of interactive media arts, in particular database content interactivity. One example Finegan uses in her discussion is Josephine Starrs and Leon Cmielewskis Seeker, winner of an Award for Distinction for Interactive Art at Ars Electronica 2007. Seeker belongs to an emergent genre of database works which draw from the broader media, putting the viewer into the web of connections through which the forces of politics and economics determine the fate of peoples and of persons. Other artists discussed are Josh On, Lev Manovich, Linda Dement, Troy Innocent, Doll Yoko (aka Francesca da Rimini aka Gash Girl), Stephen Honegger, Rachel Baker, John Tonkin and Barbara Campbell. Finegan proclaims that at present the future of interactives is weighed in a choice between the seductive action of computer gaming as sites for artistic intervention, and data-mapping with its deep and active connections in realworld events.
A Detour Off the Art-Path
Whilst in Europe this year, Julianne Pierce made a detour and visited the small city of Wolfsburg in central north Germany where she visited the privately run contemporary art museum Kunstmuseum Wolfsburg. A delightful discovery was made in the retrospective exhibition of Douglas Gordon, an artist who works with the time-based foundation of cinema and transforms it into stripped back experience of time and motion. He is interested in the epic nature of cinema the big screen, the close-up, the majestic soundtrack but is concerned more with an extended experience of time and memory. Viewing several works together projected large in a darkened monolithic space brought Gordons fusing of cinema and visual arts into a mesmeric articulation of his vision and practice.
The Space of Presence: Leigh Hobba
This article examines Australian video and performance artist Leigh Hobbas recent retrospective The Space of Presence at the Tasmanian Museum and Art Gallery. The exhibition presented a precise slice of Hobbas electronic oeuvre including twelve works which highlight the materiality and texture of video as a medium. Together they convey a sense of awe, a pre-verbal ambiguity, recontextualising Hobbas recurrent and connected themes. This article also raises issues of space, infrastructure and technical facilities when considering the ways in which new media art is to be viewed.
New Media at the Venice Biennale and Documenta 12
Jasmin Stephens presents a personal recollection of this years Venice Biennale and documenta 12. As Stephens states, Venice reflected the worldwide trend of artists reappraising iconic moments from Conceptual Art from the early seventies and in so doing taking up the low-tech equipment associated with them. Artists here discussed are Aernout Milk, Willie Doherty, Paolo Canevari, Sophie Whettnall, Shaun Gladwell, Yang Zhenzhong, Emily PrinceSusan Norrie, Joshua Mosley and Tabaimo, Nedko Solakov, Mario Garcia, Felix Gmelin, Steve McQueen, Rafael Lozano-Hemmer, Ines Doujak, Lili Dujourie, Zofia Kulik, John McCracken, Harun Farocki and Artur Zmijewski.
Phoenix Halle: Model for a Media Centre
The privately funded centre of the PHOENIX Halle, which grew out of a small media arts organization called HMKV (Hartware MedienKunstVerein), stands alone in a derelict steel mill in Dortmund, Germany. Established in 1996 by German curators Iris Dressler and Hans D. Christ, HMKV is dedicated to curatorial research and practice in the media arts field. HMKV and PHOENIX Halle are fundamentally exploring how artists create meaning and interpret the rapid states of change in our contemporary post-industrial society. Julianne Pierce briefly examines the work of HMKV and the PHOENIX Halle during her travels in Germany.
Playing Biennially: Experimenta Playground
Experimenta Playground, an international biennial exhibition of media art, marks Experimentas 21-year commitment to innovation in both production and in promoting and exhibiting new media art throughout Australia and abroad. With artworks that engage with the creative possibilities emerging from a dynamic interaction between the moving image, art and new technologies, each artist in the exhibition creatively expands the definition of play, performance and ritual. Here the revelation of technology and spatial features create new ways of appreciating the construction of fantasy. Participating artists include : June Bum Park, Guillaume Reymond, Shu Lea Cheang, Hiraki Sawa and Tomoyuki Washio, Jennifer and Kevin McCoy, Madeleine Flynn, Tim Humphrey and Jesse Stevens, Golan Levin and Zachary Lieberman, Philip Worthington, Gavin Sade, Priscilla Bracks and Matthew Dwyer, Stelarc, Marina Abramovic, Kuang-Yu Tsui, Eugenio Ampudia and Robert Hughes.
BEAP 07: A Meditation
This examination of the 2007 Biennale of Electronic Art Perth (BEAP), lead Marshall to an ultimate abandonment of its underlying theme of stillness, instead choosing to look at the profusion of Australian and international art on offer. This article details key works by artists Christa Sommerer, Laurent Mignonneau, Bill Viola, Seiko Mikami and Sota Ichikawa, Orlan, George Khut, Hannah Matthews, Boris Ledagsen and Natascha Stellmach and Ulf Langheinrich.
Crossing Over: Digital Media at the Adelaide Film Festival 2007
The Adelaide Film Festival (AFF) is an event that has always had an eye on technological innovation and evolution and it is a tenet of AFF to celebrate screen culture in all its genres and formats. This years AFF was the host of a suite of symposiums, exhibitions, thinktanks, and screenings that spotlight the popularity and possibilities of content outside the linear feature film. This article details three of these events in particular Crossover, the Broadcast Summit and one focused on machinima. The evidence of AFFs Digital Media strategy, focusing on seminars that invite audience interaction and discussion, means that Adelaide audiences will be part of this exciting artistic and technological discussion.
Taipei 101: Video at the National Palace Museum
Discovering the Other National Palace Museum, Taipei, July 7 to August 19, 2007
Merilyn Fairskye briefly discusses her journey to Taipei where she took part in an exhibition of video installations Discovering the Other, the first ever contemporary art exhibition to be held at the National Palace Museum. Curator Gertjan Zuilhofs discription of this exhibition can be seen as a metaphor for his world view shadows, spirits and ghosts seemed to be everywhere, while at the same time the works engaged with the world of people and place, and the precarious struggle to maintain individual and cultural identities. Featured artists included: Deborah Stratman, Ella Raidel and Lin Hongjohn, Apichatpong Weerasethakul and Merilyn Fairskye.
Merilyn Fairskye briefly discusses her journey to Taipei where she took part in an exhibition of video installations Discovering the Other, the first ever contemporary art exhibition to be held at the National Palace Museum. Curator Gertjan Zuilhofs discription of this exhibition can be seen as a metaphor for his world view shadows, spirits and ghosts seemed to be everywhere, while at the same time the works engaged with the world of people and place, and the precarious struggle to maintain individual and cultural identities. Featured artists included: Deborah Stratman, Ella Raidel and Lin Hongjohn, Apichatpong Weerasethakul and Merilyn Fairskye.
Lynette Walworth
Lynette Wallworth is driven by a passion to explore the natural world, to capture human stories, to explore the past and evoke memory and experience. As a media artist, she strives and succeeds to achieve an emotional and powerful connection between her images and her viewer.
Daniel Crooks
Daniel Crooks is a digital media artist interested in distorting what is familiar to us and offering it back as a study in how we experience time and place. His digital manipulation of everyday materials and landscapes such as trains, trams and the passages of pedestrians across public spaces transform the work into a vibrant palette of colours and textures. Crooks is an artist who creates moving images that engage the viewer beyond and beneath the surface of the screen.
Anne and Gordon Samstag, Museum of Art
This article previews the new Anne and Gordon Samstag Museum of Art, opened on 11 October 2007, which is discussed as a significant addition to art exhibition spaces in Adelaide in terms of scale, capacity and technology. This museum, designed by multi-award winning Melbourne architect John Wardle, is a public space in which artwork, in its selection, hanging, and experience, cannot ignore the active engagement of visitors. The Samstag Museum of Art plays a part in extending the role of museums into new categories of cultural industries, and the complicated relations between leisure, knowledge and libidinal economies.
Pippin Drysdale; Design, Craft and the Smart Syndrome
Pippin Drysdale Lines of Site By Ted Snell Fremantle Arts Centre Press 2007 174pp rrp $45 Recently published in Perth with support from Arts WA is an incisive monograph on West Australian ceramist Pippin Drysdale by Ted Snell. Snell has written a substantial book of five chapters, dividing Drysdales artistic evolution into four eras. Through in-depth engagement with particular vessels or series Snell traces her increasing mastery of the allusive and abstract power of the ceramic medium. Smart Works Design and the Handmade Edited by Grace Cochrane Powerhouse Publishing 192pp rrp $35.95 This publication is in many respects an exemplary book of an exemplary exhibition at the Powerhouse Museum and is about design that reflects the values of the handmade. With 40 individuals and groups represented across the categories of jewellery and metalwork, ceramics, glass and resin, fashion and textiles, and furniture this publication encompasses a truly diverse range of approaches from totally hand-crafted to high-tech manufacture.
Thresholds of Tolerance
Thresholds of Tolerance ANU School of Art Gallery, Canberra 10 May - 5 June 2007
Freestyle: New Australian Design
Freestyle: new Australian design for living Curator: Brian Parkes QUT Art Museum, Brisbane 1 June - 22 July 2007
A Constructed World
Increase Your Uncertainty A Constructed World Australian Centre for Contemporary Art, Melbourne 2 June - 26 July 2007
Eternal Beautiful Now
Eternal Beautiful Now Curator: Tania Doropoulos Sherman Galleries, Sydney 10 - 26 May 2007
New Deities
New Deities: art and the cult of celebrity Curator: Catherine Wolfhagen Devonport Regional Art Gallery, Tasmania 30 June - 29 July 2007
Snap Freeze
Snap Freeze Curator: Jenna Blyth Tarrawarra Museum of Art, Healesville, Victoria 20 May - 11 November 2007
Bridget Currie, James Dodd, Louise Haselton, Laura Wills
parkside nomadic group moves inland 4 winter : Laura Wills Project Space, Contemporary Art Centre of South Australia 1 June - 8 July 2007 Years without Magic: Louise Haselton & Bridget Currie SASA Gallery, UNISA, Adelaide 12 June - 6 July 2007 Speakeasy: James Dodd Experimental Art Foundation 13 July - 18 August 2007
Matt Hunt
Cause I see the Light Surrounding You, so Dont Be Afraid Matthew Hunt Turner Galleries, Perth 1 - 30 June 2007
A memorial for the dead: Commemorating 200 years of loss
In 1988 the artists of Ramingining, a remote Central Arnhem Land community, were responsible for perhaps the most-moving political statement made during Australia’s bicentenary year. Djon Mundine tells UK-based anthropologist Howard Morphy, how this extraordinary monument came to be made.
Contemporary Australian Aboriginal Art
Art Co-ordinator: No ordinary job
Howard Morphy interviews Djon Mundine at Ramingining in Arnhem Land, Northern Territory.
Contemporary Australian Aboriginal Art
An Artist's Project: Banduk Marika
Margie West talks to NE Arnhem Land artist Banduk Marika about artists working in Yirrkala, an Aboriginal community. She addresses traditional ceremonies today, the appropriate use of traditional designs, payment for work, copyright, and working to redress environmental damage to the beaches and lands by regenerating native trees and plants.
Contemporary Australian Aboriginal Art
East to West: Land in Papunya Tula Painting
Painting movement at Papunya 1971-75 one of the few positive offshoots of the Government's Assimilation Policy. Senior men began to paint on boards and made murals for the school, initially showing sacred secret material, later self-censored. Paintings use complex patterning and dotting to describe formation of land by Ancestors, natural features and travel.
Contemporary Australian Aboriginal Art
Film and Video
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....
Film & Video
Aboriginal Arts in Australia 1990
Original dreaming. Aboriginal people believe that the spirit ancestors watch over us today to ensure the laws are kept and that punishment is inflicted if broken. Photograph of Yuendume women dancing.
Contemporary Australian Aboriginal Art
Selected Shorts: Oppositionality, Postmodernity and the Australian Short Film
Despite my distrust of the postmodern, the possibility of disruption, the disturbance of vision that postmodernity is capable of providing within the cultural framework needs to be investigated. That such disturbances fail to deliver the most popular short films may be because they unsettle the comfortable fictions with which we seek to live....
Film & Video
Domestic Noir Night Out
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.
Film & Video
More Bangs for Bucks: Male Sexuality and Violence in Australian Film
Looks at 3 Australian films: Romper Stomper Night Out and Resonance each of which brings masculinity, sexuality and violence together.
Film & Video
Lesbian Independent Cinema and Queer Theory
Lesbians do not exist in mainstream Australian cinema. Apart from a brief sequence representing youthful lesbian desire in 'The Getting of Wisdom (1977)' and the undercurrent of adolescent homoeroticism in 'Picnic at Hanging Rock (1975)' Australian cinema has remained mute - perhaps dumbstruck might be a more appropriate term - in relation to the issue of desire between women.
Film & Video
Wizards of Oz: Into the 90s - Between Documentary and Fiction
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.
Film & Video
Monica Pellizari's Short Black Look at the Italian-Australian Experience
The title of Monical Pellizari's recently completed short film has a characteristically wry double edge. 'Just Desserts (1993)' tempers an unfortunates Australian maxim with distinctive humour. This film is a delight, a consolidation of the stylistic and thematic concerns of her previous 3 films in 13 witty and evocative minutes.
Film & Video
Aleksi Vellis
Aleksi Vellis announced his arrival in the turmoil of early 90s Australian cinema with his debut feature 'Nirvana Street Murder' a restlessly energetic film with cavalier camera moves that are almost as swish as the director himself.
Film & Video
Memory and Image: The Multiculturalism in Film Project
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.
Film & Video
"I Am Like You, I Am Different" - Beyond Ethnicity, Becoming Asian-Australian
Beyond ethnicity, becoming Asian - Australian. How does one address issues of ethnicity? What is authenticity?
Film & Video
Who Told You We Wanted To Make Our Own TV?
The broadcasting in remote Aboriginal Communities Scheme and the failure of policy.
Film & Video
"I Am Not A TV Show"
"I am not a TV show, this is not a TV show." These are the oft-spoken words of Tony Tjamu, Chairperson of the Mutitjulu Community at Uluru (Ayers Rock) in the Pitjantjatjara Lands of Central Australia. Their repetition reveals something of the exasperation born of the visibility of being Aboriginal in a predominantly white Australia.
Film & Video
Independent Distribution and Exhibition
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.
Film & Video
"Just Trust The Text, Don't Colour It"
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.
Film & Video
A Tale of Reproduction and Dependency
The interface between film and video education and the Independent film and video production.
Film & Video
Digital Art
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.
Film & Video
The 7th International Video Festival
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.
Film & Video
Perplexities: Experimenta 1992
Over 12 days in November 1992, the Melbourne based Modern Image Makers Association (MIMA) held the third Experimenta presenting nearly 200 works of film, video, installation and performance. It included work from Germany, Japan, England and the USA, thus providing an opportunity to assess the current state of 'avant garde' practice and discourse.
Film & Video
Museum Screen Dreams
Sydney's new Museum of Contemporary Art has actively integrated film, TV and videos into its programs since opening in 1991.
Film & Video
The End of Independence? Women's Film and Video in the 1990s
Independent cinema may have been diverse in form, but its practitioners had in common a position of difference and marginality, working outside the mainstream and in opposition to it.
Film & Video
Cinema or Death
What is the effect on film when the maker's background is utterly different from the culture in which he now works. Anna Epstein talked to a film-maker who brings fresh vision to the Australian film industry.
Film & Video
The Last Days of Chez Nous: Love Stories and Girls' Blouses
In his discussion of male sexuality, it was Freud who asserted that men customarily distribute their libido with expedience. What psychical energies a man 'employs for cultural aims he to a great extent withdraws from women and sexual life'. But not so in the love story, a genre which disavows this predicament.
Film & Video
Wild: Beyond the Deconstruction
To begin this discussion of Ross Gibson's new film 'Wild' it may be useful to trace its origins to his 1984 film 'Camera Natura'. The earlier film employed an essay mode to deconstruct the discourses around non-Aboriginal imaging of the landscape.
Film & Video
Redemptive Moments Through Utter Despair: The Films of Brian McKenzie
Expressionism and modernism. Two old fashioned words in these days of post modernism.
Film & Video