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3PM AEST TODAY ON 4ZZZ 102.1FM:
Listen Live: http://www.4zzzfm.org.au/stream/index.html Listen Later: http://www.4zzzfm.org.au/program/no-brow
- Kelly Doley and her piece Cold Calling; A Revolution, currently exhibiting at Australian Experimental Art Foundation, in Adelaide. - Electrofringe latest exhibition currently at the IRL Festival, at Brisbane Powerhouse.
Believe not every spirit, but try the spirits is an exhibition that looks at Spiritualism through the eyes of a 19th Century spiritualist artist, Georgiana Houghton, who according to co-curator of the exhibition, Lars Bang Larsen, was making non-figurative work long before non-figurative work entered the art-historical canon.
For the opening night, American conceptual artist Matt Mullican put himself in a trance state and together with Lars Bang Larsen, performed this trance in which he channelled another being within himself. Other artists in the show are there as their practice responds to this spiritualism in the contemporary framework. The show was curated by Marco Pasi and Lars Bang Larsen, and includes the work of Houghton herself alongside Diena Georgette, Susan Jacobs, Dane Mitchell and more. It's on show at the Monash University Museum of Art in Melbourne until the 27th of June, 2015.
Sarah Werkmeister spoke with Lars Bang Larsen, and here we hear about his background research.
3PM AEST TODAY on 4zzz 102.1FM:
Listen Live: http://www.4zzzfm.org.au/stream/index.html Listen Later: http://www.4zzzfm.org.au/program/no-brow - Andrew McLellan with his piece on Redfern's graffiti scene in Sydney - IMA talk segment 'What Can Art Institutions Do?' by Misal Adnan Yildiz, Director of Artspace NZ
IMA: https://www.facebook.com/InstituteOfModernArt Artspace NZ: https://www.facebook.com/artspaceNZ Lister: https://www.facebook.com/listeranthony Guido: https://www.facebook.com/guidovanheltenART Work-Shop: https://www.facebook.com/WorkShopAustralia Blak Douglas: https://www.facebook.com/blakdouglas158 Hego: @_hego
April 5th - No Brow on 4zzz
NO BROW #114 - Curating Contemporary Art
Looking at the role of artists, curators and festivals in Australia - the contemporary art from rural areas to city centres. We focus on Cementa held in Kandos and the panel discussion of curating Chinese contemporary art in an Australian context. A panel discussion co-presented with the China Studies Centre and the Power Institute held at Sydney University; Curating Chinese Contemporary Art in an Australian Context, and the FBi Canvas interview with festival co-director of Cementa 15
Originally Broadcast: March 1, 2015
Recently at the Walls contemporary art space from Miami on the Gold Coast, Lucas Abela installed ‘Mixtape’ – an artwork that sees an inflatable igloo filled with balloons each suspending an openly sprawled cassette tape that can be plucked from their air and dragged along the play-heads of walkmans left in the open. As many people as there are playheads available can join in at once and Lucas sees it as a communal activity, taking noise and experimental music making away from the performing demagogue.
www.thewalls.com.au http://dualplover.com/mixtape/ www.4zzzfm.org.au/program/no-brow
Originally Broadcast: February 25, 2015
This episode we look at an international biennial festival based in Melbourne, that showcases contemporary video practice from around the world and Australia; Channels: The Australian Video Art Festival. Channels have this month opened for submissions, for their second festival to be held in September 2015 in and around Melbourne CBD.
To give the festival its historical context within the video art frame, we hear Shannon King as a representative of Channels, first up with a reading from the Channels 2013 festival catalogue, an essay written by one of the co-director’s, Jessie Scott.
We also hear an excerpt from the Channels Artist Interview Series, between Stephanie Milsom and Zoe Scoglio, you can find the series online at the Channels blog and also an excerpt on artplayer.tv on the FACT (Foundation for Art and Creative Technology) site.
What is the role of video art in the future — beyond the existing framework, and potentially beyond the Internet? Channels: The Australian Video Art Festival, 2015 aims to take video art beyond the very medium itself.
Shannon King speaking on behalf of the Channels festival team about its origins and future concepts to present the second festival in Melbourne, in September 2015. To get involved or submit work, artists can find the submissions online at the Channels website:
www.channelsfestival.net.au, and also:
facebook.com/ChannelsFestival
http://www.4zzzfm.org.au/program/no-brow
Originally Broadcast: February 8, 2015
Emerging as an exhibiting artist in Sydney in the late 1960s, Ian Milliss developed a conceptual rigour that challenged artworld formalism, overturning the idea that artists produced material objects that could be sold on the market. Alongside other Australian Conceptual artists such as Tim Johnson and Ian Burn, Milliss’ artistic pursuits meant that many art institutions had trouble thinking of him as an artist as his time was not spent producing sellable art objects but more so with activism, environmentalism, trade union movements and community organisations – leading to the formulation of some that he had ‘dropped out of art’ – contrary to Ian’s own opinion.
But the story of Conceptualism and perhaps especially Australian Conceptualism is entwined with such activities – politically charged or otherwise – that fall outside the stiff rubric of what art is regarded to be. For Milliss’, as you’re about to hear here, the mechanics of funding bodies such as the Australia Council for the Arts make them inherently conservative, as it tries to play catch-up to the contemporary and the new. He recently saw an article of his published in Artlink titled ‘Love Among The Ruins’ that asked how art could be a sustainable entity if the sustainability of the human race is uncertain.
Ian's Blog/Writing: http://milliss.com/
Artist Website: http://www.ianmilliss.com/
http://www.4zzzfm.org.au/program/no-brow
Image: Ian Milliss at 55 Sydenham Rd, 2011.http://www.55sydenhamrd.com/shows/ian-milliss
Originally Broadcast: February 1, 2015
Late last year Sasha Grishin, Emeritus Professor of Art History at the Australian National University in Canberra saw a tome of his published – titled Australian Art: A History – but more recently has embarked on his next project, which has already been designated the working-title: Australian Art: The Contemporary Scene. As you might gather, this research concerns itself with Australian art at the turn of the 21st Century. But how to approach research for such a mammoth subject? Writing for The Conversation late last year, Sasha openly debated a primary concern of his, a dilemma that all historians should encounter and contemplate. When writing history, how do you decide who to include and who not to include from a huge number of possible candidates? The title of the article was ‘How Hierarchies Happen in Contemporary Australian Art’ and it outlined a methodology that attempted to break-up the authority with which Sasha is carrying out his research – and moreover he is interested in the art lecturers, tutors, curators, gallery owners and critics – or the ‘gatekeepers’ as Sasha terms them to an artists career in the professional arts.
Sasha wants to make it known that he is very keen to discuss topics and hear from people as he carries out his research. If you’re interested in getting in contact with him, his email address is: [email protected]
His article on The Conversation: http://theconversation.com/how-hierarchies-happen-in-contemporary-austra...
Originally Broadcast: November 30, 2014
Held at the Ian Potter Centre of the National Gallery of Victoria recently was the third iteration of something called the Instrument Builders Project. Dreamt up and directed by Joel Stern and Kristi Monfries, the Instrument Builders Project is based on exchange between Australian and Indonesian artists to realise new instruments, installations, and items that conceptualise listening practices. The first two runs of the Project were held in Jogjakarta, Java, while this third saw Indonesian artists Wukir Suriyadi, Lintang Radittya and Andreas Saigan join Australians Pia Van Gelder, Michael Candy, Dale Gorfinkle and Tintin Wulia create new instruments and installations in a wing of the Gallery that became a messy workshop space. But this workshop sat inside an exhibition of many existing instruments built in previous iterations of the Instrument Builders Project, and we went on a tour of the evolving show.
www.theinstrumentbuildersproject.com
Originally Broadcast: January 25, 2015
With the Queensland State Election on many people’s minds, we wanted to hear from some of the state’s arts and cultural institutions about the shape of the arts in Queensland after nearly three years of the Newman Government. Long-time listeners may recall that at the end of 2013 we reported on the affects of limited funding following a $12.4 million dollar cut to triennial funding - and the resultant controversy that saw the majority of funding go to larger cultural institutions, leaving the small to medium sector in the lurch.
Back then we spoke with organisations such as Youth Arts Queensland, AusDance and the National Association for the Visual Arts about the significance of this loss and what was compromised for several long-running institutions – but also what this potentially indicated about things to come for arts and cultural policy on a national level as the Abbott government was coming to power.
But away from Federal politics and staying stateside out from the Queensland election, Andrew Messenger returns to some of these questions over a year down the track. This episode we’ll be hearing from three diverse organisations including Vulcana Woman’s Circus, Media Art Asia Pacific and La Boite theatre.
http://vulcana.org.au/
http://www.maap.org.au/
http://www.laboite.com.au/
Originally Broadcast: January 30, 2015
Hamishi Farah, a 23-year-old artist living in Melbourne is concerned with something called ‘image surplus’ – the insurmountable amount of online and offline images dwarfing the number of living people on the planet that forces the artist to question the ethics of creating new images. Listeners might recall our review of theorist/artist Hito Steyerl’s show a couple of weeks ago that too questioned our world’s saturation of images and how – despite the fact they may not seem to take up physical space – actually transform our physical environments because we use them in our everyday lives. Not to mention the very physical server space our online world takes up.
The artistic practice of Hamishi Farah’s concerns these themes of image saturation, but also of moralised bodies – that is, the way that bodies are used to defend either political or moral standpoints. He works across mediums to create works that critique these themes, and runs a twitter called 'Things You Can Paint' which you can find at twitter.com/things2paint. Sarah spoke with Hamishi who is represented by Sydney's Minerva gallery, and this animated conversation charts Dr. Dre, Interpol's stolen art collection and on what he means when he talks about 'moralised bodies'.
Interpol Stolen Works Database
Hamishi's Website
Things2Paint
Image: Hamishi Farah, 'accountability' (2014); Interpol archive of unclaimed recovered works of art, puddle, dimensions variable
Originally Broadcast: January 18, 2015
The Walls Art Space has emerged in Miami on the Gold Coast over the last couple of years and has made itself as quite unique amongst the glitz and streets of the Gold Coast, being a non-profit gallery that features contemporary and often uncommercial artworks that at times create a dialog with the beachy/urban surrounds. Artist Alrey Batol for instance responded to an invitation to show at the space to carefully construct a miniature version of the high-rise that blocks vision outside the galleries doors. He did so using leisure magazines selling the area to potential residents.
We spoke with Co-Director Rebecca Ross about the presence of a contemporary art space in Miami, and some of the challenges in running a space that strives to be critical and maintain a contemporaneity in the work it features.
The Walls website.
Image: Alrey Batol at Last Resort, The Walls 2014.
Originally Broadcast: January 18, 2015
In 1978, artist James Turrell purchased a dormant volcano in the Painted Desert of Arizona, and has since been working to subtly transform the site into something called a ‘naked-eye observatory’. The Roden Crater is four-hundred-thousand years of age and 600-feet tall, and it forms a perfect site for Turrell’s longest and most ambitious work, to create an observatory for viewing astronomical events without aid of modern, technologically-advanced telescopy. This work speaks to a philosophy that permeates many of his works, one that seeks for a retraining of the optical, to become more sensitive, more respondent, and more enlightened when perceiving what Turrell has termed the ‘thingness’ of light. His medium is light, perception and space, and since emerging in the 1960s with the Los Angeles Light and Space artist group, Turrell has crafted interiors to produce such vivid effects and experiences of light that when visiting the works most need to throw-out their usual sense of orientation. Hugh slabs of coloured light fill a space which seems infinitely deep and bizarrely shallow at once; holes are carefully cut into ceilings for the open sky to be serenely framed allowing natural light to completely effect and transform a space; rooms are created that isolate patrons from one another and create hallucinogenic effects within the minds eye.
The National Gallery of Australia in Canberra is one of three international art institutions staging a massive retrospective that has already visited the Guggenheim in New York and the Los Angeles County Museum of Art – though because of the sheer size of the works each staging is unique. Quite simply, one major international museum is too little space for James Turrell. We spoke with Lucina Ward, curator at the NGA on the Retrospective, and what was a major technical undertaking that involved over 500 contractors to make it happen.
www.nga.gov.au/jamesturrell
Originally Broadcast: January 11, 2015
January saw the 22nd iteration of the 2High Festival, a huge annual festival of young musicians, performers and artists from across Australia built by Backbone Arts, and this year Jugglers Art Space was one of the venues, hosting various street and graffiti artists to collaborate across the driveway and walls of the space over three-days.
As Andrew McLellan found out speaking with some of the artists involved, being a street artist can be a difficult position to hold in Queensland. Listeners might recall last year the charging of internationally renowned and collected artist Anthony Lister for graffiti offences in his hometown of Brisbane. Andrew caught up with some of the artists involved and Jugglers’ director Peter Breen to discuss the project, and what the significance of having a legally sanctioned space for graffiti is.
Image: Benedict Clarke and Bronte Naylor taken from the Jugglers' Facebook https://www.facebook.com/jugglersartspaceorg
www.jugglers.org.au
www.2highfestival.com.au
Music: Delroy Edwards' Slowed Down Funk Vol. III
January 2015
Belinda Sinclair is a Brisbane-based artist who works predominantly in printmaking and screen printing and has exhibited her work both nationally and internationally, winning many accolades such as the Wilson Art Award.
Belinda’s art shows an interest in myth, folklore and magical realism, which is symbolically represented throughout her work, with Belinda further making use of mixed media and appropriation to examine identity and spirituality.
Belinda is currently exhibiting at I See A Darkness in Brisbane, which Belinda best describes as bleak, but weirdly uplifting. Belinda also has another upcoming exhibition at the Brisbane Powerhouse and No Brow caught up to discuss these exhibitions, as well as the importance of symbolism within Belinda’s work.
Find out about Belinda's upcoming exhibit: www.2highfestival.com.au
December 2014
Luka Lesson is a Melbourne-based poet and hip hop artist who’s Greek heritage informs his varied artistic works that include poetry, spoken word performance, hip hop and writing.
With over ten years worth of writing and poetry, Luka Lesson has written and performed for the likes of The Nuyorican Poets’ Cafe in NYC, The National Gallery of Victoria, Greece’s pioneer Hip-hop group ‘Active Member’ and China’s most celebrated living poet Xi Chuan in Beijing. Luka Lesson is also the Australian Poetry Slam champion of 2011 and his poetry and spoken word performances survey the links between dominant British colonialism and migration in Australia, highlighting Australia’s ethnic and racial tensions. Poems like Please Resist Me serve to disempower colonial rhetoric, while other poems like The Crusades offer a comparison between the Crusades and Australia’s colonialism.
Luka and Tiarney Miekus caught up to talk about why he started writing poetry and the inspiration for his poems, in particular discussing the two poems he performed to win the Australian poetry slam. Luka and Tiarney Miekus also touch upon his Greek heritage and the issues surrounding racial representation, migration and ethnicity within Australian culture and how this is manifested within Luka’s poetry.
www.lukalesson.com.au
