Paul Jones (photojournalist and Videographer with the Strategic Marketing and Communications at UOW) is organising Art after Dark in conjunction with UOW art week and Uni Centre. Paul would like show case art works from UOW creative art students.
This exhibition will take place at the Uni Bar and surrounding buildings on Wednesday 15 August. The Uni Centre has hired some pretty kick arse projectors for the night. With a total of six projections taking place around and inside the Uni Bar.
If you would like to see their art works projected bigger than big, please contact Paul.
The internationally acclaimed Ryoji Ikeda returns to Carriageworks with micro | macro. Developed during a residency at CERN, European Organisation for Nuclear Research in Switzerland, micro | macro is an immersive installation which sits at the intersection of art and quantum physics. Ikeda utilises the Planck Scale (which measures the smallest components of the universe – atoms) as a way to contrast our human scale to the microscopic and unobservable. Ikeda tests the limits of what is observable and knowable in our universe in an attempt to understand it, and make it visible to us all.
“My work is created by reducing sound, light and the world into sine waves, pixels and data… so that the world can be viewed once more at a different resolution.” Ryoji Ikeda
Launched in 2018, the Balnaves Contemporary Intervention Series is a multi-year commissioning platform which provides leading artists with the opportunity to present innovative works not previously deemed possible. Delivered in partnership with The Balnaves Foundation, this ambitious program challenges artists to reinterpret familiar locations and reimagine the concept of what a gallery can be. A central aspect of the NGA’s renewed focus on contemporary art practice; these interventions will engage and excite as art experiences transform spaces throughout the gallery.
Sarah Contos transforms the NGA foyer into a cinematic experience in which film references are pulled apart and reinterpreted using an array of materials and mediums. Contos suggests her installation ‘has a 1980s nostalgic flavour and a 1920s fervour. The vibe is… an overfilled raspberry coke slushy… looking backwards at a projector in a movie theatre… heavily sequinned pyjamas… a crushed can in the gutter.’
Be bombarded by decadent mobiles dripping from the ceiling. Discover characters and props collaged with iridescent, suspended textiles and fleshy sculptural forms. Throw caution to the wind and lose yourself within Contos’ dramatic and provocative ‘motion picture’.
Log in to Jess Johnson and Simon Ward’s Terminus—an immersive ‘world within a world’ where dimensional realities exist in both physical and virtual space. In Terminus, Ward collaborates with Johnson to reimagine her densely layered 2D artworks as hypnotic animated video and unique virtual reality experiences.
Positioned within an elaborate floor map, five virtual reality stations act as portals into five different realms. Take a journey through a wormhole into worlds where the connections between language, science fiction, culture and technology are explored.
To make this film, Brussels director Fabrizio Terranova spent time with Donna Haraway – eminent feminist thinker and historian of science – at her home in Northern California, constructing a unique cinematographic portrait that troubles the borders between theory, science fiction and reality. A depiction of powerful thought in motion, Story Telling for Earthly Survival (2016) mixes storytelling, archival imagery and fabulation in the Californian forest. “A rare, candid, intellectual portrait of a highly original thinker; Haraway is a gifted storyteller who paints a rebellious and hopeful universe teeming with critters and trans species in an era of disasters.”—Concreta Journal
[Martin Molin’s detailed documentation of the making of his instrument: the music box here shows a demanding iterative process.]
Molin is the key member of the Swedish band Wintergarten. He is well known for inventing musical instruments that performs his compositions. The best known is probably the Marble Machine. He has also gained a following on the detailed video documentation of his making and tutorials on his working processes. The music box (above) uses ‘punch card’ music roll that can be ‘programmed’. At the end of his tutorial, he asks if anyone would be interested in mechanising the laborious hole-punching process and this is what happened…
In the second assignment, Critical Analysis, you are asked to:
choose one work that you feel strongly about
research the artist, his/her intention in creating the work, the central ideas he/ she is conveying in the work
critically analyse the work in terms of its craft
describe the physical presentation of the work in details
assess how well the artist achieves his/ her ideas or intention through the work’s material manifestation.
speculate on the reasons the artist may have made certain decisions (for example, the exhibition space, technical details in the install, the choice of materials used and so on).
The intention of this analysis to ‘reverse-engineer’ a work, to understand how ideas are transformed into physical, material forms through experimentation, production, presentation and/or exhibition.
How do we do that?
Paul Carter writes:
Materials are actively forming and informing, patterning and re-patterning themselves and their surroundings… their activity can reasonably be described as discursive. To say this means, thought re-materialisng discourse. When this occurs something else emerges. The image/ text, or non-discursive/ discursive opposition tends to melt away, and a third, material discourse emerges. (180)
So we may analyse and critique in words:
Analysis and critique are two key steps in creative practice education (critique sessions are the mainstay of disciplines such as art, design, architecture, and filmmaking).
This trains practitioners to speak the language of Carter’s “third, material discourse”.
Practitioners need to be informed about all the contexts that may influence their works from economic pressure of the marketplace, the political situation of funding, sourcing materials, to modifying or inventing new methods/ processes .
Creative works cannot be separated from the material cultures within which they emerge from.
Practitioners/ makers need to understand how materials play a part in realising their ideas.
By materials, I don’t mean just physical material; digital media has its own materiality
Analysis: Biennale of Sydney 2018
Start with analysis of the work/ objects you have chosen from this exhibition. ‘Reverse engineer’ or work backwards to find out:
how was the work made?
What materials was used?
What kinds of processes were used?
Was there much experimentation involved? What purpose did these experimentation serve?
What decisions were made?
Now here is the hard questions:
Why were these decision made?
Why these materials?
Why these processes?
How did these ‘serve’ the ideas explored?
And what are these ideas explored?
From ideas to making
This is a short feature on Limor Fried (aka Ladyada), founder of Adafruit Industries. Identify the ideas she talks about in terms of making.
Michel Gondry is a innovative and extremely creative maker. He has made many well-known music videos (e.g. for the Chemical Brothers and the White Stripes). He is probably best known for his animation works. Animation is an old technique that is continuously being transformed through ideas and new technologies. Gondry is excellent at problem-solving using this form of expression. Have a look at the following video where Gondry talks about his work Is the Man who is Tall Happy? based on his interview with Noam Chomsky. Write down the different ideas he is exploring, at the same time, write down what animation techniques he is using to explore these ideas.
In week 6, you formed groups based on your interests in a number of areas identified as follows (please let me know if I have left you out):
Eliza Appel, Blake Foggo, Liam Walker, Toby Wilkinson, Chris Boyd, Saverio Pirrottina
Christina Donoghue, Emily Duncan, Jessica Dryburgh, David Guveski, Mia McRobert, Chantelle Hyde
Angus Rigby-Wild, Geoff Lee, Angela Cullen, Ryan Catbagan, Daniel Lavin, Mark Johnson
EXPANDED CINEMA (AARON)
April Misiluti, Brittany Spencer, Rebecca Neilson, Hayden Starr, Andrew Hodsden, Jei Strolin
Blake Sykes, Lee Butler, Alex Mead, Alex Pham, Dylan Le, Adam Weir
Zoe Majstorovic, Ceren Tabak, Noelle Jackson, Olivia French, Carah Fiseris, Matthew Lawrence
1.On the sheet of paper provided write down:
Working title of project (no longer refer to the project as ‘yours’, give it a life of its own and be prepared to kill it if you have to)
A key material the project might consist of
A significant idea or theory the project relates to
Identify a tradition or genre the project responds to
An aim or goal of the project
The personal motivation or personal relevance behind the project
2. Circle or underline the two most important aspects of the project OR two areas you are having trouble with
3. Outline a single experiment / model to undertake today that will develop the project – detail on sheet of paper
4. Spend 10 minutes on each group member discussing projects by way of the two significant features identified in step 2 and the activity of step 3. Suggest alternative research and development activities for each project and suggest ways in which you might help other projects.
5. Discuss how you each want to spend the next two hours (and next few weeks) and if you require assistance or wish to the share in any of the other project’s development/experimentation. Some of the projects might benefit from similar experimentation.
6. Let your tutor know your plans and any assistance required.
7. Scan/photograph sheet of paper for blog. Document discussions and work-in-progress for blog.
Cinema Reborn 3-7 May 2018 Australian Film Television & Radio School, Entertainment Quarter, Moore Park in Sydney, Australia
Cinema Reborn’s focus is on screen heritage and preservation. Cinema Reborn presents twelve programs of either recently restored films shown using digital copies or, rarer, film archived-sourced 35mm film prints. All will be presented following best practice in the presentation of archival or screen heritage titles, and will reflect the originally intended experience of their creators.
Cinema Reborn is intended to shine a light on the long history of the art of the cinema, the world-wide activity of film restoration and the treasures that exist in the world’s film archives.
Cinema Reborn will be offering subscription tickets to the entire program from 20th March 2018 via Eventbrite. Please note also that seating at the AFTRS Theatre is only for 140 people.
Lisa Reihana’s Cinemania at the Campbelltown Art Centre
This exhibition is well worth a visit for all Media Arts students! It closes on Thursday 29 March 2018. From Wollongong the Campbelltown Art Centre is only a 40 mins drive – drop in on its last days!
Lisa Reihana’s Cinemania at the Campbelltown Art Centre
From the Press Release:
Exhibition: Friday 12 January – Thursday 29 March
Lisa Reihana is an artist of Māori (Ngā Puhi, Ngāti Hine, Ngāi Tu) and British descent who has helped forge the development of time-based and media art in Aotearoa New Zealand. A multimedia artist, Reihana’s practice is driven by collaborative work with communities, described as kanohi ki te kanohi (face to face).
Campbelltown Arts Centre presents Lisa Reihana’s first ever Australian survey showcasing three decades of video and photographic works. Cinemania will feature in Pursuit of Venus [infected], 2015—17, following its premiere at the 57th Venice Biennale, 2017. Almost ten years in the making, this work is a cinematic reimagining of the French scenic wallpaper Les Sauvages de la Mer Pacifique, 1804—1805, or The Voyages of Captain Cook, and includes scenes featuring Campbelltown’s local Dharawal community. Reihana has used twenty-first century audio-visual technology to animate the wallpaper with real and invented narratives.
This exhibition reveals the spectrum of Lisa’s practice – from early experimental works in digital video such as Wog Features, 1990 and Native Portraits n.19897, 1998, to futuristic films, dystopian photography and immersive environments, such as Fantastic Egg, 2002, PELT, 2009 and Tai Whetuki – House of Death Redux, 2015 – 16.
Lisa Reihana Cinemania appears as part of the 2018 Sydney Festival program.
Lisa Reihana’s Cinemania the Campbelltown Art Centre
Pat Grant is a graphic novel artist based in Wollongong. He may have taught/ given guest lectures to some of you. His project is called The Grot and he is launching the series in Newtown for anyone interested in independent comic arts.
Come help me launch these comics. Drink yeasty ferment made by Young Henrys. Have a gossip with some nerds. Stare intently at 130 pages of original comics pages drawn by Pat and hand-painted by Fionn. Marvel at 5 years of an adult life spent in futile toil.
A very warm welcome to all new students starting their degree courses at UOW, students continuing with the MEDA stream, as well as students joining our electives for the first time.
In Autumn session, BCM 115: Introduction to Screen Media (on separate site), MEDA201: Space, Time, Data, and MEDA301: Media Arts Workshop, are on offer at the Digital Media Centre, Innovation Campus.
During this session from 16 March to 11 June, the 21st Biennale of Sydney will be holding a broad range of exhibitions of works across Sydney. Students are encouraged to visit thisinternational event and experience contemporary art, media and worksfirst hand.
Subject outlines and assessment details are available from Moodle. Links to lectures, workshop notes, reference materials, and student works for MEDA201 and MEDA301 will be housed here on MEDAdada.net – accessible via the menu on the right.
Our fundraising team: Chantelle, Clare, Chelsea, Paniti (Steph who helped with the organisation of the event), who raised $370!! This is a single event that raised the most money after the Art Auction! Well done!!! (Look at all the motorbikes at the back!)
Grad Show website
We are putting the final touches on the Grad Show website. A Big Thank you also to Mackenzie and David A for helping with uploading content and Jasmine for making the final tweaks to the web catalogue.
If you have not submitted any information as requested, please do so as soon as possible. We no longer need your statement or headshot, but we do need 3 images of your work – please format them as follows:
Your need to supply the title as: Title, year of production, medium, duration/ dimension (if relevant). Upload these stills to your folder on Google drive: https://drive.google.com/open?id=0B9_vba57mNcyQjl6RjBTVXdidlU and please let Jasmine know that you have done this.
Grad Show schedule
We will need the curatorial committee: Jane, Sonny, Anh, Kate, Steph, Chloe, Clare, and Lily on Friday 17 November 2017 at 11am in building 25, Main Campus. We need to re-assess our draft layout plan for work. The final plan will be uploaded to medadada.net – please check this site.
We also need physical assistance in uploading transported equipment from iC as well as preparation of the rooms (including painting) so please wear work clothes. If you are not on the curatorial committee but want to help out – we would love to have you.
The installation period is Monday 20 November and Tuesday 21 November. You must be present to install your work in the designated location. If you are not there, your work will not be included in the exhibition.
The Grad Show, officially SCOPE: 2017 UOW Graduate Exhibition, is to be formally opened on Friday 24 November 6 – 9pm.
You are welcomed to bring up to 3 guests with you on the night. There is a large number of students participating in the exhibition this year and due to building’s capacity we need to put a ticketing system in place Please obtain your tickets here by registering for the free event at Event Brite
Speeches are scheduled in 25.107 at 6.30pm. There is limited capacity in the lecture theatre but the event will be live streamed and guests are welcomed at other live stream locations in the building which include 25.163 and 25.128.
The exhibition will run from Saturday 25 November until Saturday 9 December. It will open to the public on 3 Saturdays from 12 – 5pm):
Saturday 25 November
Saturday 2 December
Saturday 9 December
We need attendants for these three days. Your duties will include turning on/off projections/ av works/ lights, unlocking and locking up spaces. You will need to be present for visitors.
I am asking the following students who signed up for Event and Marketing teams to volunteer. If you or your friend can attend one of these afternoons, please let me know as soon as you can. It would be great to have your contributions: