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Amanda Beech, Mikko Canini, Justin Clemens, Harun Farocki , Bea Gibson, Melanie Gilligan, Maryam Jafri, Pil and Galia Kollectiv, Nikolas Pantazis, Cerith Wyn Evans . Curated by Bridget Crone
What is the status of the image today? Where does the image start and stop? Characterised by the speed of its dissemination, the image might be understood as the transmission of digital information, as a fleeting visual impression, as affective experience, as an important factor in the gaining of knowledge, expanded, compressed, archival, educative, celebratory and informal... It might be all or none of these. Contingent. Staged. A restitution. A refusal. Greetings comrades... is a discussion around the question of the image (particularly in relation to the image in film/video and text) and its role in contemporary culture, its purpose and affect. Greetings comrades... will take the form of two screening programmes of artists' film and video, and a reading by Justin Clemens from his new book, Villain; s elected works from the screenings will also be exhibited in the gallery space alongside a single work on paper by Nikolas Pantazis, Neon Lights 2008. [* Kodwo Eshun, February 2009.] [Screening programme one] Cut up. Immersion. Immersion. Dispersion. Restitution. Immersion. Sunday 2 August, 15.00 hrs Justin Clemens, Villain 2009 (reading) Pil and Galia Kollectiv, Another Proof of the Preceding Theory 2008 Maryam Jafri, A Staged Archive 2008 Cerith Wyn Evans, Degrees of Blindness 1988 [Screening programme two] Immersion. Dispersion. Cut up. Cut up. Restitution. Saturday 8 August, 15.00 hrs Bea Gibson, A Necessary Music 2008 Melanie Gilligan, Crisis in the Credit System 2008 Amanda Beech, Statecraft 2008 Harun Farocki, Inextinguishable Fire 1969 Sunday, 9 August, 15.00hrs Harun Farocki, Prison Images
Those interested in attending a reading and discussion group focussing on ideas of contingency in relation to the image and the event, please contact bridget_crone[at]mac.com
Amanda Beech, Mikko Canini, Justin Clemens, Harun Farocki , Bea Gibson, Melanie Gilligan, Maryam Jafri, Pil and Galia Kollectiv, Nikolas Pantazis, Cerith Wyn Evans . Curated by Bridget Crone
What is the status of the image today? Where does the image start and stop? Characterised by the speed of its dissemination, the image might be understood as the transmission of digital information, as a fleeting visual impression, as affective experience, as an important factor in the gaining of knowledge, expanded, compressed, archival, educative, celebratory and informal... It might be all or none of these. Contingent. Staged. A restitution. A refusal. Greetings comrades... is a discussion around the question of the image (particularly in relation to the image in film/video and text) and its role in contemporary culture, its purpose and affect. Greetings comrades... will take the form of two screening programmes of artists' film and video, and a reading by Justin Clemens from his new book, Villain; s elected works from the screenings will also be exhibited in the gallery space alongside a single work on paper by Nikolas Pantazis, Neon Lights 2008. [* Kodwo Eshun, February 2009.] [Screening programme one] Cut up. Immersion. Immersion. Dispersion. Restitution. Immersion. Sunday 2 August, 15.00 hrs Justin Clemens, Villain 2009 (reading) Pil and Galia Kollectiv, Another Proof of the Preceding Theory 2008 Maryam Jafri, A Staged Archive 2008 Cerith Wyn Evans, Degrees of Blindness 1988 [Screening programme two] Immersion. Dispersion. Cut up. Cut up. Restitution. Saturday 8 August, 15.00 hrs Bea Gibson, A Necessary Music 2008 Melanie Gilligan, Crisis in the Credit System 2008 Amanda Beech, Statecraft 2008 Harun Farocki, Inextinguishable Fire 1969 Sunday, 9 August, 15.00hrs Harun Farocki, Prison Images
Those interested in attending a reading and discussion group focussing on ideas of contingency in relation to the image and the event, please contact bridget_crone[at]mac.com Revised Program Greetings comrades, the image has now changed its status* Amanda Beech, Mikko Canini, Justin Clemens, Harun Farocki, Bea Gibson, Melanie Gilligan, Maryam Jafri, Pil and Galia Kollectiv, Nikolas Pantazis, Cerith Wyn Evans. Curated by Bridget Crone. [* Kodwo Eshun, February 2009.] What is the status of the image today? Where does the image start and stop? Characterised by the speed of its dissemination, the image might be understood as the transmission of digital information, as a fleeting visual impression, as affective experience, as an important factor in the gaining of knowledge, expanded, compressed, archival, educative, celebratory and informal... It might be all or none of these. Contingent. Staged. A restitution. A refusal. [Screening programme two] Immersion. Dispersion. Cut up. Cut up. Restitution. Saturday 8 August, 15.00 hrs 15.00hrs Amanda Beech, Statecraft 2008, 11min 30 Score, Joe McMonagle. Filmed on location in Harlow, Essex, the film Statecraft moves through a brutalist housing estate to the architect's retreat pushing forward in a relentless stream of manifesto like text with a trance-like synth score. Through an accumulation of evidence, speculation, hypothesis and ideologies, the work exercises the often disturbing legacy that culture's ideals hold for social freedom. 15.30hrs Melanie Gilligan, Crisis in the Credit System 2008 38" A four-part drama dealing with the credit crisis. A major investment bank runs a brainstorming and role-playing session for its employees, asking them to come up with strategies for coping with today's dangerous financial climate. Role-playing their way into increasingly bizarre scenarios, they find themselves drawing disturbing conclusions about the deeper significance of the crisis and its effects beyond the world of finance. 16.10hrs Beatrice Gibson, A Necessary Music 2008, 20" Composer, Alex Waterman. Narrator, Robert Ashley. A science fiction film about modernist social housing set on Roosevelt Island, which houses one of New York's most visible, yet little-known modernist housing projects. A musically conceived piece referencing the video operas of Robert Ashley, the film explores the social imaginary of a utopian landscape through directed attention to the voices that inhabit it. INTERVAL - DRINKS AVAILABLE 17.00hrs Harun Farocki, Inextinguishable Fire 1969 25" 17.30hrs Harun Farocki, Prison Pictures 1996 60" This is a rare opportunity to see the work of the renown film-maker, artist, documentary maker Harun Farocki in Melbourne. His most recent work, Immersion explores the use of virtual reality in both the training of the US Army in preparation for war and the "healing" of returning soldiers suffering from post traumatic stress disorder; a case of the image recouping the image. *** For those that wish to attend, there will be a discussion group addressing - contingency, the image and the event on Friday 7 August, 14.00hrs at the University of Melbourne. Please email bridget_crone[at]mac.com if you would like a copy of the reading and to attend.
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