[Nettime-bold] Re: <nettime> ::contagion:: Australian Media Art @ The Centenary of Federation,2001

["charmaine driscoll" <missplateau@hotmail.com>]

Fanna=20miller?= &ltruboutthewords@yahoo.co.in>
Subject: Re: This    -yet again               --                             
      Indeed this is very interesting and so we seem to
going somewheres in the spaces of desire and not the
other trash
>
>
>interesting view from Sedgewik. from Sedgewick .
>adressing issue between publical domain world,
>questions if it is necessarily
>a world of the conquest from un-balancing, as some
>in me to seem here, "think", as a from,elswhere..
>but people not saying the truth, but arguing, or
>saying one thing, validated by un-conscious desires
>yet, I to be, and arguing with, older-older, questions to life, life the 
>known echoes of links,
>life it's passions, not her, from,elsewhere
>  seem to matter, to the other me, no matter what to
>judge,
>  in them for many specific reasons, I come
>where come, these processes in her, their balancing,
>between different
>her, of the receptibility, and the so many details
>and the complexity of I, I, encounters of the third
>kind,
>  daily.
>
>thank you 4 continual support of your own
>post-cybernetic machines, many "me". each
>differently passionate in denegation of "the" each
>other. never concerned too much of support with  the
>auto-positions. /?/ and conclusive acts, never
>passionate, always full with desires, coming from
>elswhere, from nowhere for sure, desire only
>virtual, no existing. not without desires, not
>without mind, little me always ask BIG PEOPLE, to
>solve many of my very serious little me, and wanting
>resolution. we need resolution, said one girl in my
>shortage, my short writings, virtual memory, never
>actual. a life existing by it's tensions, this girl,
>was saying to the media we need resolution. i would
>like so much, i feel i know. help.
>
>no consensual blocking please, i need to express
>many people everywhere, to spread false opinions,
>false ideas, just because you will never know, i
>live in a world which you probably most of you don't
>know, where this is the only ambient a-tonal
>system./ we need breaks from me.
>
>
---------------------------
if there were something interesting to be remarked in this regard we would 
have heard of it already







-------------------------
>
>::contagion::
>Australian Media Art @ The Centenary of Federation, 2001
>
>New Zealand Film Archive, Wellington
>Oct 11th    to  Nov 18    2001
>
>  ::contagion::, formulated by artist and curator Linda Wallace, brings
>together a selection of new video and computer artworks from Australia. The
>exhibition, featuring the work of over 25 artists, will exist both in
>ëhardí space in the premises of the New Zealand Film Archive in Wellington,
>New Zealand, and in net space, with a number of net.works linked from the
>website as an integral part of the exhibition.
>
>for exhibition essay and artists bios, info and images from all works,
>please visit:
>
>http://www.nzfa.org.nz/contagion/text/index.htm
>
>
>the following is the exhibition essay, also on the website:
>
>   ::contagion::
>Australian new media art@the centenerary of federation
>
>In the year of the Centenary of Federation, 2001, ::contagion:: presents
>a multiplicity of tendencies within current Australian image practice.
>
>The works are often quite raw, but energetic ? somehow mobile, fluid and
>quixotic, with a do-it-yourself edge. More akin to mobile research lines
>of investigation, the works chart the way-points of an experimental
>trajectory. They are neither monumental nor the end point of this
>trajectory.
>
>Over half the artists in ::contagion:: are under thirty. Several works
>come from students at masters or Ph.D. level whilst others continue to
>work within institutions as teachers. This seems to reflect a trend
>amongst Australian new media artists in 2001; joining an institution or
>post-graduate program offers access to the equipment and facilities
>necessary to produce the work. Indeed, only a few, e.g.: Patricia
>Piccinini, (recently awarded an Australia Council New Media Arts
>Fellowship) and Tracey Moffatt, are able to work full time as artists
>outside of the institution.
>
>It would be impossible to present a show in the year of the Centenary of
>Federation without addressing the unresolved question of reconciliation.
>In searching for video work by Aboriginal artists I was, however,
>surprised to find there was very little being produced ? a situation
>backed up other curators of aboriginal art. Most Koori artists working
>in the digital realm seem to be concentrating on print and 2D. Tracey
>Moffatt, however, remains an exception. Other works in the show, notably
>Michael Schiavelloís What Kind of Country and the personal and rather
>eccentric internet work of Gary Foley (which tells the Koori history in
>pictures) further the discussion.
>
>Due to my own personal aesthetic concerns, I was attracted to the poetic
>and abstract tendencies, the almost technical formalism or ëmachinic
>aestheticsí seen in the work of Emil Goh, Andrew Gadow, Gary Zebington
>and Ian Andrews, also seen in the internet works of Mez, seo and Melinda
>Rackham. There is a variety of narrative structures and performative
>gestures in the works from Josephine Starrs and Leon Cmielewskiís AKA,
>Kuba Dorabialskiís Interview for Foreign Television and Eliza
>Hutchisonís work Voila!.
>
>Narrative and story-telling is present in the machinic assemblage that
>is Britney Love. Recorded by artist Kate Murphy in Glasgow when there
>for an artists residency in 1999, we watch eleven year old Brittaney
>Love ëbecomeí the global media fiction that is Britney Spears ? from the
>way she speaks and sings, the way she dances to what she wears.
>Brittaney Love has in a way been possessed by her icon ? her media
>superstar.
>
>So what does it mean to make media art in Australia in the year 2001?
>
>There is now very little space for public dialogue in Australia outside
>of established media channels. The general commercial media diet is
>bland and uninspiring, promoting a view of Australia as a generous group
>of cheery souls. The recent Tampa debacle has done much to undermine
>this image globally. The antimedia site addresses this issue, as does
>(indirectly) the work of Komninos Zervos.  This contemporary situation
>also finds its historic resonance in Vivienne Dadourís Realm.
>
>The Howard Government has increased the amount of dollars spent on
>political advertising to reinforce the "relaxed and comfortable" vision
>of the Australian nation. This propaganda culminates in the Centenary of
>Federation television advertisements, which Michael Schiavello blows
>apart in his work, What Kind of Country. Emile Zile also tackles that
>comfortable view by literally ëcarving intoí the media fabric, into the
>daily news soap opera to create a new texture - one in which the smooth
>outlines become frayed.
>
>Many of the works in ::contagion:: strategically re-use other media.
>Richard Grantís MAJU, my own work eurovision, and Tracey Moffatt and
>Gary Hillbergís witty pastiche of artists in Hollywood movies, all take
>image fragments from an assortment of sources and feed them into the
>machine for reprocessing, to then output new forms. These new
>constructions offer varying levels of critique and exploration of the
>assumptions within the original media fragments.  I am interested to
>read this as an extension of Duchampís tradition of the "assisted
>readymade".
>
>In this pre-dominantly English speaking Australia we have grown used to
>seeing imported cultural cinema product subtitled. Such a strategy has
>also appeared in two recent advertisements; one spoken in Italian,
>another Russian; both subtitled in English. In fact, in a radical move,
>a newly released Australian feature film, La Spagnola, is spoken in
>Spanish with English subtitles. Both Kuba Dorabialskiís Interview, (in
>which he claims to have invented the language of the piece) works with
>subtitles, as does eurovision.
>
>Several of the artists in ::contagion:: work with audio production. Ian
>Andrews, Andrew Gadow, and Emile Zile work with music, DJing and VJing
>at events across the country. Richard Grant works with musicians, and
>here we see the clip for the band called 'MAJU'.  Of the net projects,
>seo, 'Laudenum' (Zina Kaye, mr snow and Caleb K), and the alias
>frequencies collective combine audio and graphic experiments.
>
>I am becoming a little dubious about the current trend towards the
>ëmuseumificationí of new media. In this climate only a select few get to
>make these huge works and exhibit them. Certainly, nothing is better for
>an artist than to have the money to fully research and realise a major
>project over a long period of time. However, it seems that this
>privilege appears to reach fewer and fewer artists, who, once they get
>such commissions, seem to be the recipients again and again (on the
>basis of their last ëepicí work). ::contagion::  presents a different
>view. It aims to show the diversity of contemporary practice for a range
>of artists, many of whom are a bit off-the-map in terms of the
>'museumification' of new media.
>
>Why call it ::contagion:: ? From a belief that what you see, however
>subtly, alters you. As a viewer you donít know where your particular
>infection will come from ? which work will resonate with you, and after
>viewing these in ëhardí space, be certain to view the CD-ROMs and take a
>look at the net projects.
>
>Art is nothing but a time machine, a machine for making thought travel.
>The new ways these Australian artists are imagining their circumstances
>will certainly bear strange fruit in the century to come.Ö.
>
>
>Linda Wallace
>September 2001
>
>Acknowledgements: I would like to take this opportunity to thank the New
>Zealand Film Archive for inviting me to conceptualise and curate what
>has become ::contagion:: and in particular to thank Mark Williams for
>his professionalism, efficiency and good humour.
>
>
>linda wallace
>curator ::contagion::
>www.machinehunger.com.au
>
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