TIME MACHINE Exhibition

The Time Machine Exhibition presents works that explore temporality and presence.

Artists: Lachlan Anthony, Michael Candy & Andrew McLellan; Tim Bruniges; Sarah Byrne; Adnan Chowdhury; Creo Nova; Shane Haseman; Zoe Robertson; and Alex White.

Dates: 18.07.12 – 29.07.12
Times: Mon-Fri (4-9pm) Sat-Sun (12-9pm)

Location: Serial 002

FULL TIME MACHINE PROGRAM

Lachlan Anthony, Michael Candy & Andrew McLellan
Age of Ease
Performance Installation

Age of Ease is an open, participatory environment of auto-destructive architecture. Brisbane artists Andrew McLellan, Michael Candy and Lachlan Anthony will award several machinations to break the embedded restraints experienced under happy duress, creating an alternative ideal: an alternative Age of Ease. TVs, fluorescent light tubes and ceramic tiles will be brought under the affirmative freedom of mechanical hammers, mouths and turbines.

Michael Candy is a Brisbane-based new media/kinetic artist with a specific interest in mimesis, technological archetypes and the discourse that exists within these contemporary parallels.

Andrew McLellan is a Brisbane-based artist who spends his quality time on Cured Pink: a project that works within self-built instrumentation, ludic robotocism, crowd dissuasion, apolitical public intervention and audio engineering.

Lachlan Anthony is a Melbourne-based sculpture and installation artist. His practice maps the values of social culture in consumer lifestyles within zones such as the home, the office, the mall and most recently, the franchise gym.

Tim Bruniges
Continuum
Installation

Continuum is a quadraphonic sound and light installation. The work explores the paradoxical notion of ‘perpetual ending’ using illusory phenomena to connect predictable experience with a sense of implausibility.

Tim Bruniges is a Sydney-based artist and musician who makes work using sound and light to explore notions of space and time. Often taking the form of site-specific installations, the works are explorations of the fallibility of memory, perception and illusion. Bruniges’ process explores interaction, the aesthetics of analog and digital process and the nexus points where narrative, abstraction and experience meet.

Sarah Byrne
Boredom Cure
Installation

Boredom Cure is an installation utilising looped VHS scratch tapes, showcasing manically edited footage taken from The ABC of Love and Sex: Australia Style (1978). Each screen depicts a repetitious loop of adult-based footage, conducting a playful “back and forth” conversation between the seven screens. This dialogue shifts and changes as sequences and loops repetitiously alter, thus directing screen conversations to become inherently more intensive and hysterical.

Sarah Byrne is a Brisbane-based artist, operating across experimental platforms of contemporary video/sound practice and outsider curation. Byrne’s artistic practice investigates conceptual and material forms of noise and the temporal disruption of psychological, physical and screen space, explored through mediums of installation performativity and video-generated environments. Placing emphasis upon repetition, glitch and non-sensical dialectics of dated video materials, Sarah creates alienated spaces for the uncomfortable, uncanny and nostalgic –  often focusing upon dark humorist notions of trash television and video consumption overload.

Adnan Chowdhury
STONEWORK
HD Video

Set in a stoneworks at the edge of a great river in Dhaka, Chowdhury’s film is an exploration into how far our anthropomorphic desires go. Time here is elongated by the nature of the work, and made regular by the chant of machines. The machines have personalities and they have relationships—both amongst themselves and with the human workers around them.

Adnan Chowdhury is a Dhaka and Sydney based artist who works primarily in digital film and photography. His short film, ‘Omission’, won the prestigious Gold Award for 2011 at the Australian Cinematographers Society Awards (NSW). His work concentrates on the instability and distrust of dominant narratives and perspectives that comes from being an highly assimilated outsider. Currently he is in postproduction of his feature length film set in Bangladesh.

Creo Nova
Genesis of Biosynthia

Installation

Genesis of Biosynthiais an installation devised by the collaborative duo Creo Nova: Alex Cuffe and Benjamin Kolaitis. Genesis of Biosynthia provides an interactive platform for the audience to sonically engage with plant matter. Ideas surrounding cartesian duality between forms of nature and science are inherent to this work. Through melding artificial and organic materials and processes within the construction of the installation, the project hopes to shed light on how these two forms can, and do, interact with each other. https://vimeo.com/44645036

Benjamin Kolaitis is a Melbourne-based sound and sculptural artist. He currently works with electronics and programming in developing sound sculptures, invented instruments and improvised performances. Conceptually Ben’s focus is to engage the audience to interact with new forms of gestural control and interactive tools such as fruit, light, graphite drawings and touch controlling sound, light and video through handmade MIDI gestural controls.

Alex Cuffe is a Melbourne-based multi-disciplinary artist who works across sculpture, installation and experimental sound. In his practice, Cuffe approaches the materiality of objects in relation to convoluted theories drawn from science, geometry, astrology, kinetics and acoustics. His works utilise the aesthetics of the ‘backyard inventor’ where lo-fi materials and natural matter coalesce, transformed through new media technologies.

Shane Haseman
I,II,VI,IX
Performance Installation

I,II,VI,IX
is a performance that responds to the temporal aspect implied by the festival’s title. In this sense, it will involve producing a real time performance that uses ‘actors’ – or, at least, individuals to perform an action or series of actions based on pre-set directives. The performance will respond to the formal and textual aspects specific to the site, while also dealing with themes common to Haseman’s practice – repetition, the reanimation of the archive of arts modernism, and the complex recuperation of the historical avant-garde into the syntax of contemporary cultural discourse.

Working across painting, sculpture, performance and installation environments, Shane Haseman is interested in the visual languages of early 20th-century avant-garde and how these have been assimilated and essentially negated by late 20th-century interior design styles. In drawing this connection, Haseman’s work recalls historical avant-garde’s attendant accounts of the end of art and explores the ways in which these continue, or might continue, to be contemporary.

I, II, VI, IX performed by Lizzie Thompson and Brian Fuata.

Zoe Robertson
Monument to a Deserter (after Paul Thek)
Performance Installation

Paul Thek famously made a life-sized sculpture of his own corpse that he called The Tomb, and everyone else called Death of a Hippy. He died of AIDs in poverty in New York in the 1990s, thus finally proving that abjection knows no end, even as “the death of the author” would have had done with it, with greater agency to be found in self-denial. As tribute to the semantic absurdity of sustainability, Zoe will build a monument to a deserter, carving a life-sized self-portrait out of soap made from used fryer oil, rattle off history as imagery, abuse language for pleasure, through tales of self-abuse in the name of the free.

Zoe M. Robertson is a Sydney-based poet, performer, sound artist, sculptor, prop-builder, installer and video maker. For time immemorial Zoe has been adulterating form in order to promote her void. This year Zoe is completing Honours in Painting at Sydney College of the Arts and has exhibited work at Alaska Projects and MOP Projects.

Alex White
De-Composite

Installation

De-Composite exploits analog video encoding systems including composite video to produce a video form. These systems were ubiquitous and central to television, video and gaming production and consumption for decades and are now rapidly approaching obsolescence. There is a fluidity and immediacy to directly engaging and interrupting these analog systems and also an opacity of function encouraging a reliance upon cause and effect, trial and error rather than conception and execution. De-Composite utilises movement and configurations of person(s) within the space of the installation as modulation sources to synthesize a real time generated hybrid analog / digital video projection with stereo audio.

Alex White has an intense interest in synthesis as applied to audio and video. For more than 10 years he has created his own software-based instruments and more recently has begun utilising a modular synthesizer for both audio and video performances and installations.  

Image Credit: Creo Nova