12 March – 3 April 2010
FRONT GALLERY
Chora Choruses
Cath Robinson & Fiona Lee
MIDDLE & SIDE GALLERY
{ultima forsan}
Aimee Faiman
ARTIST FLOOR TALK
Saturday, March 13, 4pm.
This month, Aimee Fairman will be discussing {ultima forsan}, and Hobart-based artists Fiona Lee and Cath Robinson, together with collaborator and sound artist Matt Warren and catalogue writer Sally Rees, will be discussing their exhibition Chora Choruses.
Cath Robinson & Fiona Lee
Working within audiovisual, performance and sculptural formats, Fiona Lee and Cath Robinson will play on the cross-pollination between arts practitioners and arts administrators in two cities.
Chora Choruses extends the idea of collaboration to include the kinds of interaction that are normally overlooked between audience, artwork and institution, within a musical framework.
Robinson’s work for Chora Choruses is a selection of ‘pause for thought noises’ from 33 Hobart contemporary artists considering their inspiration, able to be “played” on a keyboard by the audience. Lee’s work for this exhibition will be a remix of songs representing the Kings Committee’s current listening habits, professionally produced in collaboration with sound artist Matt Warren and performed at the opening. A video and sound recording, created in response to the Kings space and these tunes, will be played for the remainder of the exhibition.
Read Sally Rees’ essay on the work here.
Bio
Robinson’s current practice explores vulnerable moments of reflection; ums, ahs, pauses and punctuation, the “in between space”, the
impossible hiatus between the private processes of thought and the abstraction of language/art.
Lee’s interdisciplinary art practice focuses on people and their intimate connection to specific sites: what relationships are formed with certain locations and how this often reflects on the identity of that particular place.
Matt Warren’ practice is primarily in time-based media, creating
installations, single channel video, audio works, and performance. His work investigates memory, transcendence and suspension of disbelief.
Aimee Fairman
The {ultima forsan} project is a kinetic sculptural, and ephemeral installation developed from recent research on the 2009 residency at the Rondo Künstlerateliers in Graz, Austria.
{ultima forsan}, meaning “perhaps the last,” combines a suspended
constructed alpine landscape, a surgical chair as a tool for viewing, found objects, organic matter, sound, water-vapour and fog machines, to explore notions of the mortality of time and the ephemerality of
experience, to address the ecologies of our inner, and outer worlds.
Fairman’s work centres on an exploration of the symbolic and Sublime landscape and its potential role as a vehicle to address psycho-
geographical spaces, time, memory and narrative. Through the use of
time-based structures, her projects extend an inquiry into the use of phenomena and the organic to expand the experience of landscape through duration and the sensate.
Bio
Aimee Fairman is a Melbourne-based artist who completed her Masters of Fine Art at RMIT University in 2007.
In 2008, Fairman was awarded the first RMIT/AIR artist-in-residence Krems Residency at the Künstmeile Krems, Lower Austria. In 2009 a
further residency was awarded by Kultur Service Steiermark at the Rondo Künstlerateliers, Graz, Austria.
