Out of the Blue Tracks 1 and 2
from the series True Blue
ProjectorFour presents Projector a screening of video works by national and international artists selected from various curators that take place on a bimonthly basis and are free. Films screened at Four present a chance to view an eclectic range of moving image work, from films and videos. Reservations are suggested.
A screening of video works by Australian artists
Curated by Kate Murphy
Broadstone Gallery and Studios
Hendrons Building, Dominick St., Dublin 7
JUNE 1, 2007 8:30pm
Kate Murphy graduated from the Canberra School of Art, Australian National University in 1999. Murphy is the recipient of the 2004 Helen Lempriere Travelling Art Scholarship. In 2005 she completed a Master of Fine Arts at the College of Fine Arts, University of New South Wales, Sydney. Her most recent solo exhibition, Placing the Camera was held at Performance Space, Sydney in July 2005. In 2006 she is undertaking the Helen Lempriere Travelling Art Scholarship to New York, U.K. and Ireland where she is international artist in residence at the Fire Station Artists’ Studios in Dublin.
David Mackenzie & Craig Bender
Ms & Mr
The Airhostess is part of a four channel video installation titled The Chrissy Diaries which presents four case studies, namely, The Princess, The Airhostess, The Cheerleader, and The Bikini Model. Through the persona of a character called Chrissy, Behm participated in the social and professional activities surrounding each archetype. In The Airhostess, Chrissy is depicted in the desert struggling with a parachute. How did she get there? Was there a plane crash? While this may explain her situation, Chrissy is seen to be still in uniform and upholding her archetypal characteristics. Chrissy’s struggle with the chute suggests an attempt to escape the bind she finds herself in.
Out of the Blue Tracks 1 and 2
from the series True Blue
Out of the Blue looks at how one can recontextualize classic Australian films via a current-day cinematic perspective. The series investigates how the perceptions of Australian cultural identity through films and film locations can alter amongst a rising tide of nationalism. Out of the Blue uses the Cronulla riots, Romper Stomper and Dogs in Space to comment on the state of contemporary Australian film culture and how political shifts can affect national representation.
4 min 30 sec
In a world of media images and imagination, we are separated directly from the events of real space and time via the representation of television. As simulators are designed to escape the accident so to is society growing more separate from its very self, a form of self imposed escapism. RUT takes the ritualisation of city passage and navigation and jams it hard up against patterns of video speed / space. A slow-mo antagonist weaves through this system eventually ending up on a collision coarse with himself. Shot in one take over 6 hours RUT ramps a city from 10 frames per second to over 30,000. Even the fastest of movements become a single still frame.
CRAIG BENDER & DAVID MACKENZIE
Long acre fire trail
A video recording shot from a moving car captures the surrounding landscape of the Belanglo state forest, about 150 kilometres south west of Sydney, where, in 1992, the decomposing bodies of seven travelers were discovered. As the video progresses deeper into the bush, the image begins to deteriorate. The camera struggles towards the end of its functional life. Originally screened at the figtree theatre at UNSW, Sydney in April this year, the bizarre and often disturbing conversations picked up by a radio scanner, were fed back live into the theatre, overlaying the video. An uncanny dialogue emerges between the scanners live signal and the decaying video image.
The Erotic and Romantic Alphabets
Unexpected congruencies between the romantic and the sexual are revealed by this humorous quickie that bases its form on the linguistic structure of desire. This short, witty flash card sequence suggests that only difference between 'love' and 'lust' is a few letters.
Continuing the use of multiple cameras as a process to record both fact and fiction, Murphy placed a video camera into the hands of her subjects. There are two subjects this time: her 90 year old grandfather and 86 year old grandmother. As they move through the rooms of the house they have occupied together for 70 years, passing the recording camera to each other, Murphy too focuses her camera (an observational camera) on the interaction that occurs between the two subjects.
MS & MR
The Wedding Video
1999 - 2006
3 min 30 sec
Being a viewer of performance art is not dissimilar to being guests at a wedding. As either kind of guest, you are likely to be willingly or unwillingly made complicit in the staging of the event and further likely to be documented in the act on video. The two traditions, commonly in defiance of the usual rules of entertainment, often leave bystanders suspended somewhere between embarrassment and sincerity. In 1999, Ms & Mr tied the knot on these two traditions. Later that year, a relative of the couple handed the couple an unsolicited although beautifully laboured VHS document of the event. Six years later Ms & Mr re-enter the work as participants and bystanders of their own performance.
I’m waiting for my real life to begin
I’m waiting for my real life to begin, operates somewhere between a constructed scenario and a candid slice of life, captured by the objective, static eye of the camera. The artist is seen cycling furiously on an exercise bicycle in a suburban home garage/studio whilst singing selected lines from the recent Gwen Stefani pop song ‘What are you waiting for’? The self-deprecating set-up is as banal as it is poignant. Just when the audience is led to believe the action is over and the vision fades to black, an unscripted outtake appears, expanding on the artist’s cringe worthy predicament. By revealing an intensely personal struggle, the work addresses broader issues associated with success, contemporary art practice and the construction of identity.
Tokyo Exercises Suite
Sam Smith created Tokyo Exercises Suite on a residency in Japan. The piece draws upon his experience exploring a new environment, but shifts the figure of the traveller into a virtual realm. Investigating video as a medium for fantasy, the artist moves into a hypothetical landscape of video green and blue screen. Collapsing video and computer technology into fiction, Smith harnesses special effects to portal himself through blue and green screens, defy gravity, and magically disconnect his fingers from his hand. Tokyo Exercises Suite presents documentary style footage alongside seamless scenes of illusion, as the work is based in the physical act of performing a series of tasks.
Dawn of Remix
Dawn of Remix is a scratch video that was edited together using samples from Stanley Kubrick’s ‘2001: A Space Odyssey’ and the LL Cool J track ‘Can’t Live Without My Radio’. The original scene from 2001 documents the very first moment an ape understood how to create a tool - he picks up a bone and realises how it can be wielded as a weapon. Dawn of Remix playfully conflates this historical act of re-use with the evolution of audio remixing in hip-hop culture.
By the sea
Giving a renewed and refreshing voice to the ‘hopeless romantic’ McMillan takes us on a journey which is both emotive and humorous. His videos often draw on art historical references such as the romantic painter Caser David Friedrich’s Monk by the Sea 1809. In By the Sea 2004, McMillan stood upon the Sydney coastline looking out to sea in an endurance performance that lasted for twelve hours. The resulting sped up video sees McMillan replace Friedrich’s monk, similarly to the original work this depiction has the artist forever contemplating the bleakness of the unknown, however where the monk was still, and Stoic, McMillan shivers and shakes; the profound is now the neurotic.
Man (with cold) - Monday #1
Made during an actual bout of the cold, the viewer is exposed to a stylised autobiographical document into the process of Volich's recovery from his sickness. Carefully edited into a series of short chapters punctuated by a gradual climax of Volich's body showing signs of recuperation, this piece represents a common play of an abject humour found through juxtaposed ideas of the live body, the absent object and site specificity prevalent in Volich's body of work. Idiosyncratic, perverse and naïve, Man (with cold) - Monday #1 also plays with dramatic tension using the most base and juvenile of all humour - the human body. With his simplistic use of time and his clever play with duration, Volich's self portrait gradually no longer renders his image into a base document of a person merely being sick, but engages the viewer into a potential conversation around the performance of portraiture and the authenticity of it's representation.