links to news of the death of artist Gordon Bennett 3 June 2014
Richard Bell tribute
'Bennett will be remembered as a hero of Australian art whose practice took aim at race relations, power imbalances, dominant histories and social conventions, producing some of the most iconic images of Australian art history over the past three decades.'
ArtAsiaPacific
Jeremy Eccles in Sydney Morning Herald
National Gallery of Victoria resources
Friday, 22 August 2014
Saturday, 9 August 2014
Mellor in Edinburgh
Danie Mellor at the National Museum of Scotland
Acclaimed contemporary Australian artist Danie Mellor’s current exhibition Primordial: SuperNaturalBayiMinyjirral responds to an array of wonders and objects from the worlds of science and nature for his current exhibition in the light-filled Victorian architectural granduer that is the National Museum of Scotland.
Review
Acclaimed contemporary Australian artist Danie Mellor’s current exhibition Primordial: SuperNaturalBayiMinyjirral responds to an array of wonders and objects from the worlds of science and nature for his current exhibition in the light-filled Victorian architectural granduer that is the National Museum of Scotland.
Review
Wednesday, 6 August 2014
Marina Abramovic
Performance artist Marina Abramovic has influenced generations of performance artists since the 1970s and worked in partnership with Ulay from 1976 to 1988.
Abramovic's durational performance 512 Hours is at the Serpentine Gallery from June 11 to 25 August 2014.
This work is experienced in a very individual and personal way since it calls all attendees to become participants in the durational performance just by being there.
Abramovic video diaries of 512 Hours is here
We MustWait review by Brian Lobel here
Immaterial Digital Diary & Archive and MA Institute here
List of press articles with PDFs here
Of more interest to me is that Abramovic and Ulay spent time in Australia in 1979 they were west of Lake Disappointment in the Little Sandy Desert, then again in 1980-81 travelled to Papunya and the Gibson Desert ( Leonora to Mount Newman). In Papunya they met Charlie Tararu Tjungurrayi who collaborated with them to make 'Conjunction' (1983) in Amsterdam, one work out of 22 performance series Nightsea Crossing.
Link to Nightsea Crossing here and a clip here
Conjunction here
A useful critique here
The ease with which the artists romanticised and orientalised others is clear in the 70s and 80s, and Green suggests:
Abramovic and Ulay, it might be argued, were indulging in a problematic exploitation – an orientalisation – of Aboriginality and Tibetan culture through stereotyping. The chromatic coding [of their costumes] could be understood to fix their collaborators in aspic, according to which ‘Aboriginal’ art or ‘Tibet’ would indicate the condition of a ‘spiritual’ thing, thus undermining from within the primary sense of the collective inaccessibility from which these works emerge.
Charles Green The Third Hand: Collaboration in Art from Conceptualism to Postmodernism (Sydney, 2001)
Jennifer Phipps, 'Marina Abramovic/Ulay/Ulay/Marina Abramovic,' Art & Text, no. 3 (Spring 1981): 43-50
Charles Green, 'Group Soul: Who Owns the Artists Fusion?' in Third Text, Vol. 18, Issue 6, 2004, 595-608
DOI:10.1080/0952882042000285005
 |
| Marina Abramovic 512 Hours, Serpentine Gallery |
This work is experienced in a very individual and personal way since it calls all attendees to become participants in the durational performance just by being there.
Abramovic video diaries of 512 Hours is here
We MustWait review by Brian Lobel here
Immaterial Digital Diary & Archive and MA Institute here
List of press articles with PDFs here
Of more interest to me is that Abramovic and Ulay spent time in Australia in 1979 they were west of Lake Disappointment in the Little Sandy Desert, then again in 1980-81 travelled to Papunya and the Gibson Desert ( Leonora to Mount Newman). In Papunya they met Charlie Tararu Tjungurrayi who collaborated with them to make 'Conjunction' (1983) in Amsterdam, one work out of 22 performance series Nightsea Crossing.
Link to Nightsea Crossing here and a clip here
Conjunction here
A useful critique here
The ease with which the artists romanticised and orientalised others is clear in the 70s and 80s, and Green suggests:
Abramovic and Ulay, it might be argued, were indulging in a problematic exploitation – an orientalisation – of Aboriginality and Tibetan culture through stereotyping. The chromatic coding [of their costumes] could be understood to fix their collaborators in aspic, according to which ‘Aboriginal’ art or ‘Tibet’ would indicate the condition of a ‘spiritual’ thing, thus undermining from within the primary sense of the collective inaccessibility from which these works emerge.
Charles Green The Third Hand: Collaboration in Art from Conceptualism to Postmodernism (Sydney, 2001)
Jennifer Phipps, 'Marina Abramovic/Ulay/Ulay/Marina Abramovic,' Art & Text, no. 3 (Spring 1981): 43-50
Charles Green, 'Group Soul: Who Owns the Artists Fusion?' in Third Text, Vol. 18, Issue 6, 2004, 595-608
DOI:10.1080/0952882042000285005
Thursday, 24 July 2014
John Betjeman Goes By Train
John Betjeman Goes By Train: Kings Lynn to Hunstanton
In 1962, Sir John Betjeman travels along the Kings Lynn - Hunstanton line and stops off at the Royal Wolferton Station.
Wolferton was a railway station on the King's Lynn to Hunstanton line which opened in 1862 to serve the village of Wolferton in Norfolk, England. The station was also well-known as the nearest station to Sandringham House, and royal trains brought the royal family to and from their estate until its closure in 1969. After spending some time as a museum, the station is now preserved in private hands. The signal box and part of the station are listed buildings, Grade II.
In 1962, Sir John Betjeman travels along the Kings Lynn - Hunstanton line and stops off at the Royal Wolferton Station.
Wolferton was a railway station on the King's Lynn to Hunstanton line which opened in 1862 to serve the village of Wolferton in Norfolk, England. The station was also well-known as the nearest station to Sandringham House, and royal trains brought the royal family to and from their estate until its closure in 1969. After spending some time as a museum, the station is now preserved in private hands. The signal box and part of the station are listed buildings, Grade II.
BFI and YouTube
and this in 1963 Branch Line
and this in 1963 Branch Line
Glasgow Kiss
That Glasgow Kiss on 23 July as a Vine here
Great action from Scotland during the opening ceremony for Commonwealth Games 2014 taking the ground for equality and diversity and humanity.
Wednesday, 23 July 2014
Freedom Come All Ye
by Hamish Henderson 1960
Roch the wind in the clear day's dawin
Blaws the cloods heilster-gowdie owre the bay
But there's mair nor a roch wind blawin
Thro the Great Glen o the warld the day
It's a thocht that wad gar oor rottans
Aa thae rogues that gang gallus fresh an gay
Tak the road an seek ither loanins
Wi thair ill-ploys tae sport an play
Nae mair will our bonnie callants
Merch tae war when oor braggarts crousely craw
Nor wee weans frae pitheid an clachan
Mourn the ships sailin doun the Broomielaw
Broken faimlies in lands we've hairriet
Will curse 'Scotlan the Brave' nae mair, nae mair
Black an white ane-til-ither mairriet
Mak the vile barracks o thair maisters bare
Sae come aa ye at hame wi freedom
Never heed whit the houdies croak for Doom
In yer hoose aa the bairns o Adam
Will find breid, barley-bree an paintit room
When Maclean meets wi's friens in Springburn
Aa thae roses an geans will turn tae blume
An yon black boy frae yont Nyanga
Dings the fell gallows o the burghers doun
English translation here
Roch the wind in the clear day's dawin
Blaws the cloods heilster-gowdie owre the bay
But there's mair nor a roch wind blawin
Thro the Great Glen o the warld the day
It's a thocht that wad gar oor rottans
Aa thae rogues that gang gallus fresh an gay
Tak the road an seek ither loanins
Wi thair ill-ploys tae sport an play
Nae mair will our bonnie callants
Merch tae war when oor braggarts crousely craw
Nor wee weans frae pitheid an clachan
Mourn the ships sailin doun the Broomielaw
Broken faimlies in lands we've hairriet
Will curse 'Scotlan the Brave' nae mair, nae mair
Black an white ane-til-ither mairriet
Mak the vile barracks o thair maisters bare
Sae come aa ye at hame wi freedom
Never heed whit the houdies croak for Doom
In yer hoose aa the bairns o Adam
Will find breid, barley-bree an paintit room
When Maclean meets wi's friens in Springburn
Aa thae roses an geans will turn tae blume
An yon black boy frae yont Nyanga
Dings the fell gallows o the burghers doun
English translation here
Tuesday, 22 July 2014
Rafael Lozano-Hemmer
Articulated Intersect in Tasmania
o ABC TV http://is.gd/p7RNNQ
o Creators Project http://is.gd/77uG3g
o Sydney Morning Herald http://is.gd/J0Q60l
o CCTV Chinese TV http://is.gd/SCXvbC
o The Guardian http://is.gd/JE9ujN
o ABC radio http://is.gd/oyxoDZ
o Yahoo news http://is.gd/1Y073Y
Armory Show 1913
Famous for showing Marcel Duchamp's Nude Descending Staircase 2 ; noted in some places as being a show that introduced European avant-garde to America which is also disputed.
Included Australian artists Derwent Lees and Charles Condor in Gallery G
Included Australian artists Derwent Lees and Charles Condor in Gallery G
Monday, 21 July 2014
Pipilotti Rist
Pipilotti Rist cover version of Chris Isaak's Wicked Games a version of which is used in Mercy Garden Skin Retour (2014) here . Hilarious !
Review of Mercy Garden Skin Retour installed at MCA Sydney for the 19th Biennale here
Review of Sydney Biennale in Art Asia Pacific
Sunday, 20 July 2014
Rachel Maclean
Glasgow based video and performance artist
Maclean YouTube channel here
Q&A
Dazed Digital: What do you think of David Bowie asking Scotland to stay in the UK?
Rachel Maclean: Much of the media coverage and political machinations of the Yes and No factions of the referendum debate has already descended into bizarre farce, however this was the icing on the Great British cake of nonsense. It was amusingly surreal and I was particularly inspired by Bowie’s decision to filter the statement through the avatar of Kate Moss. I strongly believe that all future decisions affecting the unity and otherwise of these Great Isles should be delivered through the glamorous conduit of an international super model.
A Whole New World
Generation: 25 Years of Contemporary Art in Scotland
Rachel Maclean interviewed here
Scotland's Art Revolution on BBC Four here
Q&A
Dazed Digital: What do you think of David Bowie asking Scotland to stay in the UK?
Rachel Maclean: Much of the media coverage and political machinations of the Yes and No factions of the referendum debate has already descended into bizarre farce, however this was the icing on the Great British cake of nonsense. It was amusingly surreal and I was particularly inspired by Bowie’s decision to filter the statement through the avatar of Kate Moss. I strongly believe that all future decisions affecting the unity and otherwise of these Great Isles should be delivered through the glamorous conduit of an international super model.
A Whole New World
Generation: 25 Years of Contemporary Art in Scotland
100 Artists/ 60 Venues
Exhibitions Scotland wide
Rachel Maclean interviewed here
Scotland's Art Revolution on BBC Four here
Wednesday, 16 July 2014
Think We Must!
Donna Haraway
"Anthropocene, Capitalocene, Chthulucene: Staying with the Trouble", 5/9/14
Art of Living on a Damaged Planet
Vimeo of her paper here
'What people have been doing on this planet has in fact changed the planet for ever and for everyone - anthropogenic processes'
'Think we must' - Virginia Woolf Three Guineas
We need to think the consequences of the worlding we are in
The Science of SF: String Figures/ Science Fact/ Science Fiction/ Speculative Fabulation/ Speculative Feminism/ So Far
As you know from your own experience, and there are facts that prove it, the
daughters of educated men have always done their thinking from
hand to mouth; not under green lamps at study tables in the cloisters
of secluded colleges. They have thought while they stirred the
pot, while they rocked the cradle. It was thus that they won us (59)
the right to our brand-new sixpence. It falls to us now to go on
thinking; how are we to spend that sixpence? Think we must. Let
us think in offices; in omnibuses; while we are standing in the
crowd watching Coronations and Lord Mayor’s Shows; let us
think as we pass the Cenotaph; and in Whitehall; in the gallery of
the House of Commons; in the Law Courts; let us think at baptisms
and marriages and funerals. Let us never cease from thinking—
what is this ‘civilization’ in which we find ourselves? What
are these ceremonies and why should we take part in them? What
are these professions and why should we make money out of
them? Where in short is it leading us, the procession of the sons
of educated men? Virginia Woolf Three Guineas (Hogarth Press, 1938) p. 59-60
https://ebooks.adelaide.edu.au/w/woolf/virginia/w91tg/chapter2.html
Inspired by Marilyn Strathern
It matters what stories tell stories
It matters what thoughts think thoughts
It matters what worlds world worlds
Situated Knowledges The Science Question in Feminism and the Privilege of Partial Perspective1988
Feminist Studies Vol.14 No.3 (575 -599)
Marilyn Strathern
social anthropologist | writer |
Journal of ethnographic theory HAU
"Anthropocene, Capitalocene, Chthulucene: Staying with the Trouble", 5/9/14
Art of Living on a Damaged Planet
Vimeo of her paper here
'What people have been doing on this planet has in fact changed the planet for ever and for everyone - anthropogenic processes'
'Think we must' - Virginia Woolf Three Guineas
We need to think the consequences of the worlding we are in
The Science of SF: String Figures/ Science Fact/ Science Fiction/ Speculative Fabulation/ Speculative Feminism/ So Far
As you know from your own experience, and there are facts that prove it, the
daughters of educated men have always done their thinking from
hand to mouth; not under green lamps at study tables in the cloisters
of secluded colleges. They have thought while they stirred the
pot, while they rocked the cradle. It was thus that they won us (59)
the right to our brand-new sixpence. It falls to us now to go on
thinking; how are we to spend that sixpence? Think we must. Let
us think in offices; in omnibuses; while we are standing in the
crowd watching Coronations and Lord Mayor’s Shows; let us
think as we pass the Cenotaph; and in Whitehall; in the gallery of
the House of Commons; in the Law Courts; let us think at baptisms
and marriages and funerals. Let us never cease from thinking—
what is this ‘civilization’ in which we find ourselves? What
are these ceremonies and why should we take part in them? What
are these professions and why should we make money out of
them? Where in short is it leading us, the procession of the sons
of educated men? Virginia Woolf Three Guineas (Hogarth Press, 1938) p. 59-60
https://ebooks.adelaide.edu.au/w/woolf/virginia/w91tg/chapter2.html
Inspired by Marilyn Strathern
It matters what stories tell stories
It matters what thoughts think thoughts
It matters what worlds world worlds
Situated Knowledges The Science Question in Feminism and the Privilege of Partial Perspective1988
Feminist Studies Vol.14 No.3 (575 -599)
Marilyn Strathern
social anthropologist | writer |
Journal of ethnographic theory HAU
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