PANEL 3, MAY 21
Abstracts and bios are available below.
Video presentations, comments and discussion will be enabled on May 21st
“Punctuality” is the virtue of being on time, which also carries the meaning of arriving at an expected location. The etymology of “punctual” includes the spatial dimension as a target that is punctured, pricked, penetrated by being “on the dot”. Also, one punctuates a remark by pointing, which gives one’s remark direction (a gesture that can be ostensive or rhetorical). When our travel (across the world or just to work across town) and the motion of the clock’s hands rendezvous as intended, life has a point. A sort of efficient copulation. Unpunctuality on the other hand, as a contingency of busy or lazy life, is a mundane inconvenience. But what happens when this drift away from any point becomes extreme—so remote that it’s unworldly? I arrived on time in Reykjavik, but sat forsaken, alone in a room quarantined by a hurricane, listening to 200 kph winds clawing at the building fabric outside. I was waiting, it turned out, for nothing. For a rendezvous long cancelled on me. I started writing—artfully I’d hoped—about this limbo of aloneness, which I eventually realised had no point to it. I started writing about the pathology of pointlessness (pointless waiting: which is an endurance task; or pointless activity: which is frustrating and becomes a complaint against loss of value); then about its aetiology (the origin of a lingering occupation of being pointless). The former induces resentment but also dogged persistence, the latter inexorably leads towards suicide—but ironically as a restoration of pointedness and an ultimate punctuality to a lost life. I had travelled a long way to not get very far. But that’s what happens in quarantine, a condition that is becoming universal now as we wait out our condition (viral, meteorological, ontological), to see what symptoms will or won’t show and whether we will survive it. A forensic but pointless art of being in limbo, anywhere.
EDWARD COLLESS. To his surprise, Edward Colless is still employed teaching critical studies at the VCA. As editor of the rebooted Art+Australia journal he has, unsurprisingly, been told he's made this venerable journal unreadable and unrecognizable. In addition to various fields of university teaching, he has worked professionally if inconsequentially in architecture, theatre, cinema, curating, broadcasting and journalism. He writes whenever he can, mainly on art to earn a living but also travel, fiction, verse and is increasingly indulging in arcana—art historical marginalia, outsider science, theological heresies—which leaves him increasingly isolated from any readership and unlikely of earning a living.
BETWEEN HERE AND THERE
When making artworks that exist in multiple times and places, the question arises: where is the site of the work? How can works that begin in response to specific physical sites ‘live-on’ after the event and become more than documentation? Looking at selected pieces from a recent residency in Japan, this presentation explores some of the relational, temporal and ethical considerations when locating work both here and elsewhere. In its post-residency state, fragments comprising text, image, sound and textile come together in the studio/gallery as an important but necessarily insufficient means of keeping the project in a state of flow. This open-endedness and continual expansion of material manifestations investigates the relational space between the physical site and every other possible configuration. Detours, delays, poor translations and fictionalisations provide a productive ambiguity from which to speculate on some of the ways meaning is made and carried between one place and another.
SARAH RUDLEDGE (b. Sydney, Australia) is a visual artist based in Melbourne. Her dream is to be in more than one place at a time in some knowable way. Short of this she investigates the relationship between site orientated artworks and their afterlife (manifestations in the studio/gallery), and what these shifting contexts can say about the longevity and multiple potential meanings of any given project.
HAT PROJECT: LOST AND FOUND RECOVERY
Hat project: lost and found recovery (2019) follows the acquisition of fifteen hats from Public Transport Victoria’s ‘Lost and Found’ Recovery, and the subsequent engagements with various experts to gather more information on the lost items to assist in finding their owners.
FRANCIS CARMODY lives and works in Melbourne. Carmody’s work is presented as products of distribution and power structures characterised by a wide range of forms, objects and actions. He explores the structures of the romantic, narrative and access through promiscuous research methodologies. Enacted by an initial action from the artist or a constructed model carried out by someone else, administrative and hysterical steps are rehearsed to realise projects which in turn are then re distributed as an artifice.
CHAIR | Kim Donaldson
KIM DONALDSON is a Senior Lecturer in the Masters of Contemporary Art at the Victorian College of the Arts. Her art practice combines writing, drawing, painting,
video, installation, performance and the curatorial. In 2008 she established Techno Park Studios in Melbourne’s industrial west, and in 2011 began its mobile arm through Technopia Tours with the presentation of many projects internationally. From 2016 she has also worked on the Feminist Colour-IN, with Dr Kaisa Kontturi. As a series of performative events focused on feminist activism this project has been seen in Warsaw, Byron Bay, Jyväskylä (Finland), Rome and Melbourne.