6 – 28 FEBRUARY 2015
Opening: Friday 6 February, 6 – 8pm
Studies In Unison.
Studies In Unison explores the idea of sonic consensus. When identical or similar sounds align they reinforce yet compromise each other. Two performers attempting to copy each other spark a negative feedback loop. As a blindfolded amateur choir sings the same note together for one hour the pitch bends, swoops and disintegrates. Without a clear reference point the differences between bodies – their proximity, communicative precision and physical limits – become apparent.
Sydney-based artist Julian Day has investigated this concept through a body of installation, performance and video. His ongoing collaborative project Super Critical Mass (with Luke Jaaniste and Janet McKay) brings together temporary communities of participants who disperse identical sound throughout public places, creating situations of dynamic spatial ambiguity. Similarly his project An Infinity Room matches identical synthesizers within different spaces to generate aural ‘rooms within rooms’, filling the airspace with complex drones like a sonic ‘ganzfeld’ of unchanging information.Studies In Unison features recent work in this arc created during a residency at bb15 in Linz, Austria.
Julian Day is an artist and composer who typically uses abstract structures to highlight the relational and territorial aspects of sound. Day has presented work at Museum of Contemporary Art, AEAF, Firstdraft, Whitechapel Gallery, MPavilion and MUMA and recently won the ARTAND Australia Contemporary Art Award and an Australia Council fellowship.
Chris Sciuto & Mira Oosterweghel
My Technique Is My Own
My Technique Is My Own responds to the notion that ‘contemporary art finds its power in the ability to link, connect and make patterns visible’, seeking to expose how behavioural codes and patterns of power within our external environments affect our bodies and gestures. My Technique Is My Own utilises the performative body in conjunction with sculptural apparatuses, to evoke both power and play, seeking to draw attention to how our behaviour is constrained and designed by our cultures and environments.
Mira Oosterweghel is an artist living and working in Melbourne, she graduated from Monash University with First Class Honours in 2013. Mira has exhibited her work in various artist run initiatives and festivals employing research methods to investigate structures of power in connection with the body in space. Mira utilizes the body in performative ways to question and engage with systems of power.
Christopher Sciuto is a mixed-media visual artist whose work engages with contemporary cultural and social issues; in particular polarised subcultures and issues of sexuality. These ideas are presented in installations that incorporate found objects or images, placing emphasis on the surface and texture of his chosen materials.
Equine In(ter)vention merges rudimentary video collage and hand-woven textiles to work through the interconnected histories of horses, looms and technology. The domestication of horses incurred drastic changes to war, transport and agriculture, and would go on to become the subject of the first ever moving picture in 1878, when Eadweard Muybridge used a twenty-four still cameras to photograph a horse in motion to determine whether all four feet touched the ground at any time. Looms played a major role in the industrial revolution and, like horses, also inspired a similar technological advancement when Charles Babbage used Joseph Marie Jacquard’s design for an automated loom which uses a punch card system using binary code as the basis for his “thinking machine” which would eventually evolve into the computer.
John Brooks recently completed a Bachelor of Fine Art (honours) at Monash University, following a Bachelor of Fine Art (drawing) at the Victorian College of the Arts and an Advanced Diploma of Textile Design and Development at RMIT.