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BROADSHEET CONTEMPORARY VISUAL ART+ CULTURE- Volume 37 No.1 LAUNCH VISUAL ANIMALS- ADELAIDE LAUNCH 2008 Adelaide Bank Festival of Art- Artists' Week Guest speaker: Mabel Lee, Honorary Associate Professor of Chinese Studies, University of Sydney Elder Hall, University of Adelaide Monday 4 March, 2008 I thank Alan Cruickshank, Executive Director of the Contemporary Art Centre of South Australia, for inviting me to Adelaide to launch two publications produced by the Centre. Broadsheet: Contemporary Visual Art & Culture, Volume 37 No 1 that has just come off the press, and Ian North (ed.), Visual Animals: Crossovers, Evolution and New Aesthetics, published late last year. Broadsheet covers many interesting facets of the Australian art world, but importantly, also places Australian art within an international contextÑit is widely read, particularly in East and South East Asia. This issue (Volume 37 Number 1) has a definite Asia focus, and highlights Australia's geographical advantage, as well as its early engagement with the art world of the region. The high quality of the articles testifies to Alan Cruickshank's long-standing involvement with the artists, art historians, curators, critics and the art institutions of the region. I received Visual Animals some weeks ago, and I read it twice in fact, with interest and a great deal of excitement, and I will most certainly refer to it again and again. I congratulate the Contemporary Art Centre of South Australia, the University of Adelaide and the University of South Australia's Hawke Research Institute for Sustainable Societies for supporting the production of this important publication. Most of the essays in Visual Animals were initially presented at the Visual Animals Symposium held under the auspices of the Contemporary Art Centre of South Australia, 18-19 April 2007. The brainchild of Ian North, the Symposium brought together key researchers from various disciplines including comparative literature, art history, analytic philosophy, mathematics, architecture and bio-aesthetics to discuss the meaning and significance of art in the contemporary world. It would seem that the underlying aim of the Symposium was somehow to substantiate aesthetic experience with scientific evidence to bolster the status of art in these times that are dominated by science and technology, and when only innovation is a sign of progress. For almost a century, art has surrendered itself to a self-destructive political dynamic of revolution that has allowed the authority of art and artists to be manipulated by ever-changing theories about art, and left artists and teachers of art in a state of bewilderment. A situation has arisen in which the academies, art museums, government funding bodies and the market dictate what constitutes art, and there seems little interest in what artists have to say about art. Aided by the research findings of bio-aesthetics, the essays of Visual Animals address here-and-now art issues with confidence, and with positive suggestions that validate their commitment to art. Significantly, amongst the contributors to the volume are academics who are practicing artists- notably, Ian North himself, A. D. S. Donaldson and Peter James Smith, although it is clear from the essays that all contributors have encountered the aesthetic experience of viewing numerous artworks. Peter James Smith perhaps presents the most straightforward solution for restoring self-confidence to those devoted to the practice, study and promotion of art, a solution that releases them from the need to conform to the dynamic of theories or isms, as in the past. In his essay "Rediscovering Lines of Longitude: Signs of 'New Capture' for Art Practice at Postmodern's Demise," Peter James Smith makes the simple suggestion of taking a longer view of art history, one that "leapfrogs" the modernism of the 20th century, and instead "to start with Cezanne and to go back past the German Romantics, past the ornament of the French court and back into the Baroque." He argues that this is not to "condemn ourselves to repeating these ages, to reliving these ages, but to carrying the torch of their intentionsÉ it is to attempt to fulfill the intentions of this period that have remained unfulfilledÑto examine passion, wonder, humility, grace, enquiryÑall hallmarks of the Enlightenment." Australian indigenous art has claimed the attention of the world, and its motifs relate to a dreaming that is connected to the land and the people, and it is not uncommon for ancient cultures that did not develop a written language to transmit their histories via visual representations, for example as in the embroideries of the Miao people scattered in South China and various areas of Southeast Asia. In "Notes Towards a Natural Way to Do Art History," Ian North alludes to what he denotes as "spirituality" or "holiness," in Australian indigenous art. Other essays in Visual Animals refer to the "immanence" or "transcendence" of art. The example of indigenous art offers a key to understanding that significant art, whenever or wherever it is created is universal and transcends temporal and spatial boundaries, another of the issues considered in this volume. "A Short History of UnAustralian Art" by Rex Butler & A.D.S Donaldson demonstrates how Australian artists from the beginning of the 20th century have been integrated with the international art scene, especially with long periods of residence and study in Europe, and later the USA. This and other essays also point to how migrant artists have brought the styles and training from their countries of origin with their persons and that Australian art now has many genealogical ties apart from settler art. The essays of Visual Animals present so many new ways of approaching art and art history of the Western world than would be possible even to attempt to summarise here. The Antipodean location and concerns of the contributors place them in the advantageous position of "Other" vis-a-vis the larger and more powerful EuroAmerican centres of art history scholarship, while yet remaining a part of that scholarly matrix. Visual Animals stamps Australia's leadership credentials in scholarship on contentious issues concerning the meaning of art, beauty and aesthetics, the evaluation of art, the teaching and the documentation of art history. The distance created from the Antipodes as "Other" has allowed for a wealth of lucid insights and findings in Visual Animals that will activate new directions in the policy-making and funding of art museums, as well as the teaching of art in secondary and tertiary institutions. As a good marketing strategy, I would urge Ian North and his colleagues to begin working towards the publication of a companion volume that will also consider contemporary Asian art, especially, the phenomenal impact contemporary Chinese art is having on the international market. I congratulate every person connected with the production of Visual Animals and wish the book the success. See for example, Robert Bevan's "Hidden History" in Life & Leisure, The Australian Financial Review, 23-24 February 2008. return to top |
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VISUAL ANIMALS: CROSSOVERS, EVOLUTION AND NEW AESTHETICS Anthology Launch Congress of the International Committee of the History of Art Conference, Crossing Cultures, University of Melbourne Guest speaker: Daniel Thomas AM, Emeritus Director, Art Gallery of South Australia Grand Buffet Hall, Union House, University of Melbourne Monday 14 January, 2008 Visual Animals: Crossovers, Evolution and New Aesthetics is an important outcome stemming from the symposium. The collection of essays comprises an innovative, challenging and timely debate about the biological and social bases of art between fifteen scholars from Australia, New Zealand and the United States working in diverse disciplines. These include art history and theory, comparative literature, cultural history and theory, philosophy, bio-aesthetics, cognitive science and neurophysiology. Visual Animals is edited by Ian North, an Adjunct Professor of Visual Arts at both the University of Adelaide and the University of South Australia, and a former curator at the National Gallery of Australia and the Art Gallery of South Australia. return to top |
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SOFT POWER: ASIAN ATTITUDE Exhibition Launch Softpower: Asian Attitude Seminar: Curators VS Artists Theme: Soft Power and Contemporary Art Practice Exhibition launch 17 November, 2007 Alan Cruickshank participated as speaker Sunday 18 November, 2007 Shanghai Zendai Museum of Modern Art Bldg. 28, 199 Fangdian Rd., Shanghai, China 200135 http://www.zendaiart.com Softpower: Asian Attitude Since entering the twenty-first century, the rapid and powerful developments in Asia make it one of the most watched regions in the world. The progress in Asia has brought new opportunities as well as challenges to Asia's cultures and art. Being the continent with the largest amount of countries and the biggest geographical area, it is a place of complex political systems, diverse cultures, multitude of changes and expeditious development. It is inevitable that its progress will have enormous influences on the stability, modification and transformation of global political, economic structures. The notion of "Asia" has in fact historically been a geographical concept in modern and contemporary Western society's peripheral vision. For Asians, however, the notion of "Asia" remains indistinct. Since the industrial revolution in the nineteenth century, the expanding forces of the West propelled radical changes in Asian countries' social structures. After the long period of Cold War in the last century, Asian countries were confronted with modernity articulated in Western language. Embrace or resist it, Asian countries began to show Westernization tendencies in different forms. At the same time, economic prosperity, and continuously rising global political status and influences also allowed Asian countries to reinforce and emphasize the notion of self-identity in fields such as politics, economy and culture. This exhibition will investigate and analyse Asian cultures through contemporary Asian art in the globalised and post-modern environment. It pays special attention to the ways in which contemporary Asian art manifests its unique cultural roots despite the predominantly Westernized context of modernity. The resilience of Asian culture as manifested by Asian contemporary art is considered from the aspect of "transient forces" - meaning forces that are subtle, under-the-surface and strong. return to top |
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BROADSHEET: CONTEMPORARY VISUAL ARTS AND CULTURE Launch Vol 36 No 3 CVAPSA 07 Project IV Broadsheet Magazine was launched Friday, 26 October 2007, at Galeri Petronas, Petronas Twin Towers, Kuala Lumpur, by Director Tengku Nasariah Tengku Syed Ibrahim "GALERI PETRONAS is committed to furthering a thriving Malaysian art movement, realising that critical thinking and exposure to wider regional and international art practices and trends are a valuable asset for our own development as an art movement. It is hoped that collaborations with international publications like Broadsheet will also provide yet another platform for the discussion and presentation of contemporary Malaysian art to broader international audiences." - Tengku Nasariah Tengku Syed Ibrahim. return to top |
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VISUAL ANIMALS: CROSSOVERS, EVOLUTION AND NEW AESTHETICS Seminar CVAPSA 07 Project IV Curator Ian North Wednesday 18 - Thursday 19 April 2007 at the Art Gallery of SA AIM: To bring together some key researchers in disciplines usually working at a tangent to each other -notably including art history, analytic philosophy and bio-aesthetics-to discuss new or revised concepts of art that may influence current approaches to the writing of world art history. Although interchange between the fields indicated has recently increased, art is nowadays most influentially discussed-within the Australian art world, as elsewhere-in terms of Cultural Critique (or 'Theory'), based on continental philosophy and cultural studies generally. Among its myriad insights social constructivism is dominant: the idea that all culture is a purely human and contingent artefact. In contrast, bio-aesthetic research-the study of art and aesthetics as, in part, a biologically based phenomenon-seeks to explore the trans-cultural aspects of aesthetic behaviour in humans by placing an emphasis on what happens when people are creating or experiencing art. Aspects of philosophy, and especially analytic philosophy, seem pertinent here, reconsidering theories of beauty (for example) in the light of cognitive science and a new understanding of art's possible wellsprings, without resorting to a reductive determinism. A fresh art-theoretical approach, then, might help art historians to embrace the already well-established universalism of more broadly sociological or anthropological approaches to the understanding of human culture, with implications for the writing of both national and world art histories. It may thus be possible to rehabilitate ideas about, for example, the character and role of beauty in art and the ability of art to transcend cultural and epochal barriers, as well as viable conceptions of art's intrinsic value-perhaps even its notional spirituality. It was a commonplace of the postmodernist/postcolonialist era that 'no-one knows what art is any more', or words to that effect. The discussion proposed might take us at least some distance towards an effective riposte. Even so, the proposal is intended as a supplement to the theoretical discoveries and insights of the late twentieth century and the now thirty-five year old era of contemporary art following modernism's collapse. It is not conceived as a reactionary agenda, casting beauty or the aesthetic as a stick with which to beat 'Theory'. Nor does the proposal aim to deny all or any of those sociological, political, psychoanalytical or other concerns that dominate current discussions about art and art production. Art may occur in many modes, including beauty's opposite, disgust-even if beauty (perhaps in some radically expanded sense) might, after all, transpire to be a central element in what many individuals and cultures deem to be significant works of art. The intention of the symposium, then, is to encourage an examination of art from the ground of art experience rather than to impose an abstract ideology. It is not intended as a search for a spurious essentialism, but rather to take into account the realities of the human genome and its evolution according to the laws of nature. Recent art-historical writing has been obsessed with problematic postcolonial concerns about power, gate-keeping and national identities generally. It would do well, arguably, to acknowledge as well the persistent qualities of common humanity, and consequently the similarly enduring aesthetic power of art. The various speakers, with their widely varying academic perspectives, will have their own stories to tell, some of them, no doubt, qualifying and perhaps contradicting this broad rationale. Download VISUAL ANIMALS program here return to top |
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OUT OF TIME: Essays Between Photography & Art Launch CVAPSA 06 Project X by Blair French SYDNEY Launched by Edward Scheer, Associate Professor, School of English, Media & Performing Arts, UNSW Wednesday 28 March 2007 at GRANTPIRRIE, Redfern, Sydney NSW Edward Scheer's launch speech: Edward Scheer's Top Five Book Launches of All Time: 5. Peter Sellars' launch 2001 of Dave Watt's 'Workers' Playtime: Theatre and the Labour Movement Since 1970', (with Alan Filewod) at Performance Space Sydney by phone - "Great Book!" 4. An unnamed person launching Doug Kahn's 'Noise Water Meat' [MIT Press] at Gleebooks 2002 - "A poor student and a dull topic!" 3. Robyn Williams [ABC] launching Jane Goodall's 'Performance and Evolution' - "I'm the wrong Robyn Williams and this is the wrong Jane Goodall" 2. John Baylis, manager of Theatre Board of the Australia Council in 2000 launching 'Body Shows', edited by Peta Tait, an anthology of critical essays on contemporary performance - "Performance is transitory and can't and shouldn't be captured or documented, the entire enterprise of this type of book is meaningless. I hereby launch this book..." 1. I launch this one! What makes Blair French so attractive, so appealing? He writes about photography. But everything is photographed. Everything is received as an image. So what is the place of the photograph when everything is an image, everything is photogenic? Blair situates 'Contemporary Photography' somewhere between punctum and studium. Caught between the singular and the generalised: "small details that grab our attention, or that 'pierce' us. But... more generally, they tend nowadays to perform a more anthropological function - they act as points of sociological discrimination... We look to such elements as evidence of societal meaning within the photographic image." (Blair French, 'The Anthropological Impulse: More Thoughts On Contemporary Photography') In these essays you will find a keen eye for the details of images and the discourses that surround them. And these are very contemporary pieces which are informed by a strong sense of the historical and a critique of fashions and trends. Blair is very good at spotting trends and trying to snuff them out: "An orthodoxy is forming [perhaps has formed] involving the superficially enigmatic staged 'action'photograph; the conception of photographs of actions staged only for their photographic transformation, actions that have no meaning beyond the frame; and the photographic conception of the world as a pictorial [cinematic] set. And in this orthodoxy, we can discern an expectation of - a desire for - enigma as a driving motif condition of the photographic image." The meaningless enigma machine of pop culture is contrasted with photography as a practice of "making trouble through some form of particular, hard-edged purchase upon the world of real experience [personal, social, material, even representational, etc.]" (Blair French, 'What Makes Today's Photo-Art So Attractive, So Appealing...', Broadsheet, Vol 32 No 4, 2003: 12-13) The Society of the Spectacle is forty years old but images continue to proliferate and the spectacle as Debord said is itself blind... it sees nothing. So it's important to note the details and it's important to regain a critical perspective on the world. On the plus side Blair notes in some recent Australian work, the "emphatic reassertion of photography's defining relationship to the real in all its guises [social, environmental, psychoanalytical, etc.]" - - and on the down side a tendency toward a "new humanism ... located within the marketplace of the visual" (Blair French, ' A surfeit of style' Broadsheet Vol 31 No 4, 2002) So where does the artist go and where does the critic go? There no signposts given here but rather a provocation to continue to look between the hard edges of critical and reflexive art and the fluffiness and forgetfulness of new humanism... If you only buy one book this year make it mine - if you buy two then get a copy of 'Out of Time!' Edward Scheer return to top |
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OUT OF TIME: Essays Between Photography & Art Launch CVAPSA 06 Project X by Blair French ADELAIDE Launched by Ian North, artist, writer and Adjunct Professor, SA School of Art, University of South Australia Friday 23 Feburary 2007 at the CACSA Excerpts from Ian North's launch speech: A few of you will be old enough to recall that in the 1980s that people used to go around saying no-one knows what art is anymore, from critics like Arthur C Danto to big deal artists like Robert Irwin... But you might think it even more a counsel of despair to note that people still claim not to know what photography is anymore. That, in fact, is the operating premise of the latest book on photographic theory - edited by James Elkins and simply called "Photography Theory" - to emanate from the USA. This is not just because the digital revolution was supposed to have done away with photography - people used to talk about post-photography back in the 1990s, you might recall - but because of a deeper, existential sense of wonderment and bewilderment. Because photography is still largely tied to the world of appearances, the trace lives, however unreliable it can be in a digital world. Photography, according to the cliché:, was born half science, half art, giving rise to its dominant traditions, Realist on the one hand, Rhetorical on the other. It famously emits a degree of melancholy, but I think this is not just because a trace implies time passed, but because photography does tend to go around in circles, rising or descending as they may be. A lot of 1980s and 1990s photography, for example was the 1970s by other means - bigger, in colour, in other words directly competing with painting; think for example of all those Germans who followed the Bechers: Gursky, Struth and others, not to mention myriad others involved in the shifting matrix of complex practices which have since emerged since around the world. So photography is far from dead, even if there is perhaps a shift of concentration, if that is the word, to the profligate activity of taking rather than on what is taken... as with mobile phone use, digital photography is the new smoking, something to do with one's hands. In spite of all this, incredibly enough, the Elkins book deals yet again, albeit complexly, with questions we might have thought long settled, as to whether photography can be art - a false question, in my view, because anything in any medium can be art - and, if so, what effect that has on the wider discourses of art. Enter Blair French. Note both the loaded title of his book and the subtitle: "Out of Time, Essays Between Photography and Art". His book is a wonderfully timed complement to the American book, just as sophisticated and surveying comparable issues, but referencing the work of Australia and New Zealand photographers. Half of the essays are gleaned from the Broadsheet - these in particular trouble the mega-visual world in which we live, a world in which debates between, say, modernist and post-conceptual approaches seem almost quaintly old-fashioned, as the market roars and globalises. Most of the others were written as catalogue essays concerning, but going far beyond, the issues of particular artists, while subjecting their work to the closest and most sensitive scrutiny. So I commend the book to you. Not only does it parallel "Photography Theory", It follows admirably from Blair French's earlier anthology, "Photofiles", 1999, published by Power Publications. Blair certainly belongs to a select group of maybe a half a dozen people in Australia who are always worth reading on the topic of photography. His book is invaluable for this reason. James Elkins once observed of art criticism that never has more been published, and never so little read, especially by heavy duty art historians. He was referring especially to the stream of small catalogue essays and even magazine articles which routinely come our way. When some of these are captured and foregrounded in a book, however, they gain a new, much more permanent lease of life. They are indeed rescued "Out of Time" to actively engage the future. return to top |
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Director's Talk October 2006 at Asia Art Archive, Hong Kong Director Alan Cruickshank spoke at the Asia Art Archive, Hong Kong, October 2006, about the CACSA, the recent Broadsheet Media Partnership with the 2006 Singapore Biennale, and contemporary art and culture issues in Australia and Southeast Asia, as part of his 2006 Asialink Arts Administration Residency (Singapore). Talk moderated by John Batten, gallery dealer, writer and Member Broadsheet International Editorial Advisory Board. Also in attendance Claire Hsu, Director of AAA, and a 'full house' of local and visiting arts people. return to top |
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BROADSHEET - with Alan Cruickshank Director's Talk 25 October 2006 at ALBB Lounge, Saigon 
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BROADSHEET: CONTEMPORARY VISUAL ARTS AND CULTURE Launch Vol 35 No 3 CVAPSA 06 Project VII Broadsheet was Media Partner for the inaugural Singapore Biennale SB2006 Artistic Director Fumio Nanjo topduced the following speakers: Alan Cruickshank, Director CACSA & Editor Broadsheet Lee Weng Choy, Artistic Co-Director The Substation Arts Centre, Singapore Broadsheet was formally launched by His Excellency Miles Kupa, Australian High Commissioner to Singapore 3 September 2006 at Tanglin Army Barracks return to top |
  
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CHARLES MEREWETHER, Artistic Director/Curator 2006 Biennale of Sydney Free Talk 12 May 2006 at the Art Gallery of SA The concept 'Zones of Contact' forms the framework and organising principle of the 2006 Biennale of Sydney, which will include a range of artists from around the world practising in all forms of the visual arts. 'Zones of Contact' is about the spaces in which people live in and move between, the spatial dimensions of cities, settlements, territories, the land and home. The work refers to the temporal dimensions of those spaces, the body, everyday life, places in which people encounter one another and other cultures and sense of self and their histories. Working through visual and sensory forms of reflection - including painting, drawing, sculpture, installation, fabric and stitching, photography, video, film, performance, voice and sound Ñ the artists explore local and trans-cultural encounters with the world. They address the legacy and memories of living within these zones of contact or seek to define a space in which the viewer may perceive the contours of an aesthetic utopia. Dr Charles Merewether is a curator and art historian who has worked in Australia, Europe and the Americas. Most recently he was Collections Curator at the Getty Center in Los Angeles from 1994-2004 and is a Senior Research Fellow at the Center for Cross-Cultural Research at the Australian National University. He has taught at the University of Sydney, Universitat Autònoma in Barcelona, the Ibero-Americana in Mexico City and the University of Southern California, and has lectured at the Beijing Academy of Art, Lingnan University in Hong Kong and the Asia Research Center at the National University of Singapore. Merewether has published and been translated extensively while also curating over 20 major shows in Europe, USA, Latin America and Australia, as well as serving on the advisory boards of a number of biennales including Johannesburg, Istanbul and São Paulo. PRESENTED BY THE CONTEMPORARY ART CENTRE OF SA AND EXPERIMENTAL ART FOUNDATION IN ASSOCIATION WITH THE ART GALLERY OF SOUTH AUSTRALIA return to top |
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BROADSHEET: CONTEMPORARY VISUAL ARTS AND CULTURE Launch Vol 35 No 1 CVAPSA 06 Project II Broadsheet Vol 35 No 1 was launched 4 April 2006 at the Adam Art Gallery Te Pataka Toi, Victoria University of Wellington, by Lee Weng Choy, Artistic Co-director, The Substation Arts Centre, Singapore, as the inaugural Clark Collection Critic-in-Residence with the Art History Department, Victoria University The launch coincided with the exhibition Islanded: Contemporary Art from New Zealand, Singapore and Taiwan, a collaboration between the AAG, The Substation and the Institute of Contemporary Arts, Singapore (ICAS), co-curated by Lee Weng Choy, Eugene Tan from the ICAS, and Sophie McIntyre from AAG. return to top |
  
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BROADSHEET: CONTEMPORARY VISUAL ARTS AND CULTURE Launch Vol 35 No 1 CVAPSA 06 Project II Broadsheet Vol 35 No 1 was also launched March 2006 at the Art Gallery of SA by Astrid Mania, Berlin-based curator, art critic and Broadsheet International Advisory Board Member as part of the 2006 Adelaide Bank Festival of Arts Artists Week. return to top |
  
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TATSUO MIYAJIMA 'IN CONVERSATION' WITH TONY BOND, CURATOR INTERNATIONAL ART, ART GALLERY OF NSW, SYDNEY Public Talk IN CONJUNCTION WITH TATSUO MIYAJIMA EXHIBITION CVAPSA 05 Project IX RON RADFORD AUDITORIUM, ART GALLERY OF SOUTH AUSTRALIA THURSDAY 8 SEPTEMBER Alan Cruickshank's Welcome Speech: Welcome everyone - thankyou for attending tonight's artist talk - I'd like to welcome tonight's guests Tatsuo Miyajima and Tony Bond, but before I introduce them a few words... Recently the CACSA has been asked what does it do for contemporary SA artists? I have more in mind what the CACSA does for South Australian art and cultural endeavour. This project - a residency and production of new work by Tatsuo Miyajima, Counter Voice in MILK - Adelaide version - is aimed at providing opportunities for students, artists and public alike - to engage in our exhibition and publishing programs which are envisioned upon a platform of quality and excellence - programs that intend to lift the bar of local cultural endeavour - its quality, its criticality, its importance, both locally and nationally. Under the banner of CONTEMPORARY VISUAL ART PROJECTS SA 2004-05 and so on, the CACSA is endeavouring to instill and develop a local culture that resonates with artistic and creative energy and dynamism - a culture that is both questioning of and experiential for its audience - cultural activity that is intellectually and visually stimulating, and perhaps even saying something of who we are and where we are going as a group of people. Like other major projects since 2000 produced by the CACSA, a small 2.6-staffed organisation which I might add operates on a yearly budget equivalent to - as we once evaluated - a flagship arts company's annual deficit - the magnitude of this project does not materialise from normal annual funding - its substance, depth and scope are resultant of partnerships generated by the CACSA with other cultural and tertiary institutions - the CACSA proudly sees itself as a major catalyst and instigator of such cultural partnerships - for example, the International Lecture series in May this year in conjunction with Substation Arts Centre in Singapore - together we brought to Adelaide major international cultural commentators such as Goenawan Mohamad and Marian Pastor Roces - the Jacky Redgate residency with the SASA/University SA to support her three Survey exhibitions last year and the resultant Jacky Redgate Survey this year at the Museum of Contemporary Art in Sydney (this is the only such project to emanate from a non-Sydney contemporary art space to become part of the MCA's program), and Broadsheet launches at the Biennale of Sydney in 2003, Multimedia Art Asia Pacific at the Singapore Art Museum in 2004, and the recent Broadsheet launch at the New Zealand Pavilion at this year's Venice Biennale. This project - Tatsuo Miyajima's residency and his Counter Voice in MILK - Adelaide version - is courtesy of the CACSA in partnership with the following organisations and individuals - SA School of Art and the School of Communication, Information & New Media, University SA; Helpmann Academy; Art Gallery of SA; Tony Bond and the Art Gallery of NSW; Japan Foundation; and Shiraishi Contemporary Art, Tokyo. In terms of what the CACSA does for both SA artists and SA culture - this project has involved participants from all Helpmann Academy schools - 33 performers, being students and staff, also secondary school students, artists and so on - it has also involved a film and sound crew from the School of Communication, Information & New Media at Magill accompanied by a CAC team of 10 people - either students and artists - all having a direct access to Tatsuo Miyajima in the production of his new work, and of course, as those participants, students, artists and public, you are all here tonight for Miyajima's talk with Tony Bond! Finally I would like to express my personal thanks on behalf of the CACSA to the following organisations and individuals without whom this project would not have come to such a successful realisation - Marea Atkinson, John Barbour and Kay Lawrence, and the SA School of Art, University of SA; Ian Hutchison, Dino Murtic and Blake Lewis and the School of Communication, Information & New Media, Magill campus; Helpmann Academy; David O'Connor and Christopher Menz, and the Art Gallery of SA; Japan Foundation; Maho Kubota and Shiraishi Contemporary Art, Tokyo; Tony Bond and the AGNSW; CACSA crew Keith Giles, Peter Mackay, Peter Fraser, Sera Waters, Yokio Kajio, Roy Ananda, Andrew Best, Akira Tamura amongst others; Tatsuo Miyajima for accepting my invitation to come to Adelaide in what is a very busy international schedule for him, only his second visit to Australia - this exhibition will be the largest presentation of his work seen in Australia - all Australian visual art eyes are on Adelaide - and I would also like to thank Tatsuo Miyajima for the opportunity for all of us to work with you in the production of your new work and gain an insight into your practice, methodology and philosophy; and finally and most importantly I would like to thank the 33 performers - some of whom I can see tonight with their milk-refreshed complexions - who for 15 minutes or so repeatedly immersed their faces in an 8 litre bowl of milk having counted down from 9 to 1 - without these people there would have been no Counter Voice in MILK-Adelaide version! Their response to the challenge was fantastic - and superbly illustrative of what creative opportunity is all about. TATSUO MIYAJIMA'S VISIT TO ADELAIDE SPONSORED BY THE JAPAN FOUNDATION AND HIS ADELAIDE RESIDENCY SUPPORTED BY THE SA SCHOOL OF ART AND THE SCHOOL OF COMMUNICATION, INFORMATION & NEW MEDIA, UNIVERSITY SA AND THE HELPMANN ACADEMY return to top |
   
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BROADSHEET: CONTEMPORARY VISUAL ARTS AND CULTURE Launch Vol 34 No 2 CVAPSA 05 Project V Broadsheet was launched during the opening of the New Zealand Pavilion, by Greg Burke, Venice Biennale Commissioner for New Zealand and Director, Govett-Brewster Gallery, New Plymouth, New Zealand. July 2006 at the New Zealand Pavilion, Venice return to top |
  
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