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Minus
No full textThe exhibition is the result of collaboration between the Art Technology Coalition, the University of Technology Sydney and RMIT University in Australia along with De Montfort University, Manchester Metropolitan University and University College Falmouth incorporating Dartington College of Arts in the United Kingdom.<br>Minus examines the reduction of the cube and in doing so explores the relationship between the internal and external. The outer openings provide the ability to look in, while the hollow form within allows us to look through and out. The cubic exterior remains fixed to the ground while the floating internal form calibrates on its own terms.<br>Inside Out is a compelling international touring exhibition featuring forty-six miniature sculptures produced in resin using 3D printing technologies. Developments in virtual computer visualisation and integrated digital technologies are giving contemporary makers new insight and opportunities to create objects and forms which were previously impossible to produce or difficult to envisage
Colour Swatch
No full textThis exhibition was held in association with the Drawing Out conference, 7-9 April, a creative collaboration between RMIT University and the University of the Arts London and explored drawing across various disciplines. It was curated by Assoc. Prof. Peter Ellis and Stephen Gallagher.<br>The RMIT University, School of Art is one of six international Art schools to be invited to participate in an exhibition hosted by Seoul National University, South Korea in November 2009.<br><br>RMIT is the only Australian art school to be invited into this prestigious event. Other International schools invited by Seoul National are, Berlin University of the Arts, Burg Giebichenstein Hochschule fur Kunst und Design Halle, National Taiwan University of the Arts, Tokyo University of the Arts, University of the Arts London. <br><br>'Colour Swatch' forms part of an ongoing enquiry from my PhD studies. The title for my PhD is 'Shimmering Spaces: Installation practices informed by an Anglo Indian experience. The research draws on both Edward Said and Homi Bhabbha's theories which see colonialized spaces as not locked in the past but rather influencing, determining and intruding on the present and thus shaping dialogues relating to cross cultural and transnational discourses.<br>The work examines issues relating to perceived demarcated spaces, in this drawing it is designed around the form of conventional colours swatches using colours from Indian saris, which bleed and run, misbehaving and not quite conforming to the rigid and hierarchical structures determined by Western notions of Modernism
Public Sleepers
No full text'Dokumak' (meaning weave inTurkish) was a research residency and exhibition developed from an Art in Public Space international program. Seventeen artist/researchers travelled together to Sile, Istanbul where they were hosted by partnering group Sile Municipal Council to develop a series of art in public space projects that responds to the surrounds of Sile. Sile is known as a resort area of Istanbul and is generally busy during the peak summer season. The project occurred in the September in the low season of the tourism economy. <br><br>During this research trip I collaborated with artist/researcher Shao Xiongchia. Our work entitled 'Public Sleepers' developed as a response to being unusual as Australians of Chinese descent in the Turkish environment. The body of work developed explored the displacement of typically Chinese public personal habits in the new environment of Sile, Istanbul. The work comprised a video work followed by images of the artists publicly sleeping in various sites. <br><br>The outcomes of 'Dokumak' was an exhibition that occurred throughout the town centre and was developed in partnership with Sile Municipal Council.<br><br>New knowledge that was bought to this project was an exploration of how cross cultural exchanges through a dialogue in public art practices can impact upon the landscape of small town relying on seasonal tourism. Our project dealt specifically with the migration of habits that have occurred through the increased globalisation and how particular behaviours are displaced through the process of migration
Chinese Restaurant series: Family Dinner
No full textBACKGROUND The Chinese Restaurant Series: The Family Dinner was an entry in the Albury Art Prize, one of the state's longest running regional art awards. The 1st prize for the 2012 award was $20,000 for an international residency. Over its long history a substantial number of renowned artists such as Noel Counihan, Fred Cress, Robert Jacks, Louis Kahan, Deborah Klein, Daniel Moynihan and Imants Tiller have been awarded the prize. The judge for the 2012 award was Dr Gene Sherman, Chair and Executive Director of Sherman Contemporary Art Foundation. CONTRIBUTION This work builds on Kozka's continuing research into representations of memory and remembered moments through the use of elaborate tableaux photographs. In exploring the construction of memory in relation to shared spaces we inhabit as human beings, and the psychological tensions that can arise from sharing these spaces, he portrays 'memory' by playing on the ambiguity of fact and fiction in our ability to recall a scene or happening. The photographs are partly truth and partly myth and explore how memory can confuse, and also assure one's construct of a story. There is uncertainty in the images between whether it is night or day, dream or reality and filmic references are utilised to create a dark and at times depraved construct of the shared spaces we inhabit. The photographs ask the viewer to question how they inhabit their spaces, and more importantly, how they connect with other people within this space. SIGNIFICANCE Kozka was one of only 16 finalists from several submissions whose work was accepted for entry in the prestigious Albury Art Prize. In the local Border Mail (28 January 2012) it was reported: "Among more striking works are Bronek Kozka's tableaux photographs, one depicting a family dinner." The work, The Chef, from the series has been acquired by the City of Yarra Art Gallery where it is noted: "The Chinese Restaurant holds an almost iconic place in the suburban Australian landscape"
Digital Narratives, (solo show)
No full textBACKGROUND The use of tableaux in contemporary photography is well documented, particularly in the works of Gregory Crewdson, Jeff Wall and Tom Hunter. While Bronek acknowledges their practices, his research aims to move beyond static photographic imagery. In drawing inspiration from some of the work of Dennis Del Favero, Bronek creates detailed tableaux photographs inviting viewers to interact with the immersive aspects of his digital construction (utilising Microsoft's Photosynth). CONTRIBUTION The artist's interest in augmented reality has grown from observing how people engaged with his print work, noting they would stand back from the highly detailed image, move closer, isolate aspects of interest, move back again - and sometimes even try to 'look into the frame'. This observed curiosity led Bronek to investigate technologies that would enable interactive exploration of a tableau image. Photosynth enables him to orchestrate a scene to be viewed and explored from many angles and perspectives. For example, Remember That? invites viewers to look through a selection of family slides, set in with 'real' family slides (the real family history). These constructions and false memories draw into question our reliance on photographs to document personal histories. Nostalgia Made takes the idea of the constructed still image to the moving image; all the footage taken for this work was a contrived construction. The video is framed in the mirror section of a bedroom dresser that not only frames but becomes part of the work. SIGNIFICANCE This innovative, solo exhibition explores the ambiguity of fact and fiction in our ability to recall a scene or event. Assisted by an Australia Council for the Arts New Work grant and Winner of the Critics' Choice, Arts Hub Innovation Award for an Individual, it was nominated by Jules Boag, exhibitions co-ordinator, Albury Regional Art Gallery. He curated Digital Narratives, describing the show as "intuitive, innovative and exciting"
Imagining the Every Day, (group exhibition)
No full textBACKGROUND 'Imagining the Every Day' was a group exhibition created specifically for the tenth Pingyao International Photography (PIP) festival. The exhibition of more than 150 images by Australia's most creative photographic artists explored a range of representations of Australia, moving beyond documentary and into the reals of the imaginary. CONTRIBUTION 'Imagining the Every Day' was divided into ten sections to honour PIP's 10th anniversary, with each section presenting the work of a pair of Australian artists. Kozka's works, which included 'The Best Years of Our Lives', made a significant contribution to the exhibition's exploration of vivid, diverse visual narratives. Kozka was awareded the prestigious International Prize for his contribution to the 'Imagining the Everyday' exhibition. SIGNIFICANCE The Australian Centre for Photography was invited by PIP's distinguished Artistic Director, Zhang Guotian, to develop and exhibit 'Imagining the Every Day' as part of the tenth PIP festival. The PIP festival is China's largest and longest-running photography event and a feature of the international photo-art event calendar. Supported by the Australian Government through the Australian International Cultural Council, an initiative of the Department of Foreign Affairs and Trade, the 'Imagining the Every Day' exhibition formed part of the 'Imagining Australia: The Year of Australian Culture in China' program. Some 6,000 guests attended the televised opening of PIP, 200,000 people attended the festival, and 20,000 guests were at the televised awards night at which Kozka received the International Prize
Eternal situation
No full textRESEARCH BACKGROUND Kosloff researched the response of AGNSW gallery visitors to the permanent collections of colonial 19th century Australian artworks and European old masters. Using a SLR camera that made her indistinguishable from other visitors, she became virtually invisible, a part of the museum frame. This allowed her to spontaneously capture their actions that can appear, poignant, amusing, pedestrian and at times absurd. Rather than a cruel gaze, Kosloff seeks to critique the systematic workings of cultural institutions and explore the paradoxical role of the art gallery/museum as a place of 'eternal' time, pragmatic limitations, intimate possibilities and inevitable distance. RESEARCH SIGNIFICANCE Visitors' studied and unconscious gestures and actions, from posing in front of sculptures to the act of simply walking away from works of art, are all captured through her lens. Similarities of form and shape, action and gaze are emphasised and brought into sharper relief through the editing and framing processes that create narrative emphasis and momentum. Kosloff set repeating footage of visitors looking, and not looking, at works of art to the musical refrains of Whitney Houston's 1990s classic love ballad 'I have nothing'. Beyond the experience of viewing art, visitor surveys revealed that art museums and galleries also have social functions as places to catch up with friends, to spend time as a family or even to conduct a first date. RESEARCH SIGNIFICANCE Eternal situation was commissioned for the 2012 Anne Landa Award for Video and New Media Art and was accompanied by an e-publication that included essays by the curators, Charlotte Day and Rebecca Coates. The Age, The Sydney Morning Herald, The Guardian online and Time Out magazine positively reviewed the work
Eyelash Gate
No full text'Eyelash' - Westfield Centrepoint by Simon Perry. Installed in Castlereagh Laneway within Sydney's Westfield Centrepoint Shopping centre the theme of the work engages with the function of the site as a fashion retail centre with its themes of grooming, display, dressing, cosmetics and exchange. It also makes a formal connection between traditional iron gate structures and the structure of a false eyelash. The design playfully combines these themes with a functional gate design that addresses the pragmatics of the space through creating a movable barrier that can safely close off the laneway when required whilst also allowing for free pedestrian movement through the space when open.<br>The Eyelash Gate also acknowledges the act of looking. Looking through the eye towards the gate and looking through the gate to the laneway space beyond. When open, the structure is permeable and allows for views through the artwork to either side of the laneway. Westfield is a leader in the commissioning of high quality site specific artworks for their retail environments, they commissioned Urban Art Projects to develop a visionary curatorial rationale for the entire art program for Westfield, connecting spaces and people, culture and commerce. Perry was one of a number of high profile international artists commisioned by UAP. Others include Ned Kahn and Carsten Holler and Oliver Van De Berg. The Interntionally renowned architect John Wardle was on the judging panel that selected the Art work. This project represents part of Perry's original research into the materiality of sculptural relief in relation to the historical, technological and theoretical context of the city and contributes to his investigation into questions around how art may reconfigure urban experience in response to the effects of technologically instigated spatial and temporal compression
The Paradox of Reportage
No full textThe exhibition "Shifting Thru Platsic Gods",was endorsed by the Margret Lawerence VCA Gallery as part of Melbourne University Research parameters in Fine Art to explore the ways in which play, humour and instinctive processes are called upon to form a combination of images, objects and environments. The exhibition "seeks to explore the role intuition has in the construction of extended painting practices of some selected contemporary artists.<br>Hunches, unconfirmed belief systems and autobiographical visual tics make for an art which filters the knowledge of real observation and quantitative measurement into a deliberate phenomenal state in which free association and dreamlike philosophies are part of both the making and outcome of the art produced. Sifting through Plastic Gods surveys the innate compass these artists use to materialise ideas and feelings." (http://vca.unimelb.edu.au/gallery/2013_exhibition_program). Artists curated by Michael Georgetti included Trevelyan Clay, Anastasia Klose, Simon Pericich, Sophia Hewson, Josey Kidd Crowe and myself. My painting was titled "The Paradox of Reportage" and its accompaning editioned postcard researched notions of how intimate hand gestures in painting may be amplified psychologically through scale and media to subvert preconceived notions intamacy in abstract expressionist painting. The catalogue,which I wrote, for the exhibition used the format of imaginary surrealist conversations and observations to suggest a series of interconnected thought process' between the artists as they grappled with idea of free association as methodology in producing images and objects laden with possible social, historical and personal psychollogical readings and interpretations
Writing the Virus
No full textBackground: The onset of the global pandemic in 2020 saw radical changes to daily life. Social distancing and the use of screen-mediated technologies for almost all human interaction triggered an emerging ontology characterised by “liminality or [a] state of uncertainty about identity, relations, and ‘being with’” (Lewis, Markham & Holcomb-James 2021). Creative writing research is "in the box seat” to explore such complex realities (Watkins and Krauth 2016) and here collective essaying emerges as a compositional mode where “multiple authorial voices of testimony” (Carlin 2020) might speak at once to these entanglements. Contribution: ‘Writing the Virus’ is a code-animated multi-authored text, participatory zoom performance, and spoken-word score that repurposes teleconferencing and collaborative word processing technologies to articulate the communal affective experience of the Covid-19 pandemic. This work foregrounds our intersubjective entanglement: with each other, with machine actors, and with the non-human ecosystems made real by the spread of the virus. From March 2020 to March 2021 a collective of writers of various age, professional experience and disciplinary background wrote over 50,000 words into a Google doc. Using ‘composting’ (Haraway 2015) as a creative methodology, this folio of works animates and performs the text decomposed by code and collectively recomposed through digital publication and live performance. Significance: This work of interdisciplinary experimental writing brings together acclaimed writers, artists and scholars to explore collective digital creative practice. This work was selected through peer review to be published in Runway Journal 445: Asemic. Runway has been a leading platform for experimental digital practice for over 20 years. It commissions and publishes critical artistic works and new forms of writing that engage with current threads of Australian and international contemporary art