Upcoming KINGS ARI – AUGUST 2015 July 10 – August 1 2015 Image Credit: Fleur Summers, bean bag bicycling (2015), bean bag, pedals, synthetic grass. FRONT GALLERY Fleur Summers Dissociative Dialogues Daydreaming is a kind of mild dissociation… you forget where you are and what you’re doing…your mind wanders, thoughts bubble up and float by, subconscious plans coalesce, new ideas emerge and problems are solved… Dissociative Dialogues employs recognisable social objects and processes to encourage physical interaction in novel ways. Everyday activities, such as walking and cycling, promote thinking through a process of mild dissociation. These tasks rely on procedural memory and suppress active thought, allowing the mind to consider alternate, potentially rhizomatic, ideas. This can result in new intensities of thought and dialogues and can be strategic in cognitive and cultural processes. Dissociative Dialogues combines the contemplative activity of lying in a beanbag with the rhythmic activity of pedalling to promote daydreaming in the gallery. Whilst the hybrid character of the work is visually interesting, the nature of the work is largely determined by the encounter and response of its participants. Fleur Summers is a Melbourne based artist and is currently undertaking a PhD in the School of Art at RMIT University. This work is part of a more expansive interest in the nature of the sculptural encounter, and how our bodies interact with objects. MIDDLE GALLERY Louise Bennett, Charlie Donaldson, Victoria Lawson, Provoked, Kat Sawyer / Paul Soulellis and Vincent Wozniak O’Connor Post-tourist Artists’ engagement with tourism has been under-examined. Within this exhibition it is discussed in relation to artistic strategies of institutional critique and the critique of these power structures in art practice. The abstract environment and its lack of universality is a point of opposition. The artistic, touristic subject can neither ‘perform’ nor intervene within that with which they are implicit without questioning that self-same knowledge construction. They can re-examine the power constructs of their discourse, and within the abstract space of the mediated touristic environment find a means to share the possibility of dissent. Material action crosses the barrier of perception to find a place of transition and transmission. A liminal site of exchange, knowledge and deconstruction, a critical moment on the threshold of experience purveying open-ended practice and participation. Documentation or archiving these actions furthers the dialogue and continues the discussion and the process. The artists’ actions and processes will be documented in video, photo-media, installations and websites within the gallery, and extending out from it.Tourism discourse is a particular discipline within travel’s domain. Post-tourist concentrates on this field of knowledge and creates a deconstructed archive of institutional exploration and open-ended process. The exhibition references the prospect of interaction and difference via the post-tourist experience as explored within the work of Louise Bennett, Charlie Donaldson, Victoria Lawson, Provoked, Kat Sawyer with Paul Soulellis and Vincent Wozniak-O’Connor. Post-tourist creates an awareness of a discipline and provides a moment of acknowledgement and affect, and an acknowledgement of mobility, its history and discourse. This moment transmits the potential for self-reflexive, embodied action and response by both the viewer and the artist. Image Credit: She’s Got The Ability To Make A Man Out Of Me (Photographic Still), 2015. SIDE GALLERY BON MOTT She’s Got The Ability To Make A Man Out Of Me In ‘She’s Got The Ability To Make A Man Out Of Me’,1 Bon Mott will explore the Ghost of Bon Scott. Inspired by Jonathon Glazer’s film Under The Skin, which uses Albedo of the Magnus Opus’ focus on White, Bon Mott presents a video and performance piece. Albedo is whitening and cleansing after chaos. Like he ghost, Bon Mott will hover in the ceiling of the gallery. She is the ghost of a man. Ghost appearances are situated in space and time. Not just mysterious or otherworldly: they are an enigma of everyday life. Just as the lightning sits in the middle of AC/DC band logo, ghosts hovers between life and death. As abstractions of human form, these ghosts cannot be framed in terms of binaries of life or death, good and evil. They occupy the liminal or threshold place of disorientation. Bon Mott is a multidisciplinary artist whose work encompasses design and performance with a major emphasis on spatial/sculptural practice. Currently her work explores the realms of performance and projection art, embodying Mott, the female ghost of AC/DC’s deceased lead singer, Bon Scott.The strength of Mott’s performance lies in its duality. At once ethereal, she conjures the ‘femme fatale’ dark and otherworldly. Bon Mott’s performance is unearthly. Wind blowing through her hair Motts stands poised as a siren at the helm of a ship luring her audience on an eerie journey in the masculine landscape of Aussie rock. 1. She’s Got Balls, Bon Scott, 1974.