1. Learning field texture (two channel video installation)

    09:19

    from Perdita Phillips / Added

    5 Plays / / 1 Comment

    How do we know soil? This point, 16.039013 degrees Latitude South 128.405413 degrees Longitude East, in the Southern Kimberley Ranges Soil Province, is called Quadrat. A handful of soil is scooped into the hand in an attempt to ‘know’ one small place. The videos alludes to the difference between field experiences and the laboratory. It gives a field measure which is an immediate knowing. But this information is distinct from what is measured in the laboratory: The manual intones: “these percentages [of different particle sizes] must not be used to determine a field texture, that is, do not use them to convert a laboratory particle size value to a field texture grade. Similarly do not adjust a field texture grade when laboratory particle size data becomes available.” Conceived as a two channel video installation, this work is in response to my collaborative partner, soil scientist and mapper Raphael Viscarra-Rossel. Viscarra-Rossel is an expert in Proximal Soil Sensing (PSS) and digital soil mapping. Modern soil mapping utilise structured sampling regimes rather than ad hoc processes and amateur efforts. Sophisticated proximal soil sensors, advanced laboratory techniques and computer modelling are used to combat the impossibility of knowing every corner of the earth. How do we account for the folly of scale? Soil mapping necessarily relies on interpolating the spaces in between: sophisticated statistical techniques are used to predict a value at a given point using known values surrounding that point. The field data here (produced by an amateur) shows one place, doubled. Metaphorically, new, very local 'data points' are inserted within the range of a continent-wide set of known data points. As the narrative weaves in and out of synch, a message of doubt is introduced or inserted (interpolated) within a situation. The artwork is therefore not only an audio-visual allusion to the spatial and temporal variability of soil but also an oblique response to the advanced statistical approximation that takes place between the whole and the part in modern soil mapping. Please listen with stereo headphones.

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    • Holly Williams and Brook Andrew—Rooms for Thought Symposium

      31:48

      from MUMAmonash / Added

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      Brook Andrew, Artist Holly Williams, Independent Curator, and PhD Candidate, Curatorial Practice, MADA —Really useful knowledge The title of this conversation is appropriated from an upcoming exhibition at the Reina Sofia in Madrid featuring the work of Brook Andrew. Really useful knowledge originated with workers’ awareness of the need for self-education in the early 19th century. Brook’s installation engages Spanish and Australian histories through displaying institutional and personal archives: Brook and Holly will speak of their practices in the context of the institute and the archive. Brook Andrew and Holly Williams both undertake practices that engage with materialist histories and education, often employing collections in the process. For more information about the Rooms for Thought symposium, please visit the MUMA website: http://www.monash.edu/muma/events/2014/wallworks-symposium.html

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      • Sarah Farrar—Rooms for Thought symposium

        23:52

        from MUMAmonash / Added

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        Sarah Farrar, Acting Senior Curator Art / Curator Contemporary Art, Museum of New Zealand Te Papa Tongarewa, and PhD Candidate, Curatorial Practice, MADA —People in glass houses shouldn’t throw stones: Remixing collections with Lina Bo Bardi, the Van Abbemuseum and Fiona Connor Architect-curator Lina Bo Bardi’s ambitious Pictures Gallery at the Museu de Arte de São Paulo (opened in 1968) provides a powerful alternative model to the prevailing chronological or thematic approach to displaying museum art collections. This paper examines Bo Bardi’s project in light of two recent re-stagings at the Van Abbemuseum, the Netherlands, in 2010 and 2011, and in relation to contemporary New Zealand artist Fiona Connor’s Untitled (mural design) (2012) at the Dunedin Public Art Gallery. For more information about the Rooms for Thought symposium, please visit the MUMA website: http://www.monash.edu/muma/events/2014/wallworks-symposium.html

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        • Patrick Pound—Rooms for Thought symposium

          36:07

          from MUMAmonash / Added

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          Patrick Pound, Artist —To collect is to gather your thoughts through things (spellcheck wants to change curating to crating) This paper unpacks the collection as artwork, will briefly look at how artists have put ideas of collecting and curating to the test, and will investigate some of the established ideas around this tradition, rethinking how artworks, which perform as collections, might make trouble for the work of curating and collecting, and making sense of things—as if on a dare. For more information about the Rooms for Thought symposium, please visit the MUMA website: http://www.monash.edu/muma/events/2014/wallworks-symposium.html

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          • Justin Paton—Rooms for Thought symposium

            42:26

            from MUMAmonash / Added

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            Justin Paton, Head of International Art, Art Gallery of New South Wales —The rad and the trad: Field notes from a collection rehang Justin Paton will offer ‘field notes’ from a collection rehang that is taking place right now in the AGNSW’s Asian galleries. Eschewing the geographical and chronological frameworks that have traditionally structured those collection displays, this rehang brings together Asian art of the past and the present in a series of playful and provocative conversations. One month out from the exhibition’s opening, Paton talks about ‘constructive opportunism’, the ‘dangers of didacticism’, and ‘the joy of juxtaposition’—in short, the risks, challenges and pleasures of doing collection displays differently. For more information about the Rooms for Thought symposium, please visit the MUMA website: http://www.monash.edu/muma/events/2014/wallworks-symposium.html

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            • Jarosław Suchan—Rooms for Thought symposium

              01:11:10

              from MUMAmonash / Added

              2 Plays / / 0 Comments

              Jarosław Suchan, Director, Muzeum Sztuki, Lodz, Poland —Building on the radical history of the Muzeum Sztuki Muzeum Sztuki was founded by a group of radical Polish artists and poets who, in the 1920s and 30s, put together the first public collection of European avant-garde art. The challenge for the museum today is how to make this gesture and the avant-garde (as well as neo-avant-garde) heritage socially relevant and significant to a present-day public. Suchan will discuss different models of working with the Muzeum Sztuki collections, and present examples of its artistic, community and educational projects. He will also consider the possibilities for art collections more broadly, as a resource that allow us to understand the world and shape our relation to it, in a way that is different from those proposed by other cognitive systems (science, religion, propaganda, politics etc). For more information about the Rooms for Thought symposium, please visit the MUMA website: http://www.monash.edu/muma/events/2014/wallworks-symposium.html

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              • (Can You See Me)

                01:25

                from Judith Kindler / Added

                12 Plays / / 0 Comments

                American artist, Judith Kindler, talks about her newest body of work "(I Can See You)" on exhibit at Melissa Morgan Fine Art in Palm Desert, opening April 11th, 2015.

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                • "Light This Firecracker" (放爆竹)

                  01:06

                  from Liu Dao / Added

                  58 Plays / / 0 Comments

                  Kenjataimu. This is an old Japanese word referring to the brief post-orgasmic period when a man’s thoughts are no longer impaired by his sex drive. This is the closest any normal person might get to pure zen. Ken-ja-tai-mu. This uninhibited period of clarity and being can last anywhere from one minute to an hour depending on a range of factors including age, health, sex drive, history of sexual activity, and environment. Maybe it’s not the orgasm that people seek but the serenity that swells behind it. Kenjataimu is, I suppose, the little eyes of those storms we build up for ourselves because we don’t know what else to do. It’s the moment after the firework explodes when you have time to see what the cost really was and what it might be next time. [Ryan Nimmo] ARTIST: Liu Dao 六岛 MEDIA: RGB LED display, Chinese papercut (Jian Zhi 剪紙), paper collage, teakwood frame EDITION: Unique DATE: Made in island6, Shanghai 2015 SIZE: 73(W)×46.5(H)×7(D) cm | 28.7(W)×18.3(H)×2.8(D) inches CREDITS : Tang Dashi 汤大师 & He Dashi 贺大师 (Chinese paper cutting 剪紙) • Anto Lau (art direction & video) • Thomas Charvériat (art direction & technical guidance) • Jean Le Guyader (documentation) • Yeung Sin Ching 杨倩菁 (production supervisor) To read more please visit: http://island6.org/LightThisFirecracker.html

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                  • MORIMURA Chapter 0 (English Subtitles ver.) - Trailer VOD

                    00:41

                    from Ufer! Art Documentary / Added

                    Before the debut work that established his international reputation, the self-portrait entitled “Portrait (Van Gogh)”, Yasumawa Morimura (b. 1951) created a series of works. The series entitled “Barco negro na mesa” that were not originally intended for exhibition, are introduced 20 years later. Within this work, he says, is something fundamental to which he has continued to return. This film highlights the new sculptural work which uses dice that Morimura created as a motif for his exhibition of photos and installations at the 21st century Museum of Contemporary Art, Kanazawa. In the process, the artist looks back over his early career and its implications. Through this work Morimura invokes a serene period, when he was working more slowly and steadily, that became the foundational point for all his subsequent creations. 2008, 27min. Japanese (English Subtitles) Directed by Yasushi Kishimoto Appearance by Yasumasa Morimura The 27th International Festival of Films on Art in Montreal The DVD includes 3 titles: (MORIMURA Chapter 0, 2008 / MORIENNALE, 2012 / Bi [bi:] - Class,2012) http://www.ufer.co.jp/works/Mchapter0/english.html This video program for private use (Home use) only. We have a library version and a collection version. http://www.ufer.co.jp/order/english.html 日本語版が別途Vimeo にございます。 https://vimeo.com/ondemand/MORIMURAC0

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                    • MORIMURA Chapter 0 (English Subtitles ver.) VOD

                      25:42

                      from Ufer! Art Documentary / Added

                      Before the debut work that established his international reputation, the self-portrait entitled “Portrait (Van Gogh)”, Yasumawa Morimura (b. 1951) created a series of works. The series entitled “Barco negro na mesa” that were not originally intended for exhibition, are introduced 20 years later. Within this work, he says, is something fundamental to which he has continued to return. This film highlights the new sculptural work which uses dice that Morimura created as a motif for his exhibition of photos and installations at the 21st century Museum of Contemporary Art, Kanazawa. In the process, the artist looks back over his early career and its implications. Through this work Morimura invokes a serene period, when he was working more slowly and steadily, that became the foundational point for all his subsequent creations. 2008, 27min. Japanese (English Subtitles) Directed by Yasushi Kishimoto Appearance by Yasumasa Morimura The 27th International Festival of Films on Art in Montreal The DVD includes 3 titles: (MORIMURA Chapter 0, 2008 / MORIENNALE, 2012 / Bi [bi:] - Class,2012) http://www.ufer.co.jp/works/Mchapter0/english.html This video program for private use (Home use) only. We have a library version and a collection version. http://www.ufer.co.jp/order/english.html 日本語版が別途Vimeo にございます。 https://vimeo.com/ondemand/MORIMURAC0

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