To begin with Bruce McLean asking Vernon Ah Kee about the origins of his practise and how the 'If I Was White' exhibition at QCA was thought up. Fundamentally, how his practise is about communication, and how text became so fundamental to his work. Vernon speaks also about Indigenous art in Australia and some of the major events in this history captured by him and in his artworks.

IMA also celebrates 40 years this year, get to their website to have a look at the line up for their celebtarions.

Canvas FBi bring us a piece on INSTAGRAM with Kate Blackmore talking with Ellen.gif about the wave of Instagram art we are seeing, and the process behind it.

Thanks this episode to Institute of Modern Art and Canvas FBi

• Songs played
• Paneye - Staircases Under The Sea
• Monster Zoku Onsomb! - Happiness Machine (Glitch n Rave Mix)

We have this episode focused on artists as parents - Frances asks the question that is it impossible to be a good artist and a good parent, by talking to several Australian artists about how they have managed parenthood and their artistic careers. Thanks to Canvas for this segment. 

• Songs played
• Joan As Policewoman - Chemmie
• Jenny Hval - The Battle Is Over
• Bloods - What Do I Care
• PJ Harvey - I Think Im A Mother
• Laneway - Love Is A Devil

Originally from Scotland, Macgregor has been Director of the MCA since 1999. After negotiating a new funding model to allow the MCA to flourish, she has consolidated the MCA’s position as one of Sydney’s best loved institutions, engaging audiences with living artists. Public spaces that embrace one of the world’s most beautiful locations and a series of site-specific artists’ commissions. Macgregor’s contribution to the visual arts has been recognised with an OBE in the Queen’s Birthday Honours List in 2011 and the 2011 Australia Council Visual Arts Medal.

The redevelopment of MCA completed in March 2012, was a crucial part of Macgregor’s vision of connecting audiences with artists. As well as new galleries for the collection and exhibitions, a series of new commissions puts artists centre stage in the building. The MCA’s new National Centre for Creative Learning and its continued commitment to outreach programs are critical to her concern for future generations.

We hear Macgregor’s musings on the problems with contemporary art, saying that Contemporary art is not the problem, the audience isn’t the problem, the curator is the problem – They are the ones who put up the barriers. She discusses how to solve this problem from the perspective of a successful curator herself. And emphasising that contemporary artists are the focus for a museum like MCA, different from state based funded galleries. For the idea that art is for everyone and the power of art should be brought to all and how Artist can be problem solvers. 

The MCA set up the advisory committee – made up of artists, to hear they opinions and then also to let artists know the institution / museum’s point of view. To establish this dialogue and collaboration – to create the MCA to what you see today, Macgregor talks about the history of the MCA, its development from the site proposal to the artists who would come into the museum.

In this time of funding controversy, its timely to have this lecture as Macgregor speaks about the challenges with curation and the difference in artistic spaces – its much more difficult for conventional art forms and spaces to change – the symphony orchestra, ballet etc. It is far easier for the visual arts or the institution / museum, to change, to adapt – its been forced to be resilient and adaptable, and ultimately this will be the ones to thrive. The independent contemporary visual arts have this ability. Whether this has become mainstream or not, it needs to be sustained as opposed to sight-seeing.

Macgregor talks from the larger institutional perspective, yet she makes some topical points on funding, and collaboration as a sector – to stop competing and start helping each other, this latest funding cuts has done just that – it has drawn together our small to mediums and expanding the resources from the sector to be used collaboratively and be resilient and adaptable.

So then ‘What Can Art Institutions Do?’ is change and pose for change. Hear how the museum is changing, and how technology is assisting this – it helps with the issue of the authority and the thought ‘this is the art, this is why you have to worship it’ – so technology allows the audience to respond, and feel that power to respond and be heard, interpretation is allowed, that sense of authority to the individual, the general public, no longer the curator having the last word.

Installing at MCA; David Haines and Joyce Hinterding

• Songs played
• Sui Zhen - Take It All Back
• Sky Needle - Two Way Solo
• Cured Pink - I'm That Dog In The Car
• Ctrl+Alt+Delete - The Machine Has Broken
• Lauryn Hill - Feeling Good

Amelia Jones’ research into 20th- and 21st-century art history in Europe and America provides theories of their visual culture that disrupt dominant historical narratives by examining visual media through a queer, anti-racist and feminist lens.

We begin this episode with an interview from Canvas with Amelia Jones, who was recently in Australia for her talks hosted by The Power Institute and Sydney Ideas – titled, Material Traces: Performativity, Artistic 'Work', and New Concepts of Agency.

The talk we will hopefully air in the coming weeks on No Brow, but now we hear her interview.

Amelia Jones is an American art historian, art critic and curator specialising in feminist art, body and performance art, and video art.

She practices a queer, anti-racist, feminist history and theory of 20^thand 21^st century Euro-American visual arts, including performance, film, video, and installation—articulated in relation to increasingly global frameworks. 

Material Traces: Performativity, Artistic 'Work', and New Concepts of Agency will look at art making in the contemporary sphere in terms of labour and performativity, moving away from strictly Marxist or neo-Marxist theories of labour by focusing on materialities. Making use of theories of new materialism, thing theory, and phenomenology, Jones will explore the work of artists such as Heather Cassils, Juliana Cerqueira Leite, Barbara Smith and William Anastasi. Digging deep into the materialities of the works to engage with signs of their 'having been made' the lecture will go on to make a larger argument proposing new ways of approaching contemporary art that are, rather than abstracted or theoretical as is often the case when issues of artistic labour are being addressed, materialised and materialising. 

Previous episode of No brow we spoke to Todd MacDonald the Artistic Director of La Boite Theatre Company about the  ‘Small Arts Big Impact’  panel discussion about the value of smaller and independent arts, a discussion held early this week that aimed to articulate the value of the small to medium and independent sector, especially from a Queensland representation, that focused on the long term and developing of a stronger collective voice for this sector. We are yet to hear the results from the panel discussion, and then ultimately the results from the National Day of Action sector meeting that occurred in Canberra this week. Stay tuned to No Brow Art Show for further updates. 

While we await the results from this discussion, we hear from Ben Eltham, to another aspect of the funding cuts/reallocation to the 'Excellence' something that is currently being set up...

Courtesy of Canvas on FBi radio, between an interview with Frances Barrett and Ben Eltham.

Eltham stating; “Lets think about what ‘excellence’ means in the context of arts policy debates = excellence in this debate is not about how good a piece of work is or how good a company is, it’s a code word for the major performing arts organisations.”

For Queensland listeners, we know of the trail for this sort of approach from when the bulk of Queensland arts funding cuts to independents were made and then in turn went to the majors of QLD performing arts, under the last conservative government.

The interesting point that is made in this conversation, is that Brandis being a Queenslander, and his comments that the Australia Council peer review system was predominately Sydney / Melbourne focused, and with that being abolished, could Queensland see something of a benefit to the ministers ‘Excellence’ scheme?... some remain doubtful, especially in the area hit the hardest – small to medium / independent.

At this stage, time will tell and at No Brow we wait with baited breath.   

SMALL ART BIG IMPACT

Set the scene: summary of the last few weeks events and general overview
• Proposed changes by Minister Brandis and update (if any) on the National Programme for Excellence in the Arts (NPEA).
• Australia Council of the Arts response and cutting of programs and suspension of six year funding proposition.
• Snapshot of the makeup of the sector as a whole.

Propose three questions to the panel for a 10 minute response – followed by a 10 minute response by the other attendees:

1. How are we interconnected as a sector ? Define our relationships: Independent practitioners, Small to medium companies and Major organisations.
2. What has been jeopardised by the proposed Australia Council changes?
3. What should we do together to ensure we move forward – what constructive action is required?

• Songs played
• Sky Needle - Phase 2
• Mykki Blanco & The Mutant Angels - Intro (From the Silence of Duchamp)
• Jenny Hval - That Battle Is Over
• J.Mascis - Is It Done

From Griffith University Art Gallery, we share the artist talk held at the opening of Elemental Phenomena. An exhibition that explores naturally occurring events, constructed experiments, and transitions of states of matter, including water, air, light and magnetic fields. Artists Ella Barclay (NSW), Robin Fox (VIC), Michaela Gleave (NSW) and Jason Hendrick Hansma (The Netherlands) draw on a range of materials and ideas obliquely aligned with physics, transforming the gallery into series of propositions, hypotheses and encounters with our own sensory perception and illogicality.

Michaela Gleave Cloud Field (Föhn Bank) 2007   timber, plaster, water, misting units, water distribution system

Ella Barclay EBB   2012 

We also have Todd MacDonald the Artistic Director of La Boite Theatre Company. To discuss the panel discussion held Monday 15^th June, 5pm at La Boite Thearte’s Roundhouse Theatre. A panel discussion about the value of smaller and independent arts, a discussion and Q&A about how to articulate the value of the small to medium and independent sector. They will be joined by arts leaders from organisations of all sizes and independent artists. This event will focus on the long term and developing a stronger collective voice. 

After the budget: shh! Australia's era of artistic silencing begins

Panel:
Scotia Monkivitch (Independent Artist)
David Fenton (AD MetroArts)
Todd MacDonald (AD/CEO La Boite)
David Berthold (AD Brisbane Festival)
Sue Donnelly (ED Queensland Theatre Company)
Yaron Lifschitz (AD Circa)
Kris Stewart (AD Brisbane Powerhouse)
Lindy Hume (AD Opera Queensland)
Anna Yen (Independent Artist)
Brian Lucas (Independent Artist)

Moderator - Eleanor Jackson

Agenda:
Set the scene: summary of the last few weeks events and general overview
• Proposed changes by Minister Brandis and update (if any) on the National Programme for Excellence in the Arts (NPEA).
• Australia Council of the Arts response and cutting of programs and suspension of six year funding proposition.
• Snapshot of the makeup of the sector as a whole.

Propose three questions to the panel for a 10 minute response – followed by a 10 minute response by the other attendees:

1. How are we interconnected as a sector ? Define our relationships: Independent practitioners, Small to medium companies and Major organisations.
2. What has been jeopardised by the proposed Australia Council changes?
3. What should we do together to ensure we move forward – what constructive action is required?

• Songs played
• Arca - Meditation
• Bjork - Atom Dance
• Blank Mass - Dumb Flesh
• Sui Zhen - Take It All Back

A brief introduction on Charles Esche “touches on aspects of curatorial networking, the pursuit of redefining the institution and its inevitable necessity to affront people, as well as his notion of Experimental Institutionalism, which echoes in his current directorship at Van Abbemuseum, Holland". Of this idea, he says “when he started, in 2000, the concept of an institutional solidarity and that there are groups trying to change institutions together was not really so apparent. There were certain individuals that were interested in similar questions, but in most cases they weren’t really in charge of an institution. Biennales and larger temporary events were the things he, and his friends alike, had access to, rather than institutions. They were concerned with a wider leftist understanding of what institutions could do in terms of emancipation, in terms of community engagement, in terms of art as a potential way in which the reimagining of the world could take place. Esche saw the institution as a tool to investigate this question. Can art be a useful democratic device? A device to install other forms of democracy than the ones we had?”

And from that, we hear Charles Esche give a talk at IMA on the very subject – What Can Art Institutes Do?...

Esche has been a leading voice in curatorial practice for two decades, and has been directing the Van Abbemuseum since 2004.  In 2014, Esche was awarded Bard College’s Audrey Irmas Award for Curatorial Excellence. The prize honours multiple things including his endless commitment to rethinking what art can do and redefining what it can be. Esche has been involved in exhibitions such as the 9th International Istanbul Biennial (2005); and the 4th Gwangju (PRON Gwang-ju) Biennale, Korea (2002), and he curated the 31st Sao Paulo Biennale in 2014.

And with such apprehension, graciously thanking the Australia Council for the Arts for funding their institution, and may we hope continue to fund it in the coming year, amidst such a tremulous Australian art landscape. Also sharing the guest with Monash University.

He begins with a story about his experience with indigenous title and especially in Australia, he is interested the indigenous culture around the world, resonating within Australian artistic landscape, for a declaration of aboriginal nationality and his hopes for the to gain momentum, throughout the world and Australia. The reinvention of the state, the representation of the state and its funding.

And so this is one of the things that art institutions can do, is distribute these types of things, they are in the public sphere and in that they have access to certain voices that are not limited by the media or the ownership of the media. Is to speak about these things and to give voice to these ideas, through the voices of artists and their communities.

He brings to light his ideas that the institution can be a double-ontology, that it does things that privileges Art and at the same time allows such declarations, as we mentioned before, to be made – the institution can be seen then as a double-ontology – allows the institution to be that something else, as well as an art institution.

And with a cheeky start - a dig at the funding cuts to the Australia Council, suspecting he may actually be one of the last international guests brought to Australia given the dire straits situation of the moment… he speaks about the space of an institution, the building/infrastructure, as the physical structure – that that has a lot to do about the institution, and building has now become its height and its fullest, we need to look at the functionality of the art institution. 

BRUCE NAUMAN Suck Cuts, 1973. Lithograph

• Songs played
• M Ward - Story Of An Artist
• Camryn Rothenbury - Racing Across The Void
• Guerre - Travellers Home Blues

First up, Octopus 15 - Lost and Profound

Octopus is Gertrude Contemporary’s annual flagship curatorial exhibition series. It provides a forum for curatorial experimentation by inviting leading curators to devise an exhibition at Gertrude Contemporary. The 15th edition of Octopus is curated by Daniel Mudie Cunningham. Titled Lost and Profound, it considers the interface between obsolescent and new media technologies, exploring themes pertaining to memory, inscription and nostalgia. Cunningham has selected seven artists who utilise readymade objects in their work and subject them to ‘profound renewal and reformatting.’ Cunningham says of the exhibition: ‘The disappearing world where images go to die is the terrain that Lost and Profound navigates. The work in Lost and Profound suggests that memory is a fiction kept warm by the blanket of amnesia that settles as time closes in and obsolescence triumphs.’

The artists’s works he is speaking about are; Elvis Richardson, in collaboration with sound designer James Hayes, where they consider the clues from a found photo album from the 1950s as cues for a visual dossier fusing forensics with fiction.

Patrick Pound unpacks a large selection of found objects and photographs that come under the taxonomy of ‘falling,’ forming part of Pound’s ongoing exploration of the human impulse to categorise, order and curate. 

Up There, a two-channel video by Tina Havelock Stevens, resuscitates 1950s Standard-8 films shot from the perspective of a cockpit by her father, a pilot, through a durational drumming performance in an obsolete plane. Sam Phillips will exhibit a series of her unique album covers, which she makes by adapting old album artwork through collage.

Tara Marynowsky has produced an installation titled MISTER SANDMAN consisting of modified song sheets from the mid-twentieth century that notate lost loves, hopes and dreams. Digital interfaces such as YouTube and text messaging are re-oriented in Peter Maloney’s black and white text paintings, where phrases that one would usually encounter on a screen—such as ‘The YouTube account associated with this video has been terminated’—are rendered obdurate, un-linked.

Giselle Stanborough also works with YouTube to explore the role of memory in our age of ‘obsessive documentation’ to suggest that today’s digital phenomenon of ‘going viral’ is a flipside to photography as an analogue memory totem, susceptible to loss and ruin.

The structure of the exhibition itself, which is situated in both the downstairs galleries at Gertrude Contemporary and the Studio 12 Project Space upstairs, references online digital wunderkammers like Google, eBay and YouTube. It seeks to create a visually overstimulated environment in which different temporalities, and varying digital and non-digital realities rub-up against one another, akin to the experience of searching for information and objects online.

Image: Patrick Pound, The Museum of Falling, detail, 2012, found photograph, courtesy of the artist and Stills Gallery, Sydney.

In their final lecture in the New Eyes New Voices series of presentations supported by the Copyright Agency Cultural Fund, the Power Institute hosted a lecture by Sydney writer and performance artist, Fiona McGregor.

In her lecture Donna Obscura ­– A Look Behind the Veil of Cigdem Aydemir’s ‘Extremist Activity’, McGregor will consider the work of Sydney artist Cigdem Aydemir through the lens of McGregor’s own cultural upbringing.

Born in Sydney in 1983 of Turkish Muslim heritage, Cigdem Aydemir has created a substantial body of work based on the veil. Aydemir’s Extremist Activity melds sculpture, dressmaking and installation to create witty, confronting assemblages activated by the artist herself. Performed in galleries, public spaces, some interactive, others for video, the works interrogate the veiled woman in society, inviting the public to interact with, and sometimes even inhabit, her.

Fiona McGregor is a Sydney writer and performance artist. She has published five books including Strange Museums, a travel memoir of a performance art tour through Poland. Her latest novel Indelible Ink won Age Book of the Year. Inflected with her own experience growing up Orthodox Catholic, this lecture responds to this series of works with an attempt to extend the dialogue initiated by Aydemir, between viewers of the burqa, and the women who wear them.

The Extremist Activity series is an ongoing project that presents a tongue-in-cheek look at the stereotype of Muslim extremeness. Forms worn on the body create and exaggerate voids whilst parodying the proper concealment, or disclosure, of that space. Originally conceived of as a response to the xenophobic notion of the niqab and burqa being a security threat, Extremist Activity more broadly explores issues of Islamophobia and feminism. Aydemir's practice engages with issues that intersect with race, religion and gender. Much of her work interrogates the void between body and dress as well as its social and political implications. 

Image: Cigdem Aydemir  Extremist Activity (mount), 2012 

• Songs played
• Tina Turner - Proud Mary
• Gold Tango - Telescope
• CocoRosie - Gravediggress
• Ghost_ - Seqe (feat. Black Pyramid)

Simon Maindement is a curator at the National Gallery of Victoria, which is currently hosting an exhibition by New York-based artist, Ryan Trecartin. Trecartin explores a plethora of concepts including image saturation and the internet via moving images and installations. His work, 'Re’Search Wait’S' is on show at the NGV until mid September. Sarah Werkmeister sat down with Maidment to discuss the exhibition, the concepts around post-internet art, and how Ryan Trecartin uses these tropes of film, internet and installation within his work.
They're talking about the show Re’Search Wait’S. Simon and Sarah discuss how Trecartin came to be and the concepts around post-internet art, self-performativity in the internet age, and about the difference between 'installation' and 'sculptural theatre'.

Ryan Trecartin, still from 'The Re’Search (Re’Search Wait’S)' (2009-10)

Andrew finds our how Bek Conroy came upon the idea to date economists and the results she hopes to find out. Using a bunch of ideas drawn from Jean Francois Lyotard’s text “Libidinal Economy”, Rebecca will salaciously bend these thoughts into a seductive dinner conversation with 6 amazing economists, extracting the surplus value of their ideas to enhance her understanding of the artist in the age of enterprise culture. As the furious pace of neoliberalism continues to transform every space, body and desire into an air bnb equivalent — what are the options for those of us who still believe in ‘free love’? Can radical acts of creation and intervention avoid being recuperated by the death machine? What does it mean to be a freelance artist under finance capitalism?

A Very Beautiful Laundromat - Bek Conroy

• Songs played
• Ariel Pink - Picture Me Gone
• Planningtorock - All Love's Legal
• Planningtorock - Patriarchy Over & Out

This episode we look at an exhibition currently running at UQ University of Queensland Art Museum titled Cross Pose – Body language against the grain. It brings together Australian artworks from The University of Queensland Art Collection that draw on the human body as expressions of cross-cultural subjectivities and visual politics. The visual languages of the body in these artworks ‘pose’ questions, challenges, and interventions into normative thinking. We confront bodies generating ideas and emotions that are beyond the scope of words, and respond to sensory triggers aimed at realigning social attitudes and political thinking.

The exhibition takes the measure of how artists map the social and political regulation of the body, and how individuals push back against this control. The selected artworks are predominantly by Indigenous Australians who draw on a life-long expertise in negotiating different cultures and languages to both declare and contest the status of subjectivity and identity.

Cross Pose thus presents a rare occasion where non-Indigenous perspectives adopt the role of counterpoint in narratives about Australian cultures. Artists include Dave Hullfish Bailey + Sam Watson, Gordon Bennett, Michael Cook, Debbie Coombes, Ray Crooke, Robert Dowling, Mabel Edmunds, Samantha Hobson, Christopher Pease, Luke Roberts, and Darren Siwes.

The exhibition runs until 9 august and opened on Friday 15^th may with this inconversation between curator Dr Sally Butler and artist Darren Siwes.

We hear from Sally Butler and Darren Siwes discussing the themes behind Cross Pose – Body Language Against The Grain, and introduce the reasons behind the theme and selected works of Darren Siwes as the main instigation for the exhibition. Darren is a South Australian artist of Indigenous Aboriginal and Dutch descent, working predominately in photography, his piece Cross Pose derived from Da Vinci’s The Vir-tru-vian Man, using female indigenous figures.

Darren Siwes, a self described multicultural Australian who embraces his cultural heritage to the fullest, discussing his work Cross Pose and its origin - learnings from Leonardo da Vinci and the most famous drawing in history, His Vir-tru-vian Man. Da Vinci’s vision of the world. Looking at his work Cross Pose, Darren spoke about this familiarity, simple beauty, the natural, nature aspect – from such a complex algorithm, there is so much evidence in nature and also within humans, the perfection within the build of form. Such a strong base for his piece, to demonstrate enlightenment and the mathematical hieratical structure of being, this great chain of being and the golden ratio – with regards to contemporary Australian indigenous culture and integration to white Australia and its socio / political sphere. 

Darren Siwes Marrkidj Wurd-ko (Cross Pose) Group 2011 From the series ‘Dalabon Dalok (Dalabon Woman)’ Collection of The University of Queensland

Peter Hennessey: Making it real screening series part two: 

Speculative Ethnographies /Science Fiction

We also hear about a film program in response and shown concurrently alongside a major career survey that reflects on the past decade of Peter Hennessey’s practice. Trained as an architect, Hennessey has established an international profile for his physically imposing, conceptually rigorous sculptures.

The response to this Peter Hennessy exhibition, is called 'Making it real' screening series, and the latest in the series of 3 is part two: Speculative Ethnographies / Science Fiction.

Films arranged by John Edmond, Associate Curator (Film), UQ Art Museum. The films shown in series two were 2 experimental films, from Ben Rivers with Slow Action and Jeremy Shaw with Quickeners. John Edmond discusses the relationship between Hennessey’s work and the films selected in the exhibitions' response. Trained as an architect, Hennessey has established an international profile for his physically imposing, conceptually rigorous sculptures. He is inspired by the science of space exploration and comparable technological advances, and scours the Internet and other publicly available information to produce his work. The resulting sculptures are ‘re-enactments’ of objects that allow people to encounter in three-dimensions what they would otherwise only see in reproduction, or on the Web. In recreating these structures, Hennessey explores the ‘space between images and experience’ and expounds on related social, political and economic imperatives.

Slow Action being a post-apocalyptic science-fiction film which exists somewhere between documentary, ethnographic study and fiction. And Quickeners which is about the south-eastern portion of Area 23 – a deserted and derelict region once known in the late age of human civilisation as the Americas – a tiny population of ‘Quantum Humans’ have been gathering, meeting together under a common bond. 

Quickeners (still) courtesy of Johann König, Berlin

SERIES TWO FLIMS: 

Slow Action   Ben Rivers 2010   45 minutes
Courtesy of LUX, UK

Quickeners Jeremy Shaw 2014  36 minutes
Courtesy of Johann König, Berlin

• Songs played
• Paul Charlier - We can really do this / Time Poor
• Primitive Motion - Nebula Lagoon
• Clingtone - The Intruders
• Xiu Xiu - Buzz Saw
• Mary Ocher - Heart Man
• Xiu Xiu - Hi

We speak with Kelly Doley about her new work Cold Calling; A Revolution, that we will hear later on, somewhat of a radio play, to hear what this project is about and how it has been developed.

For each piece the artist cold calls the citizens from the phonebook asking them about revolution. Each response to the question she posed, ‘If there was a revolution, what would it look like?’ is recorded and documented as part of the installation, forming a picture of social and or political revolution as informed by the particular locality. 

The first time this project was created was titled by location, Cold Calling A Revolution (Sydney Residential A - Z), as part of SafARI, in Sydney 2014. Currently its in its second phase at Australian Experimental Art Foundation, Performance Presence / Video Time. The exhibition has elements of video and performance, hence the title, and has elements of Video Time — where the video exhibition explores various genres in performance art through single and dual-screen video works and installations. It will include documentation of live events and performance made exclusively for screen. And Performance Presence — the performance program will accompany the gallery-based exhibition, bringing together artists across generations with a focus on new works and delegated performances. During AEAF, Kelly’s performance piece was delegated to Ashton Malcolm and locally the piece is titled Cold Calling A Revolution - Adelaide Residential A-Z.

Kelly is a PhD candidate at UNSW Art and Design where she is researching feminist socially engaged performance practice and is an artist in a year-long residence at Artspace, Sydney. 

We first hear her piece Cold Calling A Revolution – Sydney Residential A-Z, and then hear Kelly discuss the work - do we see 'revolution' as outmoded, much like the rotarty dial telephone used in the performance...  

This content was first preseneted on air by Canvas on FBi Radio Sydney.

Next we hear about Electrofringe @ the IRL Festival currently on until 16^th May at Brisbane Powerhouse.

Electrofringe @ IRL is an exhibition that presents eight artists with works that respond to and reimagine the connections between the real and virtual, exploring alternate realities, from the artificial and the imagined to the everyday. Audiences are invited to experience new landscapes, to ponder whether there really is a difference between “here” and “there”.

We speak with Electrofringe Artistic Director, Roslyn Helper and one of the artists exhibiting, Tully Arnot, about the work Electrofringe curated into the program and their take on the line in the sand around IRL (in real life) vs the virtual realm. Tully Arnot presents “Meadow”, a mechanical installation made from 1,000 solar powered rotating display stands with green straws, designed to mimic the familiar digital computer imagery of grass blowing in an imperceptible breeze. Notice the touch of melancholic irony, in that Arnot has designed this “real life” grass to imitate virtual grass, which was originally designed to imitate real life grass.

Tully Arnot - Meadow - as part of Electrofringe @ IRL, Brisbane Powerhouse

ABOUT IRL DIGITAL FESTIVAL

IRL Digital Festival is Brisbane Powerhouse’s inaugural celebration of video games, technology and art. The festival takes over the venue for 10 days and nights and everyone is invited to come and play.

BRISBANE POWERHOUSE is an arts and cultural hub dedicated to contemporary culture and engaging experiences through its programming of unique events, exhibitions and festivals.

w: brisbanepowerhouse.org | f:  Brisbane Powerhouse | t: @Bris_Powerhouse

ELECTROFRINGE is a presenting platform for experimental electronic and tech-based art in Australia. Through an annual program of unique exhibitions and events, Electrofringe seeks to foster innovative works and creative practices that use technology in new and exciting ways.
w: electrofringe.net | f: Electrofringe | t: @electrofringe

• Songs played
• Leila - Relax The Pleasuredome
• Aphex Twin - fz pseudotimestretch+E+3 [138.85]
• Mark Barrage - Rubicon Drive
• Chris Petro - sun 2 16 14
• Aphex Twin - xmas_EVET10 [120] [thanaton3 mix]