c3 April Exhibition
‘(t)here’ is an investigation of the relational space that is between: between a performance and its documentation, and between the words we use to locate. When we use words such as ‘here’ and ‘there’ we open up a field: a performance is ‘here’ and the documentation – such as video – takes what is ‘here’ and recreates it as ‘there’. In notation, like musical notation, the ‘here’ and ‘there’ of a work are much closer: the work still exists in the score without the performance. Using video, language games and a movement notation, Eitan Ritz aims to explore this gap between.
Through avenues of sculpture and drawing Matt Fairbridge’s work presents a synthesis of the ancient and the prospective, the stable and the temporary and the linguistic and the technological. Using materials simultaneously indicative of ancient times and contemporary styles, the work contains almost unnoticeable relief abstractions contained within framing or freestanding structures utilised as supports. The imagery is conceived of an amalgam between floor plan, glyph, architectural design and ornamentation, among other references, producing something akin to a glimpse of a lost, or yet-to-be-known world. They are constructed from a palate of collaged details that could be subjectively decipherable whilst simultaneously examining on the general proliferation and extinction of language and styles known and unknown. Extracting abstract qualities from a range of sources has resulted in a more intuitive practice, each work essentially constructing itself from an igniting gesture. What follows is a blurring between artefact, art and design and a melding together of support structure and artwork.
Katie Paine uses collage, assemblage, video and text to explore notions of historicity and the archive, through the creation of complex fictions. Within her hybrid practice, Paine explores the way that events are documented and integrated into our collective understanding of history. The term Chronophobia is defined as a fear of time: in her work Paine explores the act of making as an act of recovery – creating new constructed images and texts as a way of creating points of stasis. For ‘Chronophobia’, Paine examines the theatrical tableaux to create a discordant microcosm within which figures from Baroque painting mingle with medical manuscripts, archaeological relics and science fiction-like scenes. The staged installation represents a fissure in time, binding collected objects and images in an alternate chronology, one that questions our dependency on Western linear ‘clock’ time. Slippages between a multitude of narratives and medium explore the fallibility of the image’s ability to capture a single moment in time, dragging our accepted notions of the archive into an unsettling territory.
Every Object in My House (In Paper)
‘Every Object in My House (In Paper)’ marks the continuation of a process of experimentation and making: exploring notions of the way an event is constructed, whereby its components are deconstructed as a form of theoretical testing. In this work the physical form of an object is defined as an anchor point in an attempt to express the intangible aspects of an event. The notion of an event as a form of scene is played out through the physical gesture of inserting the mass arrangement of paper objects within the gallery space: questioning theirdefinition as anchor points and the reading of an object’s presence and perceived hierarchies within the scene’s creation. Material and scale further layer this reading, being used as a tool to neutralise the scene, and in doing such changing the narrative of each object. The scene presented therefore seems askew, not only through the objects themselves but the viewer’s notion of object intention.
Eliza Dyball, Jeremy Eaton, Kate Golding, Wil Heathcote, Shane Nicholas, Emanuel Rodriguez, Vivian Cooper Smith, Nathan Stolz and Siying Zhou
This exhibition brings together the work of eleven artists who are all undertaking research degrees at VCA. Despite working across painting, photography, sculptural and spatial practice, performance, video and animation, there’s considerable conceptual overlap and resonances throughout the group. Working within the heuristic academic environment allows common ground to be embraced in ways not readily available in everyday art practice. This exhibition is an opportunity to explore these shared interests through practice, curatorship and presentation. Rather than simply being a group display of individual artworks, the artists will trace lines and intersections through each other’s work, collaborating or responding, occupying common ground or contesting territory. It is an opportunity to expand learning and practice beyond the limitations of individual research or medium specific outcomes while also providing a space to experiment and develop ongoing concerns.
Cities are complex systems governed by spatial, social, operational, commercial and cultural codes. They are layered with digital and material traces and are permeated with clouds of data. Our encounters with cities occur at various scales of public space: micro and macro, monumental and intimate, transient and permanent, personal and public, individual and collective. ‘Urban code making’ is a form of psychogeographic wayfinding into the abstractions that emerge from the patterns and flows of a city. This exhibition brings together photographs, video, artefacts, and software that document this practice. Using play as a strategy of appropriation, urban spaces are transformed into readymade places, marked by urban codes. Over the past seven years, hundreds of these codes have been deployed across 15 cities, linking multiple sites through their shared aesthetic language to create a single ludic city; collapsing and traversing time and space into an alternate reality, an imagining of another city.
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