In I’m Here Now, the artist transferred a video she took with her phone onto 8mm film. The video captures the moment the artist encounters the everyday on her way out home; a train passing by with the sun rising. This mundane, banal scene is celebrated as being made into a film roll; a physical imprint. It is also the moment the artist pronounces her presence in the place yet at the same time projecting her desire to be somewhere else.
You are invited to attend the opening of Re:Cinema an exhibition curated by Ryszard Dabek, on Thursday 6 June, 6 to 8pm.
Facebook event: http://www.facebook.com/events/582074181822992/
Adam Abel / Aziz+Cucher / Jade Boyd / Daniel Carroll / Ella Condon / David Connolly / Daniel Cherrin / Magali Duzant / Elizabeth Eastland / Clare Ferra / Angela Garrick / Rachel Guardiola / Michelle Gevint / Lillian Handley / Emma Hicks / Robert Hickerson / Jeesu Kim / Lilian Kreutzberger / Jai McKenzie / Max Nalevansky / Salvatore Panatteri / Stefan Popescu / Andrew Robards, Jack McGrath & Silas Darnell / Adam Sébire / The Twilight Girls / Geoff Weary / Matt Whitman
Spanning the fields of video art, installation, experimental film practices, photography and new media, Re:Cinema examines an expanded idea of the cinematic in relation to the contemporary image-scape; cinema itself is considered not as a strict formal entity, but rather as a persistent conceptual and visual presence that informs a wide range of visual production and artistic inquiry. As such the cinematic is regarded not so much as a cohesive and totalising system but rather as a trace element of contemporary visual culture. Re:Cinema is a binational exhibition project; this first exhibition at the SCA Galleries will be followed by a second at Parsons, The New School for Design in New York during December. Both exhibitions will feature work by current research students from the two institutions as well as alumni and faculty members.
Re:Cinema is a satellite event of 19th International Symposium on Electronic Art.
Re:Cinema will be display from Tuesday 28 May to Friday 14 June at the SCA Galleries.
Monday to Friday, 11am to 5pm
Sydney Colllege of the Arts
The University of Sydney
Balmain Road Rozelle
(enter opposite Cecily Street)
Ph: +61 2 9351 1008 Email: email@example.com
top image credit: Jeesu Kim, I’m Here Now, Super 8 film on digital video, 2:18 min (looped projection), 2013.
raise | retreat | rise (2013)
Three HD videos, each 8hrs05mins at 24fps.
HD monitor. Wooden housing 100 x 100 x 9cm with three circular apertures.
Adam Sébire’s video triptych deals with the sensory imperceptibility of climate change in our day-to-day existence, postulating it as one explanation for our collective inaction in the face of an existential threat.
We are presented with three porthole-like apertures which take their cue from various spheres of the Earth sciences: in this case, the atmosphere, cryosphere, and hydrosphere. Through them the viewer encounters three shots of extraordinary duration. Each shot, recorded at 60 frames per second and played back at 24, runs simultaneously and continuously for eight hours and five minutes. They are recorded using digital technology unencumbered by the need to swap film-rolls or videotapes.
The duration references another work which plays with the idea of imperceptibility: Andy Warhol’s 1964 film Empire also runs for 8hr05min. A single shot (but for film-roll changes) of New York’s Empire State Building as it disappears into the night, Empire was filmed at 24 frames per second but is slowed to 16 during projection to further the imperceptibility of the on-screen changes.
In raise | retreat | rise each shot appears essentially unchanging but for waves, passing clouds and periodic lens-cleaning by the artist. Yet in the time taken to view the work once from beginning to end, peer-reviewed science tells us anthropogenic atmospheric CO₂ levels will be raised by approximately 14 million metric tonnes; Switzerland’s mountain glaciers will retreat an average of 20mm; and the world’s oceans will rise by at least 0.003mm. These changes — though disturbingly rapid in geoscience terms — lie beyond the perceptual limits of both the medium, and our senses.
Adam Sébire is a filmmaker & photographer whose documentaries have been shown at festivals and on television worldwide. His solo video & stills exhibition Roads to Nowhere was exhibited in Sydney’s historical centre as part of the Head On Photo Festival, The Rocks Pop-Up and Vivid Sydney, from May to June 2012. He is now using multi-screen video art (“documentary polyptychs”) to explore issues posed by climate change-driven sea level rise for a Master of Fine Arts research degree at the University of Sydney.
‘Magnetic stirring’ is the term given to a laboratory process used in researching the creation of intelligent polymer fibres at the Australian Institute for Intelligent Materials of the University of Wollongong. Elizabeth Eastland is currently Artist-in-Residence where this work is filmed. Her subject is a research student on the brink of a breakthrough in intelligent polymer fibre research. The film is a meditation on work in the laboratory and its similarities to the work in the artist’s studio – concentrating on the processes, discipline, patience, and determination of both the artist and the scientist. Elizabeth’s film work reveals the contrast between theory and research practice, and explores the sublime as a metaphor for the boundaries of knowledge of both art and science.
Elizabeth Eastland is a PhD Candidate at Sydney College of the Arts, The University of Sydney. She is also Artist in Residence at the Australian Institute of Intelligent Materials at the University of Wollongong. Her art practice bridges art and science, and her research and creative work encompass new computer architectures and languages, film, digital art, installation, video and painting.
Wendy Suiter is currently working towards a PhD in Music Composition at ANU. In 2009 she was awarded the Fellowship of Australian Composers Postgraduate Composition Prize. Her research is concerned with modeling creativity through the application of fuzzy logic principles to compositional decision making algorithms.
While trying to understand contemporary society through the built environment, I became interested in the physical shadow of what Rosalind Krauss calls ‘the Grid’ (that ‘turns its back on nature’). The project ‘Engineering Hope’ is an exploration of expressions given to imaginations with an abstract point of reference: the model. In this project, I investigate the seductive quality of the model in urban planning, the limits of the model as tool and the actual neighborhoods that became a physical version of its original simplified and functional point of reference.
The striking resemblance between the architect-template and the building across my studio, brought me to explore how the two dimensional forms relate to the three dimensional. The façade became both the template and the grid, detached from the interior. Stripped of most of the ornamentation, space lost dimensionality and forms became flat. The façade turned into a pattern made out of the forms of the template, repeated infinitely.
I designed an impossible building of which the prefab building-parts are made of plaster. Situated in a wooden frame, the nine planes on the wall together form the blueprint for the model. The plaster parts fall apart if one would attempt to remove them in order to built the model; one can only imagine the model, like utopia. Before ever built, the model is already decaying in its frame. A constant shift in scale and time takes place. At one point the wooden frame becomes a composition, a grid seen from above in which the plaster facade becomes the footprint of a demolished housing project that once was there. Sometimes the forms lose any relation to the building. They become hieroglyphics, they become the motherboard of a computer, it becomes an artefact.
Lillian Kreutzberger (b. 1984, the Netherlands) received a BFA at the Royal Academy of Art, the Hague (2007) and was a recent Fulbright scholar at Parsons (MFA). Her work was exhibited in the Gemeente Museum and the Royal Palace, the Netherlands, and the Dutch Pavilion at the World Expo Shanghai. She was nominated for the Royal Prize for Painting and won the Buning Brongers Painting Prize.
The shifting economic and geopolitical landscape from a dominant Western perspective to the East has resulted in China rising as an economic and political powerhouse. The countries continued rise in GDP, globally positions itself as the world’s second largest economy behind the United States and is forecasted to overtake the US as the world’s dominant economy.
The installation Be Careful For What You Wish For, 2013 addresses themes of Utopia in modernity as a result of rapid economic growth and suggests a cautionary tale for both the West and East in relation to perceiving each others role in a global economy.
Due to continuous tropes throughout the discourse of cinema, many titles present the viewer with an idea of what a film could be about. I have created titles and ideas for films and then manifested them into awards and movie memorabilia as justification of the works. Verbal information, titles in particular, that are assigned to a work guide our cognitive and emotional response to artwork. Creating a title that holds a strong implication, or a vague reference to a general environment of cinema can spark a notion of the cinematic. A study by Keith Millis in his essay, Making Meaning Brings Pleasure: The INfluence of Titles on Aesthetic Experiences, infers that a title can influence comprehension and aesthetic experiences to the extent that they provide alternative interpretations of the explicit art-work. What I am proposing is that a title alone, as well as a title accompanied by an image, in the right environment can evoke the cinematic.
In 2012 Robert Hickerson collaborated with his parents on a series of performances and installations which reevaluated their relationship as a family. Hickerson’s parents had been divorced for several years prior and had not spoken to one another. Starting with These are My Parents, they came together to produce work which materialized how they each dealt with the dissolution and reconfiguration of their family. Debasement Triptych (which has These Are My Parents at its center) is the final product of this collaboration. Hickerson uses the cinematic to convey these performances, creating a dynamic portrait of his parents’ relationship. With its center panel, Debasement Triptych shows the first interaction between his parents, six years following their divorce. Hickerson asked his parents to complete a puzzle, having tied them to each other using a spandex harness. On each side sits a durational portrait, performed in public, materializing the experience his parents felt creating these collaborative works.
Debasement Triptych continues Hickerson’s development of materializing interpersonal relationships into physical tasks and restraints. By translating how one is connected to another into how one is physically attached to another, Hickerson’s work allows for the evaluation of these relationships from an objective point of view.
Debasement Triptych, video, 5 min 48secs. Robert Hickerson, 2012.
That which is logical and phenomenological derives one out of another in continuous flux. As the subject of an image shifts, the viewer is transferred to an altered mode of visuality and thinking. With a background in both painting and photography, my studio practice consists of a series of projects that investigate the dichotomy between the quantifiable and experiential through the perception of light. Light as a drawing medium, can be observed and interpreted at different material states as its physicality continually transforms to alter the context of the image. I utilize technology as a vehicle to manipulate light, color, and scale in order to obscure the dimensions of reality, and ultimately allow the viewer to experience the edge of sight.
Presented is a video titled Optical Fields (2 min. 4 sec.) accompanied by a series of photographs titled Newman Slide Series. Generated with micro-imaging equipment traditionally used for scientific research, I am able to capture invisible imagery that relates the boundaries of the unseen to the cosmos. By abstracting notions of macro and micro worlds, technology is used to shape light in such a way that it obscures the dimension of scale, and allows empty space to take on the illusion of material form. Experimental sound recordings are layered onto the video track to add a secondary sensorial experience to that of vision. Sonic, moving, and still image are combined in this selection to transport the viewer to an alternative psychological landscape into the vast or minute.
For this work I used Google Images search engine to collect images of monuments that are located in Israel. Israel’s landscape is covered with many different kinds of monuments. These monuments with either national or international significance all have a political and social stance. The main reason for their existence is to mold and create a unified collective memory by commemorating and revering the dead. However, monuments not only act as cultural agents by providing a place of mourning and reverence, but they also build and create a sense of unification and belonging.
In each consecutive image of this work the monument is cut out, resulting in an image with a white patch where the monument was situated. Projection is used in order to accentuate the light as a dominant factor, emanating from within the image. This emphasizes the empty space that creates a new structure within the image. The absence of the monument raises political and historical questions regarding the role of monuments in society. How they are used sustain and at the same time mold history. What role do they play in the formation of personal and collective identity. The absence also emphasizes the shape and form of the structures and by doing so reflects the relationship between shape and form and the process in which both collective and personal memory are formed.
The second frame provides information regarding the reason for and the location of the monument. My interest on the role of these monuments comes from my own personal experience growing up in a country that is filled with numerous monuments commemorating dead soldiers, international tragedies and personal ones.