Victorian College of the Arts - Research Publications

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    X (for Kate)
    Selenitsch, N (Sarah Scout Presents, Melbourne, 2022-08-04)
    X (2022) was a site-specific work that considered the nature of colour, representation, and the limits of minimalist affect. A monochrome (yellow) chalk drawing, X was conceived as a memorial artwork in remembrance of late colleague Kate Daw. “X” is a kiss. “X” marks the spot. “X” is also an end. X (2022) extended upon the legacies of Mimimalism to consider representational and affective experience. A monochrome of bright yellow chalk covering the entirety of a salon-style gallery wall, the colour was the same bright sun-yellow as a gifted cashmere jumper. It was also a colour Kate would wear. The density of the chalk pigment presented a kind of visual absorption. As an affective experience, and through metaphor, X (2022) innovatively and sympathetically presented an artwork of affective memorialisation. X (2022) was created for the exhibition “Love, work (for KD)” held at Sarah Scout Presents, Melbourne. The exhibition was a tribute exhibition for the artist and academic Kate Daw (1965-2020), who was the Head of Art, VCA, School of Fine Art at the University of Melbourne when she passed. She was a close colleague and friend. A vastly popular and influential figure, the exhibition “Love, work (for KD)” was notably well attended by artists, academics and industry figures. The experience of attendees, including critic Amelia Winata (winnyyoyo on Instagram) were frequently shared on social media, often featuring the artwork X (2022).
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    Self Care Action
    Just, K (Beechworth Contemporary Art Award, 2022-09-15)
    Self Care Action is an ongoing series of 20 hand-knitted panels bearing texts relating to self-care. The project explores how self-care has its roots in radical activism. As a term, it dates to the US based civil rights and women’s rights movements of the 1960s and 1970s. Each work operates a simple reminder that I consider crucial for my own emotional survival and resilience. It is also an invitation to others to imagine how they might prioritise caring for themselves and the personal and political implications of self care, particularly for women. The knitted Self Care Action panels are all the same size. They are brightly coloured and deploy the same rounded font. These simple design elements underscore the optimism of the project and the clarity of the actions. Actions from the series include: Ask for help, Stay Present, Switch Off Your Phone, Love Yourself, Make Art, Get Into Nature, Feel Your Feelings, Get Therapy, and Say No. The works were shared on Instagram via @katejustknits and using the #katejustselfcareaction with images of each work, pictures of me holding each sign up, and text about each self-care prompt. The work considers how in a political climate in which women's rights are being challenged and threatened, war is being waged around the globe, and a pandemic is unfolding, how art and conversation around self care can provide a mode of resistance and resilience. The fact that the works are knitting further amplifies the potential to use craft as a medium to explore and cultivate ideas of care. The Beechworth Contemporary Art Award was a competitive award in which only ten finalists were selected, attesting to the works significance. Knitting events held during the presentation of this work at Beechworth were well attended by the public. Radio interview on 94.9 Maine FM shared the project more widely. The work will continue to be developed to a major presentation of 45 works at Linden Gallery in March 2023, and then be included in a curated exhibition of textile artists at Hugo Michell Gallery in July 2023. Interest from Shepparton Art Museum and Tamworth Textile Triennial further attest to the works' relvance at this time. The work was funded by an Australia Council Fellowship, a prestigious art award that goes to one visual artist in Australia each year.
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    All the things I should have said that I never said
    Cribb, G ; Da Silva, J ; Lazaro, D ; MCQUILTEN, G ; Sequeira, D ; Teale, P (Bunjil Place, City of Casey, 2022)
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    Pimp my Gauguin: Yuki Kihara's Paradise Camp (or Why Post Impressions Matter)
    Sequeira, D (Artlink Australia, 2022-11-18)
    David Sequeira's Review of New Zealand Pavilion, 59th La Biennale di Venezia 23 April — 27 November 2022 published in Artlink 18 November 2022
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    Theorem
    Presa, E (MEJIA Gallery, Melbourne, Australia, 2022-11-30)
    Theorem: an exhibition comprised of 11 figurative sculptures cast in plaster that shed light on series of philosophical propositions in the in work of philosopher Michel Serres,.entitled Statues: A Second Foundation. The sculpture exhibition gives a material form to a series of philosophical concerns regrading the origins of sculpture and the interconnections between sculpture as idol, as theological transgression in the 3 monotheistic religions of the book, as embodiment of death, and in recent scientific research. Through an aesthetic engagement with materials, abstract concepts are given a palpably tactile and visual form. Image of exhibition attached. A paper discussing the connection to philosophy of Herder on the liminality of sculpture in relation to my the exhibition, Theorem, was presented at the Australasian School of Continental Philosophy conference 28th - 30th Nov, 2022 by Professor Alexander Garcia Duttmann, Universitat de Kunst, Berlin. See Duttmann's paper attached and his Institutional affiliation.
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    Effects of Mirror and Metronome Use on Spontaneous Dance Movements
    Brown, DD ; Bosga, J ; Meulenbroek, RGJ (HUMAN KINETICS PUBL INC, 2021-01)
    This study investigated effects of mirror and metronome use on spontaneous upper body movements by 10 preprofessional dancers in a motor task in which maximally diverse upper body movement patterns were targeted. Hand and trunk accelerations were digitally recorded utilizing accelerometers and analyzed using polar frequency distributions of the realized acceleration directions and sample entropy of the acceleration time. Acceleration directions were more variably used by the arms than by the torso, particularly so when participants monitored their performance via a mirror. Metronome use hardly affected the predictability of the acceleration time series. The findings underscore the intrinsic limitations that people experience when being asked to move randomly and reveal moderate effects of visual and acoustic constraints on doing so in dance.
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    Short Films by Mischa Baka and Siobhan Jackson
    Luscri, C ; Mousoulis, B ; Jackson, S ; Baka, M (https://www.pureshitauscinema.com/unknown_pleasures_2022.html#19, 2022-07-26)
    A retrospective screening/exhibition of short films written, directed and edited by creative screen collaborators, Siobhan Jackson and Mischa Baka
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    Load and fatigue monitoring in musicians using an online app: A pilot study.
    McCrary, JM ; Ascenso, S ; Savvidou, P ; Schraft, S ; McAllister, L ; Redding, E ; Bastepe-Gray, S ; Altenmüller, E (Frontiers Media SA, 2022)
    BACKGROUND/AIMS: High occupational injury rates are reported in musicians, with a career prevalence of up to 89%. Fatigue and playing (over)load are identified as key risk factors for musicians' injuries. Self-report fatigue management strategies in sport have demonstrated preventive effects. A self-report fatigue management tool for musicians was developed based on a Delphi survey of international experts and hosted in an online app. The aims of this study are to evaluate the content validity and uptake of this new tool, and explore associations between collected performance quality, physical/psychological stress, pain, injury and fatigue data. METHODS: University and professional musicians were asked to provide entries into the online app twice per week for 1-6 months. Entries into the app were designed to take 2-3 min to complete and consisted of the following: 6 questions regarding playing load over the previous 72 h; 5 questions regarding current levels in key physical/psychological stress domains (sleep, recovery, overplaying, pain, fitness); one question self-rating of performance quality over the previous day; one question regarding current musculoskeletal symptoms; a reaction time task to evaluate psychomotor fatigue. RESULTS: N = 96 participants provided an average of 2 app entries (range 0-43). Increased playing time, rating of perceived exertion (RPE), and feelings of having to "play too much" were consistently associated with increased self-rated performance quality (p ≤ 0.004; 6.7 <| t |< 2148.5). Increased ratings of feeling fit and recovering well were consistently associated with reduced pain severity (p < 0.001; 3.8 <| t |< 20.4). Pain severity was increased (6.5/10 vs. 2.5/10; p < 0.001) in participants reporting playing-related musculoskeletal disorders (PRMDs; symptoms affecting playing). CONCLUSION: The prospective value of regular individual self-report playing load, stress, and performance data collection in musicians is clear. However, limited uptake of the online fatigue management app piloted in this study indicates that new approaches to the collection of these data are needed to realize their potential impact.
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    Playback
    Sakamoto, R (The 59th International Art Exhibition – La Biennale di Venezia The Japan Pavilion, 2022)
    Playback, Ryuichi Sakamoto and Dumb Type. The Japan Pavilion at the 59th International Art Exhibition – La Biennale di Venezia, 23 April – 27 November 2022. and at the Haus der Kunst Munich, 6 May-11 September 2022. Participated as one of 16 artists around the world (including Seigen Ono) to contribute a field recording of their immediate environment that was mixed/re-engineered as a sonic experience within the multi-media installation. Each sonic contribution remastered by Ryuichi was then turned into a vinyl ‘album’ and all played simultaneously in the installation. “Playback is about the ways in which we perceive the world having been drastically changed with the spread of things such as social media and coronavirus. Playback is also recognises the noise that exists in cities around the world and to feel the atmosphere of a city that doesn’t exist in that space, through its sounds’ Ryuichi Sakamoto (edited). The 2022 Biennale attracted a record attendance of 800,000+.
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    Kids Stay Free
    Wardle, D (Gippsland Art Gallery, Sale, 2021)
    “Kids Stay Free” is an architectural ruin fantasy that is a contemporary reinterpretation of the historical capriccio genre.