Victorian College of the Arts - Research Publications

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    The Ghosts Of Nothing: The World of a Work Of Performance-Framed-as-Art
    Lowry, S ; Taimre, I ; Geczy, A ; Kelly, M (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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    Curating with the Internet
    Lowry, S ; Buckley, B ; Conomos, J (Wiley-Blackwell, 2020-01-01)
    This chapter explores Internet-based and Internet-activated approaches to curating art through both established and non-traditional exhibition circuits. Today, new curatorial approaches are emerging in tandem with digitally-activated modes of presentation and dissemination distinguished by perpetual reproducibility, multiple intersecting temporalities and materializations, and the subsidence of physical space. Accordingly, this chapter will discuss networked, distributed, and modular approaches that variously disrupt, democratize, antagonize, institutionalize—and in some cases altogether bypass—the figure of the curator. Significantly, many of these approaches are no longer necessarily connected to singular events or spaces and are perhaps better understood as omnidirectional movements between modes of conception, production and dissemination connected through the screen as a communal space. This communal space might offer either access to new works, illuminate the existence of works understood to be elsewhere in time and space, or offer multiple or alternative materializations, versions, attributions, interpretations and representations of existing works.
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    Are We There Yet?
    LOWRY, S ; Shorter, M (Lismore Regional Gallery, 2014)
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    Relatively Serious Play
    LOWRY, S ; Baker, S (Nicholas Thompson Gallery, 2016)