12-15 SEPTEMBER 2019 | CARRIAGEWORKS

APPLY NOW
APPLY NOW

VIDEO CONTEMPORARY

CURATED BY KELLY GELLATLY, DIRECTOR OF THE IAN POTTER MUSEUM OF ART AT THE UNIVERSITY OF MELBOURNE, VIDEO CONTEMPORARY 2018 SHOWCASED A GROUNDBREAKING AND DIVERSE SELECTION OF MOVING IMAGE WORKS BY ARTISTS AT THE FOREFRONT OF THEIR FIELD.

Elyas AlavI

Ordugah (Detention Camp), 2014
video, colour, sound
8 mins, 44 secs
Courtesy of the artist and .M Contemporary, Sydney

In Ordugah (Detention Camp) I use the suggestion of confinement and geographical control over Afghan refugees in Iranian suburbs, and of invisible wired fences and walls surrounding refugee communities living on the fringes of main cities, through the use of thread and string which I have wrapped around trees, concrete columns, across roads and intersections along the edges of Dahmetri suburb, in an attempt to make visible the walls of the detention camp. I spread more than 10 rolls of thread, unpicked by hand by my mother from garments and fabric gathered from the refugee community, connecting them together. The use of this fragile and weak reclaimed material links the domestic and the community to the space that surrounds them in an attempt to activate and reveal the invisible barriers that confine them. The work’s title, Ordugah, also refers to the official detention camps specifically built for Afghan refugees where many Afghans have been detained, including myself.

Michael Candy

ETHER ANTENNA, 2017
single channel video, colour, sound
18 mins, 44 secs
Courtesy of the artist

Inspired by Buddhist tales and set to the tune of Pauline Anna Strom’s astral electronic soundscape, ETHER ANTENNA is a short film following the journey of several robot characters through Nepal. Fusing spirituality with robotics, this cybernetic tale exploits humanity’s fascination with technology and religion. Designed and built during a residency at RAN (the Robotics Association of Nepal), all of the robot characters were developed to act specifically as puppets and carry out precise interactions through different scenes and scenarios.

Lottie Consalvo

I put it here so you could find it, 2018
single channel video, black and white, no sound
2 mins, 48 secs
Courtesy of the artist and Dominik Mersch Gallery, Sydney

I tried to make a horizon for you, 2018
single channel video, black and white, no sound
1 min, 20 secs
Courtesy of the artist and Dominik Mersch Gallery, Sydney

It matters not that I exist to your existence –
Yet you are my enigma –
I have watched you from here from the time I understood tears –
But I don't cry for you and I dare not in your presence –
And for what I have done to you –
I hope I have not breached your saintliness –
I was only attempting to make solid the ungraspable, relentlessness of the perpetual longing of your inhabitance.
So here I have it and with disgust I have tied it up and stood it before you.
You stand there for a while, then you look back at me and you ask me 'but what does it look like?'
I gaze up at you as saliva gathers in my mouth and I spit it onto the sand,
My eyes lock with yours as they fill with the salt water we stand before,
I drop my head in defeat,
And when I look up – you are gone.

Chris Dolman

A Simple (de)feat, 2016
HD video, colour, sound
7 mins
Courtesy of the artist and Galerie pompom, Sydney

A simple (de)feat is as much about upending expectations as it is about the mundane actions and the rituals of daily life. A simple act of drinking a cup of tea becomes an absurd ordeal; a feat of endurance and perseverance. Using ceramic objects as props for this tragicomic skit, I am interested in how this work might look as though part of a children’s television program, while at the same time dealing with broader issues of loss and failure.

CHANTAL FRASER

LEFAGA BEFORE THE TSUNAMI, 2018
single channel video, colour, sound
2 mins
Courtesy of the artist

Chantal Fraser uses adornment as an aesthetic and conceptual tool for material exploration and production. Her work explores the creation of cross cultural connotations and representations, and neo-colonialism, through silhouette and the embodiment of adornment and, more significantly, cultural adornment. Fraser’s practice explores ornamentation as an aesthetic resolution to identity and individuality.

Sandy Gibbs

How to wear a disguise, 2017
single channel video, colour, sound
2 mins, 52 secs
Courtesy of the artist

How to wear a disguise is one component in a body of work by Gibbs in which she set out to re-stage a 50-year-old swimming race from the 1968 Mexico Olympics – the final of the women's 400 metres individual medley. How to wear a disguise was made in response to Gibbs' thwarted attempt to track down the two ex-East Germans who were in the swimming race final, along with the shadowy presence of a German private investigator (hired online by Gibbs, but his office mysteriously locked and empty when she arrived), plus a visit to the old Stasi HQ in Berlin with its curious displays of 60s and 70s spycraft memorabilia. Through serial failings and as a nod to her own failure as a sleuth, in How to wear a disguise Gibbs ineptly attempts to act out the spy disguise instructions in the Stasi training manuals.

David Greenhalgh

The Eyes of the Power Company, 2017-18
digital video collage of Public Domain materials with soundtracks contributions by Daniel Pliner, colour
5 mins, 54 secs
Courtesy of the artist

David Greenhalgh is a remix artist who creates short video essays about issues of social and political power, our ways of perceiving the world, and what the future may hold. The aim of David’s practice is to extend a hand to the future by acting as a bricoleur of the past.

RAY HARRIS

She splutters darkness, 2012
HD digital video, colour, no sound
9 mins, 28 secs
Courtesy of the artist

She splutters darkness explores the body as a container, filled with emotional and psychological substances that seep, gurgle and project from it, exploding out from behind our conscious knowledge and will. The substance spluttering from my mouth represents the murky, dark things we wish to keep in, deny or repress, but they cannot be contained and will find some way to be discharged.

The Iceberg, 2016
HD digital video, colour, sound
6 mins, 1 sec
Courtesy of the artist

The Iceberg pays homage to Sigmund Freudd's analogy of the conscious and subconscious mind. We can, much like the Titanic, be spontaneously collapsed by what lays beneath the surface. The absurd task of trying to lift and balance the iceberg on my head realises the inner struggles of being and the desire for a secure fulfilled self as a precarious physical 'act'. In this work I subject myself to this task; I realise the 'fantasy' of feeling like you are constantly lifting, bearing and juggling this heavy internal weight by performing it in reality; making the internal external. When I use the term fantasy in my work this doesn't refer to an ideal dream, but any self-related warping or escape from reality. This can be both positive and negative; this may be a burden you carry with you that is no longer required or relevant, yet its weight is still experienced.

Gabriella Hirst

There’s only so much I can give you, 2016
single channel video, colour, sound
5 mins, 30 secs
Courtesy of the artist

Responding to the context of an evening of performances at the Cock Tavern Irish Pub in collaboration with Chalton Gallery, London, I dressed up as a juke box and took song requests. All of these requests were denied and I sang instead the song ‘Who Knows Where the Time Goes’ by Sandy Denny (1973), several times over.

PATRINA LIYADURRKITJ MUNUMGGURR

Dhunupa‘kum nhuna wanda (Straightening your mind), 2018
digital film, colour, sound
1 min, 33 secs
Courtesy of the artist and The Mulka Project

Yolŋu paint gapan (white-clay) on their face and body for ceremonial purposes. My film shows me painting my forehead with gapan which represents the Dhuwa waŋupini (cloud). My people, the Djapu people, sing the cloud song. This songline tells Yolŋu to paint themselves with gapan. The old people sing this ancient songline to ask Yolŋu to paint themselves with gapan before they start performing buŋgul (ceremonial dance). Gapan is used in our artwork, for medicinal properties and it is very powerful. Yolŋu have always used gapan – past, present and future. Gapan helps us to stand strong.

Parallel Park (Holly Bates / Tayla Jay Haggarty)

Who Wears The Pants, 2018
single channel video, colour, no sound
12 mins, 29 secs
Courtesy of the artists

Who Wears The Pants is a performance video work made by Parallel Park during the 'Performance in Progress' residency at West Space, Melbourne in March 2018. The work consists of both collaborators standing adjacent to each other and transferring a pair of pants between them. The actions range from passing to throwing and using gallery props to slide, hinge and roll the pants between one another. These actions over time slowly increase in their dramatic nature and aim to highlight the ludicrous out-dated notion that in queer and lesbian relationships someone has to ‘wear the pants’. This stereotype is an external factor that is often placed upon the artists’ personal relationship. This work aims to engage with queer feminist theory to ask questions and to use humour as a tool to dislodge this obsolete typecast.

Paul Tate

Conscious Unconscious, 2017
single channel video, colour, no sound
1 min
Courtesy of the artist

Conscious Unconscious works to replicate the way involuntary cognitive matter (thoughts and visions) are received and rationalised by the cognisant psyche. A collection of found and original footage, it observes how the alert mind can exist as a passive threshold for the subconscious to manipulate and control cerebral output.

“The conscious and unconscious are functioning, the unconscious providing the material, the conscious taking note of it ...” Emmanuel Regis

Angela Tiatia

The Fall, 2017
single channel HD video, colour, no sound
4 mins, 58 secs
Courtesy of the artist and Sullivan+Strumpf, Sydney

Commissioned by the Australian War Memorial, The Fall reimagines real-life moments from survivors’ accounts of the Battle of Singapore, the largest surrender of British-led forces in history. Tiatia augments a multitude of subjectivities through narrative figuration and contemporary cultural iconography. She explores the very edges of life – the base humanism that is exposed as the scaffolding of a society falls away. A moment in time unravels, through the interaction and collision of a population’s experiences in a state of collapse. Through the lens of a specific history, Tiatia examines the intimate and cultural narratives of a single event, propelling it into a contemporary context. The film’s complex imagery and narrative holds a mirror to the fragile veneers of society’s order.

Kawita Vatanajyankur

Dye, 2018
from the Performing Textiles series
single channel HD video, colour, no sound
7 mins, 30 secs
Courtesy of the artist, Nova Contemporary, Bangkok; Alamak! Project; Clear Edition & Gallery, Tokyo and Alcaston Gallery, Melbourne

Shuttle, 2018
from the Performing Textiles series
single channel HD video, colour, no sound
3 mins, 30 secs
Courtesy of the artist, Nova Contemporary, Bangkok; Alamak! Project; Clear Edition & Gallery, Tokyo and Alcaston Gallery, Melbourne

In my video-based performances, I use my own body as a tool to explore and exploit my physical and psychological limits through repetitive actions and endurance. My practice, underpinned by my position as a Thai woman, is predicated on an ongoing interest in issues surrounding everyday labour – both inside and outside of the home. In these most recent works, my body becomes particular machines and processes used within the manufacture of textiles – I am a skein of fibres dipped into red dye; a spinning wheel creating thread; and I am a shuttle, weaving fabric on a loom. This suite of videos is my physical manifestation of manual labour processes often undertaken by women in Thailand. These actions are presented through the double-lens of a hyper-coloured formal composition and a study into the physical abilities/vulnerabilities of the body, combining as works that provoke questions of labour, consumption, feminism and the artist's lived experience.

Shaun Wilson

Uber Memoria XIX Part VII, 2016
HD video, colour, sound
5 mins, 14 secs
Courtesy of the artist

This work is part of the ongoing Uber Memoria sub series (2006–) as part of the 51 Paintings Suite which recontextualises poses from characters located in medieval German religious paintings into new places in the present, as if to convey a false memory of the original painting into a video art frame. I'm interested in creating this connectivity to probe how memories and places share a singularity with each other in art and to find new ways of positioning memory into locative compositions from a metamodernist perspective that shares linkage with an oscillation between old and new art.


VIDEO CONTEMPORARY CURATOR

KELLY GELLATLY

DIRECTOR
IAN POTTER MUSEUM OF ART

Kelly Gellatly is the Director of the Ian Potter Museum of Art at the University of Melbourne. An internationally recognised exhibitions and collections curator, she was Curator of Contemporary Art at the National Gallery of Victoria from 2003 to 2013 and has also held curatorial positions at Heide Museum of Modern Art, Melbourne and the National Gallery of Australia, Canberra.

Kelly has curated over 30 exhibitions of the work of leading Australian and international artists and has published extensively on contemporary art and photographic practice. Her most recent curatorial project is Stieg Persson: Polyphonic, a 30-year survey of the work Melbourne-based contemporary artist Stieg Persson. She is currently part of an Asialink Global Projects curatorium which will see Heather B Swann’s project I let my body fall in to a rhythm exhibited in Tokyo and in Melbourne at the Potter in late 2018.

Kelly is currently working on a major redevelopment of the Potter Art Museum with celebrated Melbourne-based architects Wood Marsh, due for completion in early 2020.

SUBSCRIBE TO NEWSLETTER