Published 01 December 2019
Expressionism and modernism. Two old fashioned words in these days of post modernism.
Exhibition review Cultic Gloss: Shaun Kirby
Contemporary Art Centre
Adelaide, South Australia
October 23 - November 24 1992
Published March 1993
Discussion with George Mannix. If there is any form of expression that eats money it is the feature length movie. Camera, lights and actors all cost big bucks and many ideas have stopped at the drawing board simply because there wasn't enough money. Independent Producer George Mannix had other ideas.
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.
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.
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.
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.
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.
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.
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.
In matters of technology, as in matters of sex, it is easy to assume one's own preferences are universal and normal, and to regard other's tastes as somehow debased or improper.
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....
Exhibition review Architecture without Walls Robert Harrison
University of South Australia Art Museum
10 September - 3 October 1992