TULLY ARNOT'S DIGITAL FOREST AT UNDERBELLY ARTS FESTIVAL

Digital Forest / Nervous Plants from Tully Arnot on Vimeo.

Underbelly Arts Festival kicks off this weekend on Cockatoo Island and we are looking forward to seeing Tully Arnot's brand new artwork, Digital Forest, which was successfully realised through the support of his Pozible campaign and will be brought to life for the first time.

Digital Forest is an extension of his solo exhibition, Trace Etc, at Artereal Gallery in March, which developed on the artist's investigations into the blurring between digital reality and real life and the tensions between CGI/Artificial Intelligence/robotics and more organic or natural elements.

Digital Forest uses our connection with objects to explore the alienation that exists in an increasingly connected, but ultimately disconnected world.  By integrating complex technologies with everyday components, the artist merges the familiar and the unfamiliar. His work creates an uncanny feeling, indicative of the isolating nature of our digital existence.

Underbelly Arts develops and presents work from the boldest new voices in Australian art and was established in 2007 as a response to the number of artists working out of their bedrooms and in warehouses, in isolation. As a kind of social experiment, it sought to bring all those artists under the one roof and expose them to one another, and to new audiences.

Earlier this year, we produced a short in-studio film with Tully Arnot about his practice, which you can watch here. 

TULLY ARNOT / 'Jurassic Cup' reviewed in The Australian

Image: Tully Arnot, Jurassic Cup, 2013, Bathurst Regional Art Gallery, purchased 2013.

Tully Arnot's Jurassic Cup artwork was recently reviewed by Kitty Hauser for The Australian. Read the full story here, or an excerpt below. 

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In 1973, the Dublin-born artist Michael Craig-Martin put a glass of water on a shelf and called it An Oak Tree. The work became almost emblematic of the chicaneries of conceptual art — this was around the same time as the media furore over the purchase by the Tate of Carl Andre’s Equivalent VIII (also known as bricks) and the fuss over the purchase of Jackson Pollock’s Blue Poles by the National Gallery of Australia. 

It’s not clear whether the young Australian artist Tully Arnot was thinking of An Oak Tree when he made Jurassic Cup, but the difference between the two works tells one story — among many others — about what has happened in contemporary art since the heady days of the early 1970s. Craig-Martin’s glass of water — which he insisted had been transformed by him into an oak tree — is a work of pure stand-alone conceptualism. Jurassic Cup makes fewer claims for itself. It is less grand, less pure, and funnier; it relies for its effect on the viewer’s absorption in a popular culture from which no one can wholly escape.

What Arnot has done is to re-enact — after a fashion — that scene in Steven Spielberg’s film Jurassic Park where the theme park visitors are sheltering from the rain in a Ford Explorer. We know the T-rex is coming because ripples appear on the surface of a glass of water on the dashboard of the car as the gigantic creature lumbers towards it. It is, apparently, one of the most memorable scenes from the film, and it’s certainly one of the ­cleverest. With visual economy, Spielberg shows us one thing while thrilling us with thoughts of something very different. And in a film famous for its use of state-of-the-art computer-generated imagery and other visual effects, the ripples were created with nothing more than a guitar string.

For Jurassic Cup, Arnot embedded a motor from an iPhone 4 in the bottom of a plastic cup filled with water and programmed it to vibrate at the same intervals as in the film, increasing its vibrations as the dinosaur gets closer. Twelve minutes of silence follow before the sequence begins again. The idea is that the viewer encounters what looks like an ordinary plastic cup half full of water (left behind, perhaps, after a gallery event), but then the weirdly automatic rippling rings a bell somewhere in deep cultural memory, evoking an uncanny feeling of familiarity.

The piece is a sort of visual joke that depends for its effect on our knowledge of the film to which it alludes. I can’t say whether it works, not only because I don’t remember the scene from Jurassic Park, but also because the piece wasn’t working when I visited Bathurst Regional Art Gallery, where it is on display (it has apparently since been fixed).

Malfunction is something of a hazard for an artist who specialises in handmade works that make subtle technological interventions into ordinary life, animating the objects that surround us.

SOLID STATE // Tully Arnot and Jess MacNeil included in group exhibition at Casula Powerhouse

Jess Macneil, View From the Studio (Blue Kite), 2014

The Artereal Gallery team is looking forward to visiting the upcoming exhibition Solid State at Casula Powerhouse Arts Centre, a group exhibition that includes artworks from Artereal Gallery regulars, Tully Arnot and Jess MacNeil. 

Opening the evening of Friday 17 July, Solid State investigates the physical structure of Casula Powerhouse Arts Centre as the architectural remains of a powerhouse. By curating artworks in tandem with the physical site, the selected artworks invite the public to reimagine the building in new and figurative ways. 

The selected artworks reference the Powerhouse by way of the skill and precision required to create and control force and movement, yet they also explore instances of instability, vacancy and the decay that arises when these properties do not exist.   

Artists included in Solid State: 

Tully Arnot

Marley Dawson

Nicholas Folland

Christopher Hanrahan

Anna Kristensen

Jess MacNeil

Callum Morton

Jamie North

Caroline Rothwell

Kathy Temin

Justin Trendall

Simon Yates

Ken + Julia Yonetani 

Solid State continues at Casula Powerhouse Arts Centre until 6 September. For further information please visit their website.

A ROBOT ATTEMPTS TO EAT A CHICKEN NUGGET...

A ROBOT ATTEMPTS TO EAT A CHICKEN NUGGET...

Tully Arnot, Josh Harle, Jason Phu, Louise Zhang are a new collaborative partnership founded as an outlet for slop and punking. Welcome to hell.

Discharge everywhere.

This is an exhibition revelling in the mess our creations make. Everything is moist. It is dripping, seeping, pooling from every crevice. In this exhibition, capacity never matches ambition.

Robots: they came for your jobs, now they want your lives.

Tully Arnot investigates human relationships with technology. The artist creates an ‘uncanny residue’ of object-life that may change how we see everyday objects outside the gallery. More recently this has been imbuing objects with behavioural patterns using microprocessors and servos.

Josh Harle’s practice focuses on subverting the rationalising drive of technology; anthropomorphizing the actions of robots to present them as quixotic and performative.

Jason Phu presents irreverent, starkly uncompromising views of human nature, and works with inanimate objects to caricature them as grotesque figures.

Louise Zhang deals with the ambiguity of the ‘blob'; mutable, in opposition to the ordered and rectilinear rational world, but potentially monstrous and cancerous; the leakage as a breakdown of control; pastel coloured goop that can be both attractive and repulsive.

Curated by Luke Letourneau. (Showing at Firstdraft until 24 July, 2015).

TULLY ARNOT // IS ANNOUNCED AS A FINALIST TO JOHN FRIES 2015, LAUNCHES POZIBLE CAMPAIGN AND A VIDEO INTERVIEW

Congratulations to Tully Arnot, who has been announced a finalist to the John Fries Award 2015, one of Australia and New Zealand's most covetable awards for emerging contemporary artists.

Tully Arnot is, indisputably, one of Australia's busiest practicing artists. Since picking up the Inaugural NAB Private Wealth Emerging Artist Award in association with Art Month Sydney in September, he has presented numerous solo exhibitions (including Trace Etc at Artereal gallery in March 2015) and group exhibitions. In March, he was also awarded the prestigious Marten Bequest Travelling Scholarship, awarding the artist $20,000 over two years.  

As part of his solo exhibition, Trace Etc, at Artereal Gallery, Tully spoke In Conversation with Sydney Contemporary 15 Director, Barry Keldoulis and was also filmed providing further insight into the work in this exhibition from his studio at Redfern's 107 Projects (available to view above).

This week, Tully Arnot also launched a Pozible campaign in a bid to raise money for a project, Digital Forest, that he would like to get off the ground for Underbelly Arts 2015.

In his explanation on the crowdsourcing platform, Arnot elaborates on his intentions for the project: 

"Digital Forest is a new sculptural installation created for Underbelly Arts Festival 2015 on Cockatoo Island, Sydney. The artwork will consist of 300+ 'robotic' plants which use light sensors, servo motors and Arduino micro-controllers to create an interactive relationship between the audience and this electronic foliage.

This installation develops on a previous work Nervous Plants, winner of the 2014 NAB Private Wealth Emerging Artist Award. The new work will refine the technology that I developed in that work, as well as increase the complexity of the interactive components and greatly expand the scale of the work. "

TULLY ARNOT // Reviewed by Blouin Artinfo

Earlier this month, Blouin Artinfo's Nicholas Forrest visited Artereal Gallery to view our current solo exhibitions from Liam Benson and Tully Arnot. 

This week, his review of Tully Arnot's 'Trace Etc' was published on Blouin Artinfo, which you can read either on their website here or below.

Saturday 28 March is the last day to view solo exhibitions from Liam Benson and Tully Arnot at Artereal Gallery.

REVIEW: Tully Arnot “Trace Etc.” at Artereal Gallery, Sydney

Tully Arnot’s exhibition “Trace Etc.” at Artereal Gallery in Sydney showcases the depth and scope of the up-and-coming Sydney-based artist’s intriguing and innovative practice. Continuing his ongoing interrogation of the way humans interact with technology and each other, Arnot investigates the increasingly contested space between virtual reality and reality itself, while at the same time uses humour to explore the absurdity of the human race’s obsession with technology.

At the basis of the works in “Trace Etc.” is a variety of motifs, phenomena, and concepts which Arnot has extracted and isolated from cyberspace and then reimagined in the “real” world as a group of poetic, innovative, and engaging interventions that strike the perfect balance between humour, seriousness, and aesthetics. The exhibition comprises a number of sculptural works as well as a video piece, which together evoke a range of sensations from déjà vu to anxiety to fascination.

“Cursor” is one of the simplest yet most effective and elegant works in the exhibition. As the title suggests, Arnot has reinterpreted the computer cursor as a relatively low-tech kinetic sculpture. Upon entering the exhibition space, visitors are confronted with a plastic cut-out of the cursor symbol which rotates in mid-air with the aid of a small motor. At once uncanny and disruptive, “Cursor” creates the illusion that the exhibition is being viewed through a computer screen.

In the gaming world, the realism of the grass is a key indicator of the quality of a virtual environment. “Meadow (IRL)” reimagines the virtual grass of a game environment using fluro-green plastic straws which are animated by rotating solar display fans. It is a strangely hypnotic installation that although absurd is no more absurd than the pursuit of the perfect virtual representation of the natural environment.

Arnot’s “Nervous Plant” series is perhaps one of his best known bodies of work. Each of the artificial plants in the “Nervous Plant” series are activated using servo motors which are controlled by a light sensor that slows or stops the movement when its light source is blocked, whether it be from a shadow or the shutting off of the lights. The “Nervous Plant” works are a witty yet poignant reminder of just how blurred the boundary between the real and virtual world is becoming.

With the video work “Thoughts of absence, absence of thought,” Arnot has removed all the dialogue from a recently filmed interview, leaving only pauses, breaths, and sighs. The glitchy remnants of the interview could be interpreted as the effects of a virus of bug. Curator Rhianna Walcott explains that the work “examines the subtle traces which a steady stream of constantly evolving technology is leaving on the human psyche and the way in which we see and interact with the world.”

In the words of the artist himself, “Trace Etc.” is a “a suite of new works exploring different notions of trace – from residues, to transitional artefacts, to formal delineations of pathways. ‘Trace Etc.’ develops on my investigations into the blurring between digital reality and real life, and the tensions between CGI/Artificial Intelligence/robotics/etc., and more organic or natural elements.”

Tully Arnot “Trace Etc.” is at Artereal Gallery in Rozelle until March 28.

TULLY ARNOT // WINNER OF THE 2015 MARTEN BEQUEST TRAVELLING SCHOLARSHIP

 Tully Arnot_Lonely Sculpture_2014_servo motor, microcontroller, programming, cast silicone, perspex,

cable ties, glue, electronics, iPhone 4, Tinder app_edition of 12 + 2 AP_25 x 30 x 5cm

Congratulations to Tully Arnot who was recently announced as one of the 2015 winners of the Marten Bequest Travelling Scholarship! 

The Marten Bequest is awarded annually to selected young artists across a number of categories including painting and sculpture. Winners of the award are presented with a $20,000 scholarship intended to provide them with the chance to explore, study and develop their artistic gifts through travelling either overseas or interstate. 

Tully Arnot will begin his travels in Australia by creating work for an upcoming exhibition at Brisbane Powerhouse, followed by inaugural solo exhibitions in Melbourne and New Zealand. Tully will then collaborate with Chinese-Australian artist Jason Phu to establish a large studio in Chongqing, where he will develop the complexity and scale of his work. He will later take up an Australia Council residency at the Greene Street studio in New York, where he will undertake a mentorship and expand his international networks. 

Tully Arnot is a Sydney based contemporary artist whose practice develops on ‘outsider’ modes of invention, generating a non-teleological creative process with unanticipated outcomes. Inventive and alchemical explorations of material and form are used to explore the subtle changing of states within art - from everyday object to sculpture/invention/artwork, or stuck between in a state of flux. In 2014 Arnot was awarded the inaugural NAB Emerging Artist Award for his installation of kinetic based sculptures Nervous Plants. In 2013 Arnot was also selected as one of three artists to undertake a residency as part of 4A Centre for Contemporary Asian Art's inaugural Beijing Studio Program at the studios of Chinese Australian artist Shen Shaomin in Huairou on the northern outskirts of Beijing. This residency culminated in an exhibition of new work, entitled Haze, which featured the work of Tully Arnot, Sarah Contos and Jensen Tjhung held at 4A in 2014. 

Arnot's work has also been exhibited as part of Installation Contemporary at Sydney Contemporary Art Fair in 2013 and at the Museum of Contemporary Art as part of an edition of MCA Art Bar which Arnot was invited to curate. He has previously exhibited as part of the Next Wave Festival (2012), the Woollahra Small Sculpture Prize (2011, 2014) and the Redlands Art Prize (2014). 

Tully Arnot is currently exhibiting a selection of new and recent works as part of his solo exhibition Trace Etc. at Artereal Gallery. The exhibition runs until 28 March 2015 as part of Art Month Sydney.

ART MONTH SYDNEY 2015 // Artereal Gallery unveils extensive program of events

 

Left: Tully Arnot, Nervous Plant, 2014, 80 x 80 x 70 cm, artificial plant, servomotors, microcontroller, light sensor, electronics, motion. Right: Liam Benson, Ned Kelly Red Gum: hypercolour, 2014, c type photograph.

This March, Artereal Gallery presents an extensive schedule of contemporary art exhibitions, talks, panel discussions, outdoor film screenings and a mini festival to celebrate the exciting array of contemporary art practices and disciplines within Australia.

4 MARCH: LIAM BENSON AND TULLY ARNOT EXHIBITION OPENING

Join us Wednesday 4 March at 6PM for celebratory drinks with artists, Liam Benson and Tully Arnot, to mark the opening of their anticipated solo exhibitions.

Entitled Noble Savage, Liam Benson’s new body of work seeks to examine the romanticized white Australian male archetype from the view of a ‘privileged white male of Anglo-Celtic heritage with a queer awareness’, acknowledging the dialogue shared between fellow immigrant and Aboriginal Australians about the incongruities and fundamentals of Australian identity.

Tully Arnot’s solo exhibition will include new work that continues the artist’s exploration of the value of our relationships with non-sentient forms and how these feed into our capacity to interact meaningfully with one another.

7 MARCH: ARTIST TALK WITH LIAM BENSON

Join contemporary artist Liam Benson as he discuss and explores the many ways in which contemporary Australian identity is consistently constructed, deconstructed and re-imagined.

Held in conjunction with his exhibition 'Noble Savage', the talk will examine the romanticized white Australian male archetype, Benson’s ongoing exploration of  masculinity and the paradox of what it means to be Australian.

From the view of ‘a privileged white male of Anglo-Celt heritage with a queer awareness’ Benson unravels the evolving state of ‘White Australia’ by confronting its inherent complexity and dichotomy of cultural anxieties. Bensons self-diagnosis simultaneously responds to the influence of community by acknowledging the dialogue shared between fellow immigrant and Aboriginal Australians about the incongruities and fundamentals of Australian identity.

21 MARCH: ROZELLE CONTEMPORARY ART PRECINCT MINI FESTIVAL

On Saturday 21 March, pull up a chair and enjoy a drink on us, as Artereal Gallery and dLux MediaArts join forces to bring you a one-day festival of visual arts in the Rozelle Contemporary Art Precinct. The mini festival will include artist talks, panel discussions, outdoor video art screenings and refreshments, making for a fun summer afternoon of stimulating conversation, kaleidoscopic beauty and community.

Kicking things off at 4PM, join us in the gallery space for a conversation between exhibiting artist, Tully Arnot, and Sydney Contemporary Art Fair Director, Barry Keldoulis, who will discuss a range of topics, from Arnot’s individual practice to the nature of the broader Australian contemporary art community.

From 5PM, guests are invited to enjoy refreshments while viewing new solo exhibitions from Liam Benson and Tully Arnot, and at 5.45PM, can venture outside to Artereal Gallery’s car park, which will play host to a panel discussion on video art before making way for an outdoor film screening of IS THIS ART?.

As Chair of dLux MediaArts and Founding Director of Alaska Projects, Sebastian Goldspink will chair the panel discussion from 5.45PM, which is set to bring together some of the nation’s most distinguished members of the art world. Artist, Liam Benson, Artereal Gallery Director, Luisa Catanzaro, Museum of Contemporary Art, Australia Curator, Anna Davis and Studio Director and art collector, Sean Morris will engage in a discussion on contemporary video art and take questions from the audience in a traditional Q&A format.

Presented by dLux MediaArts, IS THIS ART? is a kaleidoscopic selection of exciting new video artworks by emerging artists, handpicked for you by dLux MediaArts curators from their extensive national network of artists. Commencing at 7.00PM, the theme of this special Art Month edition of IS THIS ART? is a retrospective of works chosen as highlights from the ongoing dLux MediaArts IS THIS ART? series, which has enjoyed a growing following throughout 2014.

THE DETAILS

Wednesday 4 March at 6.00PM: Exhibition Opening Night

• Liam Benson, Noble Savage, 4-28 March 2015
• Tully Arnot, 4-28 March 2015

Saturday 7 March at 3.00PM: Artist talk with Liam Benson

• Artereal Gallery is pleased to host an artist talk with exhibiting artist, Liam Benson, who will explore notions of Australian cultural anxieties and the dialogue around culture and subculture in contemporary Australian art

Saturday 21 March at 4.00PM: Rozelle Contemporary Art Precinct festival

• 4.00PM: Tully Arnot in conversation with Barry Keldoulis
• 5.00PM: Light refreshments and champagne and the chance to view current exhibitions by Liam Benson and Tully Arnot
• 5.45PM: Panel discussion on video art with Liam Benson, Luisa Catanzaro, Anna Davis and Sean Morris, chaired by Sebastian Goldspink
• 7.00PM: IS THIS ART? Outdoor video art film screening

TULLY ARNOT // Blouin Artinfo's list of Australian Artists to watch in 2015

Tully Arnot, Nervous Plant, 2014, 80 x 80 x 70cm, artificial plant, servomotors, microcontroller, light sensor, electronics, motion

Who are the Aussie artists on your radar for 2015?

Blouin Artinfo listed their top twelve and we are thrilled to see some familiar faces, including Tully Arnot, whose solo exhibition opens at Artereal Gallery this March as part of our Art Month Sydney program.

On Tully Arnot's work, Nicholas Forrest writes; "The Sydney-based artist is best known for investigating the intangible relationships we have with objects and illuminating new, poetic ways of interacting with the world around us. 2015 was a big year for Arnot who was announed the winner of the inaugural NAB Private Wealth Emerging Artist Award for his innovative work "Nervous Plant, 2014" which consists of an artificial plant animated by motors attached to the base of each branch. Artereal Gallery will present a solo exhibition of Arnot's work as part of Art Month Sydney's March 2015 program."

Among the other twelve listed include Artereal favourites Michael Staniak, whose body of work, Slow Pictures, was exhibited at Artereal Gallery in June 2014, and Ken & Julia Yonetani, who have shown several solo exhibitions at Artereal Gallery since 2011. 

Tully Arnot's solo exhibition opens at Artereal Gallery Wednesday 4 March 2015 at 6.00PM and runs until Saturday 28 March 2015. As part of Art Month Sydney, Artereal Gallery will join forces with dLux MediaArts on 21 March 2015 to bring Sydneysiders a mini festival in the Rozelle Contemporary Art Precinct. The festivities will kick off with a public talk between Tully Arnot and Art Fair Director, Barry Keldoulis, and will be followed by a series of other talks and an outdoor film screening of IS THIS ART?.

Read more about Blouin's 2015 Aussie artist pics here.

TULLY ARNOT WINS NAB PRIVATE WEALTH EMERGING ARTIST AWARD AHEAD OF SOLO EXHIBITION AT ARTEREAL FOR ART MONTH 2015

Image: Tully Arnot, Nervous Plant, 2014, 80 x 80 x 70cm, artificial plant, servomotors, microcontroller, light sensor, electronics, motion.

Tully Arnot, who was this week announced winner of the NAB Private Wealth Emerging Artist Award, will present a solo exhibition at Artereal Gallery as part of Art Month Sydney’s March 2015 programme.

Selected from over 300 emerging artists across Australia, Arnot was awarded the new, $10,000 acquisitive award on Wednesday, which seeks to recognise unrepresented artists in their first 10 years of practice.

“I’m stoked to be the winner of this year’s NAB Private Wealth Emerging Artist Award. As a young artist in Australia, it’s great to see an award recognising the many young artists working tirelessly across the country,” said Arnot.

As part of Art Month Sydney 2015, Tully Arnot’s exhibition at Artereal Gallery will showcase a new series of work that continues his exploration of the value of our relationships with non-sentient forms, and how these feed into our capacity to interact meaningfully with one another.

To bring this to life, Arnot will integrate complex technology with everyday or crass components – a merging of high and low thought that exemplifies the post-sentient nature of our increasingly connected, but ultimately disconnected world.

Arnot’s work is currently on display as part of the Finalists Exhibition at HASSELL Studio, Level 2, Pier 8/9, 23 Hickson Road, Walsh Bay Creative Precinct, Sydney. The exhibition is open to the public and will continue until Friday 20 September, 2014. The finalists include Julian Day, Mike Hewson, Katie Lee, Lisa Sammut, Camille Serisier, Bridget Walker and Jason Wing.

Tully Arnot’s exhibition at Artereal Gallery will run from Wednesday 4 March and will be on display until Saturday 28 March 2015. For more information, please visit www.artereal.com.au

FULL COURT PRESS / GROUP EXHIBITION

Philjames_Flight School #3_2013_oil on board_43 x 31cm

Full Court Press is a group exhibition based on the intersection of Basketball and Contemporary Art. Each of the artists in the exhibition has a history of creating works involved with basketball or a direct personal passion for the sport. 

The title comes from a defensive basketball tactic called a ‘full court press’ in which the defense applies man-to-man or zone defense to pressure the offensive team the entire length of the court before and after the inbound pass. 

Curated by Sebastian Goldspink, Full Court Press explores themes of masculinity and US cultural imperialism and status anxiety related to material acquisition of foreign apparel and culture.

Artists in the exhibition include: Tully Arnot, Nicole Breedon, Tristan Chant, Will Cooke, Hamishi, Biljana Jancic, Philjames, Julian Meagher, Danny Morse, Sarah Oxenham and Mark Whalen.

Full Court Press in the Media and on the Web:

Two Thousand

Art Almanac
Concrete Playground
Big Lamington
Time Out 
The Art Life

FBi radio interview with Sebastian Goldspink and Julian Meagher

COLLABORATEURS: NINE EXHIBITION OPENINGS. NINE DAYS. NINE COLLABORATIVE PROJECTS...

Bridie Connell_Free Fall performance shot_2012

Nine artists. Nine collaborative projects. Nine days. Nine consecutive exhibition openings... 

For nine consecutive days from the 3-11 July, within the confines of a 3 metre x 3 metre white cube contained within the gallery space, Artereal Gallery will present a series of collaborations as a platform for initiating new ideas and objects, sometimes unpredictable encounters, and for developing critical social and artistic relationships. 

Acknowledging that collaboration has moved into the mainstream of visual arts practice in the past decade, Collaborateurs offers an insight into the variety of ways in which artists collaborate with others: be it their peers, family, mentors, a musician, dancer, film-maker, with machines and technology, or simply with their audience.

FEATURING:  ELLA BARCLAY, LIAM BENSON, DAVID CAPRA, BRIDIE CONNELL, TULLY ARNOT & CHARLES DENNINGTON, NOLA DIAMANTOPOULOS, LEAHLANI JOHNSON, SYLVIA SCHWENK AND KARINA WIKAMTO 

The personal and professional ties that bind artist and artist, artist and mentors, friends, colleagues and collectors will be expressed and interpreted as intervention, as performance or installation, or serendipitous outcome; others may simply present a collaborative work produced before or on the day. 

The diverse program opens with an installation of David Capra’s Wizard of Oz Intercession series of ceramic sculptures he produced in association with his constant muse the 1939 film ‘The Wizard of Oz’. The marquettes are re-imagined sets from his recent performance pieces for the Workout program at The Museum of Contemporary Art. Sylvia Schwenk presents 'A shared space' recording an unexpected encounter for two grave diggers at work in a German cemetery. Michael and Karina Wikamto, a brother and sister pair from a family whose father’s given name and cultural identity were outlawed by the militant Suharto regime, create simultaneous versions of their family tree; Michael’s is computer generated while Katrina’s sculptural collage integrates objects and images to symbolize family members. 

Dance is an element common to several collaborations. Liam Benson in association with choreographer Nick Atkins develops, rehearses and presents a dance routine, Pas de deux for a noble savage exploring gender and masculinity. Bridie Connell’s St Theresa Swoon creates an image and immersive environment of religious ecstasy through repetitive dance moves that are curiously based on a seductive classic burlesque fan dance performed to a mediative single drum tone sound-scape by American musician Brian Chase (of the Yeah Yeah Yeahs). 

Long term artistic duo Tully Arnot & Charles Dennington will collaborate with each other and instructions found on the internet for Adam “Myth Buster” Savage’s instructions for DIY personal hovercrafts. They will employ their idiosyncratic sensibilities and skills to produce two ‘Hoverchairs’, which in the end become portraits of their collaborative peculiarities. Artist Nola Diamantopoulos will conclude the program with Quest, an endurance performance of a continuous questions only dialogue with a succession of psychotherapy students ‘in search of the soul’.

Exhibition Program: