29 NOVEMBER – 21 DECEMBER 2013
The Greek word “Menis’ is one of the first words in the Iliad and it is variously translated as a kind of all consuming ‘wrath’ or ‘rage’ that transcends reason onto a level that changes all it touches.
It is a word that resonates deeply with Philip Faulks since the life altering secrets that were revealed by the death of his parents in 2010 and 2012.
Menis is an extension of Faulks’ drawing practice, and consists of ornate images cut from black paper emphasising a graphically oriented exploration of ideas of ancestry, mortality and genetic inheritance via stylistically patterned figurative panoramas.
The real purpose of this work only gradually revealed itself to Faulks as he carved his way through layers of black paper, like a termite excavating a circuitous route through the topography of secrets to shed light on the true nature of the duality of familial love.
The Parataxic Sublime
Josh Foley is interested in using objectifying calculative strategies to position him somewhere contemporaneously in relation to the activity of painting today. In a way, it is a sociopath type of endeavor – sociopathic painting. To transcribe his formulations into visual data Foley will attempt to create a painting that moves! Then, reviewing the fraught concept of original expression, Josh will create two pictures using the same brushstrokes; one abstract and the other one of a rooster. There will also be a giant-sized computer screen painted onto a wall using brushes, air, tape, sponges, ink and determination. This represents analog painting, backed up against a wall, adjusting itself before the digitized virtual realms and platforms that humans are increasingly ensconced by.
Parataxic distortion, a psychiatric label, is the tendency for one to skew perceptions of others based on fantasy. Regarding the title of this exhibition, parataxic refers to – maladjustment. Conflating the term with “sublime” the artist seeks to quantify his thoughts about contemporary painting; he is eluded by conventional terminology that satisfactorily describes them. But elusiveness plays a big part too.
Melbourne Video Art Society
MVAS: Index A presents an international assortment of contemporary videos that embody a plethora of local and global video art histories. This exhibition favors border crossing, multiplicity and hybridity, eschewing the constraints of thematic screenings and binary paradigms. Referring to a multitude of cannons and pointing out to a plurality of practices, these works are indexical of a fractured past that reveals the heterogeneity of the present. This is the first of many entries that The Melbourne Video Art Society will facilitate to strengthen a dialogue in Melbourne surrounding video art histories.
Claudia Campus, Victor Arroyo, Bernd Lützeler, Netty Gibson, Joacélio Batista, Chris Freeman, John Woods, Todd Herman, Tom Parsons, Mariah Lee, Natasha Cantwell, Trans-Q Television, Avni Dauti, Raina Kim, Nathan Ceddia, Polly Stanton, Spencer Lai, Hamish M Storrie, Jonathan Nokes, Byron Huang-Dean
Curated by MVAS (Matthew Berka and Diego Ramirez)