STUDIONONSTOP

THE LAB

Open residency project
Ocular Lab
West Brunswick

WEEK TWO

NOTES.

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Clover seeds pushing up through soil and sprouting.

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The red rose Bianca brought on my first day, opening and changing.

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BEING
THERE.

One Day Sculpture: An International Symposium on Art, Time and Place
26th-28th March 2009
Wellington, Aotearoa New Zealand

In the late summer I was fortunate to be able to combine a visit to a friend on New Zealand’s Kapiti Coast with attendance of the One Day Sculpture symposium in Wellington. Conceived by the Litmus Research Initiative within the Massey University School of Fine Arts and creatively directed by UK-based curator Claire Doherty, the One Day Sculpture project was a one-year program of twenty temporal public works by local and international contemporary artists staged across the North and South islands. Lasting more or less twenty four hours each, the projects were realised Cuckoo-style (1), commissioned in partnership with a suite of institutions including museums, public and artist-run galleries and thereby nesting into a wide range of organisational resources. Instrumental to the accompanying discursive program – together with public discussions, responsive critical texts and a rich website of documentation and recommended reading – the symposium was held over two days at the Museum of New Zealand Te Papa Tongarewa. It featured a dynamic range of local, regional and international critics, academics, curators and practitioners and was timed to coincide with the presentation of two of the One Day Sculpture projects in Wellington.

I’d been drawn to attend by the dynamic structure of parallel session streams – academic papers, close text readings and project case studies, bracketed by keynote and positioning papers and panel discussions – from which delegates could fashion their own symposium experience according to their leanings. Mine were toward the strong foregrounding of practitioner voices via the project case study sessions with One Day Sculpture participating artists. This composite structure suggested a malleability running counter to my prior experience of contemporary arts forums – though this was the first time I’d been at a symposium as a delegate, not before having been able to afford the cost of registration fees or loss of paid work time. Conferences and symposia tend to privilege arts industry professionals over producers, being typically staged on weekdays, when institutions can despatch their employees to attend in work time in continuance with paid work duties. Showing up on my own money and my own terms, my experience of the symposium was of an abundant, stimulating but ultimately overwhelming program that left me musing on some reverberating motifs of expectation, interjection and locality. And the distinct gaps between situated and secondary viewing and the specialised research community of contemporary art and the real live world. Continue Reading »

One Day Sculpture
A New Zealand-wide series of temporary artworks.
Symposium and Readings
Wellington
Aeotearoa NZ

image courtesy of Firstdraft

Notes on a state of conversation

essay commissioned and originally published
Runway
Issue 11: Conversation
edited by Anneke Jaspers
Winter 2008

download pdf of full text here [64KB]

HOW DO WE COMMUNICATE?
On the short term, phones and email can be used
to arrange meetings. But they often fail to provide
the impetus that actually brings people in
dialogue with one another. They act as alibis for
the commitment that may or may not be sufficiently
developed between people. Given the event-led
cultural economy we live in today, communication
after the fact proves to be the weakest link in
our development. One might envisage setting up
an AGENCY FOR AFTERMATH COMMUNICATIONS in
art practice… Face to face contact is precious.

– Clementine Deliss (1)

Over a recent three-week period I was immersed in an incidental but noticeable sequence of visual arts dialogue events and encounters. These seem useful material for a part round-up, part temperature check on how occasions to talk to each other – as artists, audiences, people, peers, and communities – are being generated out of local practices, projects and spaces. On the varying qualities of these occasions, differing approaches to facilitation, and the meaningful potential and effects of thoughtful discursive practice. Continue Reading »

 
 
 
 
 
 

week 3.

2.
Field
Work

Lisa Kelly
Dennis Tan

4th – 18th October 2008
open & in progress wed-sun 11-5pm

opening event: Friday 3rd October 6-8pm
closing event: Saturday 18th October 2pm til sunset

Chrissie Cotter Gallery
[rear of Camperdown Bowling Club]
Pidcock St Camperdown NSW 2050

room plan [32KB] & room list [80KB] as at opening

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CONES OF ZONTACT
forum

speakers: Reuben Keehan, Ian Milliss, Zanny Begg, Margaret Mayhew

10.06.2006

Loose projects
Sydney

forum coordinated by Anne Kay & Lisa Kelly
in response to Zones of Contact 2006 Biennale of Sydney
curated by Charles Merewether

Cones of Zontact forum, publication & exhibition: gathering & browsing

ANNE KAY__ Thanks, we might get started. Thanks so much for coming. Lisa and I organised this as part of Loose. Does everyone know that there’s ten of us in Loose? There’s info of the website if you’re interested, but it’s not just us two. A few of us are here, like Philipa [Veitch], Alex [Gawronski], Jane [Polkinghorne], Mark [Titmarsh]. Yeah, I don’t know, do you want to talk a bit about the project?

LISA KELLY__Yeah. So we’re sitting inside headquarters of Cones of Zontact, which is a publication project that we came up with. When we started Loose, we pretty much figured on operating as a cooperative kind of project where everyone took a month of the program and devised their own project within that. But in June and the Biennale, and with us having opened quite recently, we were quite keen to do some kind of point of response to the Biennale of Sydney. And as a lot of people here who have participated in the project will appreciate, our interest was to do something that included as many artists living and working in Sydney as possible. Being an observation or counterpoint to the fact that there’s only one Sydney based artist in the Zones of Contact exhibition: Ruark Lewis. The infamous Ruark Lewis…

So the intention of this forum is, it’s a loose forum, it’s just to create some informal kind of space for dialogue around issues of points of relationship between large organisational structures, international and national structures, like biennales, and how they kind of relate to ground level artists’ communities in the cities that they occur in. Whether that’s Sydney, or other people might have experience of biennales in other cities…

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download pdf [4.8MB] of full transcript and images from tape 1
[transcribed by LK & AK from poor audio recording]
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edited highlights of discussion from tape 2 available for listening as mp3 here

for transcript excerpts Continue Reading »