Victorian College of the Arts - Research Publications
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Item168° 58’ 37” W: A Cold War Memorial(Victorian College of the Arts, University of Melbourne, 2018)This text is a material conduit, or vehicular medium, through which to imagine a work of art located on a stretch of intermittently frozen sea ice in the Bering Strait, at 168° 58’ 37” W. This ‘work’ is offered as a memor- ialisation of the consequences of collectively imagined fear—in this case the Cold War. Its ephemeral material existence—somewhere between this page and an expanse of sea ice located elsewhere in space and time— also seeks to perform something of the mutual insufficiency of material and contextual elements in artistic expression more generally.
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ItemAnywhere and Elsewhere (2018): Art At The Outermost Limits of Location-Specificity(Parsons Fine Arts, School of Art, Media and Technology, Parsons The New School for Design; Project Anywhere; and University of Melbourne, 2018)This biennial conference event features presentations from artists that have successfully navigated blind peer evaluation as part of Project Anywhere's Global Exhibition Program (2017-2018), together with a series of invited presentations from established artists, designers, scholars, curators and writers actively engaged with practices outside traditional circuits. Today, an increasing number of artists and creative practitioners are working across spaces, places and temporalities well-beyond the limits of established exhibition formats. Accordingly, much contemporary creative activity is more concerned with events, actions, sites, relations and processes than with discrete outcomes. Artistic research can be represented in multiple ways as it moves between modes of conception, production and dissemination. This free two-day conference will explore questions associated with presenting, experiencing, discussing and evaluating art located anywhere and elsewhere in space and time. ISBN 978-1-692-06323-1. https://issuu.com/projectanywhere/docs/anywhere_elsewhere_2018_lores
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ItemProject Anywhere: Problems of Representation and Evaluation(Society of Artistic Research, 2017)Artistic research, like the world of a work of art, is presented in multiple ways in its often-uneven passage from conception through production to dissemination. And like a work of art, it can manifest across a complex distribution of materialisations. This complexity invariably presents challenges. Given the indeterminate nature and material manifestations that might constitute a single project, it can be particularly difficult to determine how and when it is best represented. This state of affairs can invite the question: are there more or less appropriate moments in the passage from conception to “realisation” in which to evaluate and represent artistic research? Although most established models tend to focus upon evaluating a project at its perceived point of realisation or conclusion (documentation/experience), Project Anywhere’s focus is instead directed toward the task of evaluating and representing artistic research at the proposal stage (speculation). Significantly, Project Anywhere regards a project’s potential produce new knowledge as something that might indeed. exist in its imagined or hypothetical potential rather than any tangible or measurable outcome. Moreover, by removing direct aesthetic experience as an evaluative mode, a very different sense of a new knowledge capacity is potentially introduced.
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ItemThe Ghosts Of Nothing: The World of a Work Of Performance-Framed-as-Art(Power Publications, 2018)The Ghosts of Nothing, a collaboration between Australian artists Sean Lowry and Ilmar Taimre, recently generated a series of imagined and mime-based performances within the conceptual architecture of a ‘world tour of abandoned music venues’. This ‘tour’ formed part of an ongoing project titled In Memory of Johnny B. Goode (2014– ). Through mimed street performances and other performative iterations such as a radio play, The Ghosts of Nothing have continually and radically re-medialised the original ‘rock opera’ that launched the project to form an unpredictably ‘open’ work, to use Umberto Eco’s well-known label. From a literal viewpoint, the ‘work’ In Memory of Johnny B. Goode exists nowhere at all. But that is not the same as suggesting that it might exist everywhere all at once. On the contrary, The Ghosts of Nothing seek to articulate a ‘work’ that is both highly individuated and unfolding over unspecified spans of time and space. To be sure, the ‘work’ is performative, as we elaborate below. If it exists anywhere at all, it is located—if that is the right term—within the differentiated cognitive worlds of individually idiosyncratic interpretations, memories and meanings as embodied in members of its audience.
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ItemAnywhere and Elsewhere: Art At The Outermost Limits of Location-Specificity(Parsons Fine Arts, School of Art, Media and Technology, Parsons The New School for Design; Project Anywhere; and University of Newcastle, 2016)
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ItemRelatively Serious Play(Nicholas Thompson Gallery, 2016)
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ItemNo Preview AvailableParatext and the world of a work in public space: Eisenbach and Mansur’s Placeholders(Unlikely Publishing, La Trobe University and Victorian College of the Arts and Melbourne Conservatorium of Music, University of Melbourne, 2016)