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Because of our increasing dependence on the virtual world of the Internet, we inhabit a space where the physical and virtual are increasingly overlapping. The artists in Another Space attempt to access this ‘in between’ space embracing contemporary culture through their use of technology as a tool for creating.
Presented by the Centre for Projection Art, with support from the City of Melbourne and Experimenta.
For the video ‘Secrets (That 1 Weird Trick)’, Sean imagined a scene depicting a kind of “nostalgia for the future”: nostalgia for what our vision of the future used to be. Sculptural body forms representing arcadian antiquity are possessed by shamanistic spirits, who project garbled prophecies and pathos-riddled advice about death, life, and love in our post-body future. The video’s transcendent ‘60s synth-electronic soundtrack is juxtaposed with troll ‘shitpostings’ and lowbrow graffiti scratchings… our primitive corporeal assertions undermining the utopian schemes and myths of the near future.
Sean Capone is a NYC-based artist and moving image director. He works primarily in video, animation, projection installation, and motion capture-based performance. His process incorporates a variety of practices, such as drawing, writing, digital visual f/x, text & image based research, audio composition, character design, and collaboration with actors and dancers. Sean’s current work uses low-tech motion capture to give life to avatar bodies engaged in various expressive activities (singing, dancing, drawing, reciting absurdist poetry, etc.) as a means of exploring and satirizing our fantasies of digital embodiment.
Artist website: http://www.seancapone.com/
[Single channel projection installation with sound; Clear Box]
21st Century Greatest Hits Screensaver Pack is an archival exercise in contemporary history, which capitalises upon online research practice and personal memory. The series begins with the year 2000 and aims to highlight and snapshot the sociopolitical, technological and pop-cultural climate of a particular time. Each screensaver is a portrait of its time, as well as a depiction of the retrospective experience of the artist as a young queer woman in a conservative Western society.
Spanning the early 2000s, the birth of the technological revolution and post-internet existence, the series coincides with the childhood, adolescence and early adulthood of the artist. As such, each work operates as part of a subjective timeline with screensavers advancing in stylistic and conceptual sophistication. While the works aim to capture noteworthy milestones of each year, they also address themes of burgeoning sexuality, the loss of innocence, war, and the integration of queer feminist narratives into the artist’s life and work. Pantone Colours of the Year are used as base cultural signifiers throughout and works are named accordingly.
Xanthe Dobbie is a Melbourne-based new media artist and curator. Her practice aims to capture the experience of post-internet contemporaneity as reflected through feminism, art history, iconography and queer culture.
[Digital collage, downloadable screensaver installer (Mac/PC), in nite loop; Clear Box]
Magnifying and manipulating found imagery of super human role model celebrities and their relationship to food, Feeds is a metaphor for the absurd, how reality and fantasy are fed to the consumer to the point of being desensitised of what is healthy.
Lauren’s work explores underlying codes within advertising and ethnography. She sees the thousands of images we consume everyday as an indicator to broader behavioural trends in consumer culture. Not limited by medium, Lauren is best known for her large scale photographic images that intensify their subject as well as her bright neon works that address her interest in commercial exchange and desire.
Artist website: http://www.laurendunn.net/
[Digital projection onto hanging structures; Grounds]
The Future of Me Time is one of thirty six video experiments that make up the Ego Libido series – a series exploring the perceptual complexities of the digital reflection. This video specifically uses a layered, pixelated, and distorted self-portrait to visually investigate the complications that arise when we use technology to explore our past and present selves. The process is messy. It is disorienting. It is fascinating. It is weird.
Keaton Fox is a multi-disciplinary artist who uses art and technology to reflect the digital disarray of the modern world. Fueled by child-like fascination and frustrations, she often combines the natural and the virtual in visual experiments that allow her to playfully explore the varied realties of our time.
[Single channel projection; Grounds]
Lighting up the top corner of the massive concrete wall of Testing Grounds, Carla Gannis’ Nude Descending a Staircase presents a blend of Internet culture with classic art and literary references in a looping video. This work expresses Gannis’ fascination with how identity is situated in the blurring contexts of physical and virtual.
Carla Gannis is a New York based artist fascinated by digital semiotics and the situation of identity in the blurring contexts of physical and virtual. She received an MFA in painting from Boston University, and is currently faculty and the assistant chairperson of The Department of Digital Arts at Pratt Institute. Upon her arrival to New York in the late 1990s, Gannis began incorporating digital elements into her painting-based practice. Since then she has eclectically explored the domains of “Internet Gothic” cutting and pasting from the threads of networked communication, googleable art history, and speculative fiction to produce dark and often humorous explorations of the human condition.
Artist website: http://carlagannis.com/
[Looped video as single channel projection; Grounds]
InTheEvent-v.096 is a digitally simulated landscape displayed in real time through computer imagery. The work contrasts notions of stability and delusion, mobility and paralysis, connectedness and isolation. In the contrasts the work triggers more specific associations, from oil prices to temporary living quarters, global travel to the specter of terrorism and environmental disaster. These associations open a skepticism regarding time and what art can reveal in our new realms of experience.
Brett Phares is a New York based artist and curator working in computer simulation and installation. With 20+ years in interactive media, he has created innovative projects for both startups and international brands alike, all which inescapably inform the visual syntax of his personal work.
Artist website: http://mrphares.com/
[Realtime computer simulation (game engine: Unity) as single channel projection; Open Box]
Aaron Christopher Rees critiques the ways in which visual media technologies have reconfigured our relationship to reality using photography, installation and video. Treating photography as a meditation on surface, and screen as sculpture, Rees reinterprets reality like an eye opening and closing. Rees’ recent work takes the form of site-specific installations where screens interpolate space. Rees’ work is concerned with affect, phenomenology and abstraction, questioning the edges of the screen.
Artist website: http://aaronchristopherre.es/
[Single channel oor projection onto acrylic, video on monitor; Clear Box]
An experimental participatory work using wearable home security cameras and video headset, Tenome invites participants to reimagine their place in a world of cameras and screens.
Artist website: http://aaronchristopherre.es/
[Experimental participatory work using wearable home security cameras and video headset; Black Box, June 2, June 23, and June 30]
Emile Zile is an artist, filmmaker and performer. Gesture, mimicry and the voice form a central core of his performance work. In re-using and re-encoding media broadcasts, communication protocols, and online platforms, his work reflects a distributed humanity, a yearning for transcendence and the limits of language.
[Friday 30th June 8:00pm-8:30pm; Black Box]