RMIT Gallery delights at White Night Melbourne

crowds A steady stream of enthusiastic art lovers flocked to RMIT Gallery for the last night of Experimenta Recharge – an interactive exhibition of media art. To the hum of the music around the nearby State Library,  patrons played with the art works, delighting especially in Brazilian artist Anasia’s Franco’s “Emanating Happiness”. white night happiness Anaisa Franco works with robotics and low-fi electronics to produce interactive sculptures and installation that connect mechanical processes with the subconscious human mind.   “Emanating Happiness” was developed during an artist in residence program at Creative and Cognition Studios, University of Technology, Sydney as part of the EMARE AUS CDN Move On Exchange (European media artists in residence in exchange with Australia and Canada). This program is supported by the Culture 2013 Programme of the European Commission and the Goethe Institute. teeth Inspired by psychology, dreams and the possibilities inherent in DIY electrical engineering, Franco animates objects – such as her reactive shattering mirror “Frustration” (below) with behaviours and feelings to blur the boundaries between body, mind and machine.

franco mirror crowd

Franco’s work “Paranoia” 2010, a reactive sculpture, had audiences reaching for their phones to record the false teeth screaming and laughing. Instant replays were viewed as people left the gallery – a lingering memento of Experimenta Recharge ready for replay at any time.

eiwada

The performance piece “Toki Ori Ori Nasu: Falling Records 2013” featuring reel to reel tape decks, pedestals and sound by Japanese artist and musician Ei Wada attracted a large audience, keen to see his speculative work in action. Ei Wada was inspired by an incident in which he observed a tape dropping and piling up on a floor – and he imagined a future in which inhabitants of some unknown culture and who have never seen a tape recorder may uncover this machine with one broken reel and try to play the tape back…… Wn darrin The collective work by Darrin Verhagen, Stuart McFarlane, and Toby Brodel only allows one person at a time in the blacked out sound booth – but a patient audience queued for to watch – and listen – to the work “A series of small wire objects (many of them uninteresting)”. The piece is  is concerned with extending sound art composition into visual form through the use of an ordinary sculptural object as a means of focusing audience attention. The artists explore how the simplest of objects may be transformed into something startling and mesmerising through the simultaneous use of sound, light and colour.

Arts critic praises RMIT Gallery performance in 2014

Installation view, Warlayirti: The Art of Balgo at RMIT Gallery. Photo Mark Ashkanasy, 2014. (extreme far right) A group of men, names and associations not given  Assembly banner 1981  Paint on calico 400.0 x 89.0 cm St Theresa Church, Balgo Collection  and (far right) Balgo men, names and associations not given  Assembly banner 1981  Paint on calico 197.0 x 71.0 cm St Theresa Church, Balgo Collection

Installation view, Warlayirti: The Art of Balgo at RMIT Gallery. 
(far right) Assembly banner, 1981. Paint on calico, 400.0 x 89.0 cm, St Theresa Church, Balgo, Collection and (far right), Assembly banner, 1981, Paint on calico, 197.0 x 71.0 cm, St Theresa Church, Balgo Collection. Photo credit Mark Ashkanasy, 2014.

With the new year comes reflection on performance in 2014 – and we are pleased to announce that RMIT Gallery gets a big tick from arts reviewer Robert Nelson (The Age, SMH) for two of its outstanding exhibitions in 2014. He writes in his yearly round up (Dec 31, 2014) that “The universities performed imaginatively, especially…RMIT with Warlayirti: The Art of Balgo and Experimenta Recharge: the 6th International Biennial of Media Art…”

In his review (23/11/2014), Robert Nelson writes “A beautiful exhibition at RMIT Gallery tells the story of a famous art centre in Western Australia:  Warlayirti: the art of Balgo.  Curated by Jacqueline Healy, the show hangs together with marvellous aesthetic unity.  Suites of majestic works bask in their colour and energy, scaffolded by an underlying history.”

After its successful run at RMIT Gallery from 15 September to 8 November 2014, Warlayirti: the art of Balgo opened to great acclaim at the Araluen Arts Centre in Alice Springs on Friday 28 November, where it will run until 15 February 2015.

Robert Nelson also lavished praise on the poetic qualities of RMIT Gallery’s current exhibition Experimenta Recharge, which asks whether contemporary technologies can transform our view and understanding of the world.

The esteemed arts critic singled out works in the exhibition by Japanese artist Ei Wada, Korinsky (Abel, Carlo and Max) from Germany, the group La Société Anonyme from Paris and Dubai, Brazilian artist Anaisa Franco and indigenous artist Raymond Zada , as having “a poetic relationship with symbols which is often missing in interactive works.”

You can view Experimenta Recharge until Saturday February 21, when RMIT Gallery will be open from 7 pm to 7 am as part of White Night Melbourne. After that the media art exhibition will have a long tour around Australia. 

 

 

 

 

 

Come and play at Experimenta Recharge: now open at RMIT Gallery

Paranoia, 2010, reactive sculpture 15 x 11 x 20 cm by Anaisa Franco. Photo by Vicki Jones Photography, RMIT Gallery, 2014.

Paranoia, 2010,
reactive sculpture
15 x 11 x 20 cm by Anaisa Franco. Photo by Vicki Jones Photography, RMIT Gallery, 2014.

Today at RMIT Gallery something has been screaming non stop – it’s Anaisa Franco reactive sculpture “Paranoia” and the Experimenta Recharge audience are delighting in standing close and watching (and hearing) those false teeth scream!

The screaming (and laughing) teeth are part of the Brazilian artist’s Psychosomatic series: Paranoia (2010), Frustration (2012), and Emanating Happiness (2014); reactive sculptures that create an endless loop of emotional responses between her artworks and audience.

Inspired by psychology, dreams and the possibilities inherent in DIY electrical engineering, Anaisa animates objects with behaviours and feelings to blur the boundaries between body, mind and machine. Each electronic sculpture embodies a particular emotion and highlights the potential of the digital to reconnect us with latent human emotions and the potential uses of digital interfaces.

‘Paranoia’ is one of three of Anaisa’s artworks on display at the 6th International Biennial of Media Art at RMIT Gallery until 21 February 2015…and yes, it screams.

Artist Ei Wada plays with Anaisa Franco's sensitive sculpture  'Frustration' at Experimenta Recharge.

Artist Ei Wada plays with Anaisa Franco’s sensitive sculpture ‘Frustration’ at Experimenta Recharge. Photo by Vicki Jones Photography, RMIT Gallery, 2014.

A little more quiet is Frustration 2012, a sensitive sculpture. Anaisa, who was born in Sao Paulo, Brazil and lives Berlin, Germany, works with robotics and low-fi electronics to produce interactive sculptures and installation that connect mechanical processes with the subconscious human mind. At the Experimenta Recharge opening weekend arts seminar, Anaisa talked about the role of the body as a holder of knowledge and memory in her work. With a mother who is a psychologist, Anaisa said she naturally gravitated to the ideas arising from psychology for inspiration in her artwork.

Anaisa Franco's Emanating Happiness 2014, interactive sculpture, wood, LED neon flex. Image: Vicki Jones Photography, RMIT Gallery, 2014.

Anaisa Franco’s Emanating Happiness 2014, interactive sculpture, wood, LED neon flex. Image: Vicki Jones Photography, RMIT Gallery, 2014.

Anaisa’s work Emanating Happiness, 2014 is an interactive sculpture that generates an exuberant and colorful light wave when people walk on it. The work is part of Psychosomatic Series.

It has been developed during an artist in residence program at Creative and Cognition Studios, University of Technology, Sydney, November, 2014, as part of the EMARE AUS CDN Move On Exchange (European media artists in residence in exchange with Australia and Canada). This program is supported by the Culture 2013 Programme of the European Commission and the Goethe Institute.

Anaisa has a Master in Digital Art and Technology at University of Plymouth in England and graduated in Visual Arts at FAAP in Sao Paulo. She has been exhibiting internationally around the world.

Anaisa Franco's Emanating Happiness 2014, interactive sculpture, wood, LED neon flex. Image: Vicki Jones Photography, RMIT Gallery, 2014.

Anaisa Franco’s Emanating Happiness 2014, interactive sculpture, wood, LED neon flex. Image: Vicki Jones Photography, RMIT Gallery, 2014.

A decade ago, Anaisa revealed to an art magazine her dream of one day creating a biological
species of robots. “The central idea would be to produce beings that were self-programmed, self-developed, self-reproducing, beings that lack patterns and rules to control them. I would…build an alive house, where all inanimate things would be alive and genetically modified. In this new world new forms of life could evolve.” With her interactive sculptures at Experimenta Recharge, it is possible to see how the artist has pursued an aspect of that dream.

Exhibition: Experimenta Recharge: 6th International Biennial of Media Art

Artist: Anaisa Franco

Works: Psychosomatic series: Paranoia (2010), Frustration (2012), and Emanating Happiness (2014)

Venue: RMIT Gallery, 344 Swanston Street, Melbourne.

Dates: Now showing until 21 February 2015

Meet the Artists: Experimenta Recharge Free Public Programs

Japanese artist Ei Wada at RMIT Gallery installing his work Falling Records

Japanese artist Ei Wada at RMIT Gallery installing his work Falling Records. Photo Helen Rayment.

Experimenta Recharge’s public program is your chance to meet the artists and curators behind the 6th International Biennial of Media Art and delve into the ideas behind this exhibition. We have selected artists from the exhibition to come together on a range of key thematic topics to discuss the role artists play in creatively investigating the possibilities and pushing the limits of contemporary technologies. Join us to see how artworks help us to imaginatively experience and critically reflect on the role technologies play in the transformation of art, culture and knowledge.

EVENTS ARE FREE BUT BOOKINGS PREFERRED: RMIT GALLERY (03) 9925 1717

Friday 28 November 

Event: Curator’s Tour and meet the artists.

Time: 12.30am – 2pm

Venue: RMIT Gallery

Christy Dena's Magister Ludi

Christy Dena’s Magister Ludi

Join Jonathan Parsons, Artistic Director, Experimenta & Curator of Recharge, as he guides you through Experimenta Recharge: 6th International Biennial of Media Art and delves into the ideas behind development of the exhibition theme, selection of works and introduces you to some of the artists behind the works. He will be joined by Recharge artists Raymond Zada and Christy Dena, who will discuss their work.

Christy Dena has written and produced artworks as games in her New Work Commission for Experimenta; Magister Ludi playfully investigates the recent cultural phenomena of both computer and live ‘escape room’ puzzles through an interactive game installed in a vintage school desk. Raymond Zada’s ‘Acknowledged’ examines the historical processes of erasing memory in the urban landscape of his home-town of Adelaide.

Friday 28 November 

Event: Book launch – Matthew Perkins (ed), Video Void: Australian Video Art, Australian Scholarly Publishers, 2014.

Time: 5-6 pm

Venue: RMIT Gallery

VideoVoid_Book_Launch-300x216

Join book editor Matthew Perkins and contributors in celebrating the launch of this fascinating book which will be launched as part of Experimenta’s 6th International Biennial of Media Art.

Video is one of the most visible contemporary art mediums of our time. Since the 1960s Australian artists such as David Perry, Peter Kennedy, Mike Parr, Jill Scott, Gary Willis, Stephen Jones, Bonita Ely and Lyndal Jones, to name a few, have paved the way for a new generation of artists who have taken up video as a creative medium. But anyone who wants to explore Australian video art faces the difficulty of accessing information about these works and tracing the histories that connect them. Video Void: Australian Video Art offers an in depth study of video art in Australia from the 1960s into a new millennium considering the next generation of artists such as Shaun Gladwell, David Rosetzky, Monika Tichacek, Daniel von Sturmer, Catherine Bell and Angelica Mesiti. With contributors John Conomos, Matthew Perkins, Stephen Jones, Jacqueline Millner, Darren Tofts, Daniel Palmer and Anne Marsh.

Friday 28 November 

Film Screening: GOOGLE AND THE WORLD BRAIN + Q&A

With guest speakers: Justine Hyde – Director Library Services and Experience – State Library of Victoria, Danny van der Kleij – La Société Anonyme, in conversation with Simon Abrahams – Freelance creative producer

Venue: RMIT Kaleide Theatre, Building 8, 360 Swanston Street, Melbourne

Feature length Documentary Film, 90 minutes (2013)

Time: 6-8pm

GOOGLE AND THE WORLD BRAIN, directed by Ben Lewis, radically questions the nature of the Internet by looking at the story of Google Books. Google Books, Google’s unprecedented project to scan all books thus realising mankind’s ancient dream of a universal library was stopped in an American court after an international campaign. The futuristic world of the Net meets the traditional culture of the library through interviews with the world’s leading Internet thinkers and librarian-scholars. The film uses Google Books as a prism through which issues of data-mining, copyright, freedom and surveillance are illuminated.

Saturday 29 November

Artist Talk: Ei Wada on his work Falling Records

Time: 1-1.30pm

Venue:  Gallery 3, RMIT Gallery

Japanese musician and artist Ei Wada uses a combination of old electric and acoustic instruments to create multi-channel performance arrangements. His work Falling Records is a poetic sound installation that imagines a future civilisation’s misinterpretation of a common 20th century artefact – analogue tape recordings. His work alerts us to the potential pitfalls when we attempt to capture and catalogue knowledge from the past. 

Saturday 29 November

Experimenta Recharge Opening Weekend Media Art Seminar

Venue:  RMIT University, Building 16, Level 7, Green Brain, 342 – 344 Swanston Street, Melbourne

Event one: 1.30 – 2.30 pm Echoes from the past Chair – Professor Darren Tofts, Media and Communications, Swinburne University. Panel: Svenja Kratz, Khaled Sabsabi, Abel Korinsky.

Event Two: 2.30 – 3.30pm Digital Age Archive Makers – Chair – Senior Curator Geraldine Barlow, Monash University Museum of Art. Panel: Leisa Shelton, Danny van der Kleij, Emma Ramsay.

Event three: 3.30-4.00 pm Embodied Knowledge – Anaisa Franco in conversation with Lisa Gye, Senior Lecturer – Media and Communications, Swinburne University.

(due to unforeseen circumstances Garry Stewart and Maree Clarke are unable to attend this session as previously advertised)

Join us for one, two or all three panel discussions located at the RMIT Green Brain seminar room next to RMIT Gallery. The panels are designed to run for 30-50 minutes each, with time allowed for questions and a five minute break between sessions.

Event details

 

Image: "70,000 Veils" by Khaled Sabsabi

Image: “70,000 Veils” by Khaled Sabsabi

Event one: Echoes from the past:  Panel: Svenja Kratz, Khaled Sabsabi, Abel Korinsky

This panel shows how the use of contemporary technologies can transform our view and understanding of the world. In The Contamination of Alice: Instance #8 Svenja Kratz comments on the transformative capabilities of Alice’s cells, an 11 year old girl who died of cancer in 1971 and whose cells, donated to science, have since proliferated in science laboratories across the globe. Khaled Sabsabi transgressive practice immerses us in a plethora of visual material, the physical evidence of his memory, with his 100 screens in his work 70,000 veils. While Korinsky’s Big Bang speculates on the new possibilities now that scientists having found remnant sounds originating in the birth of the universe.

La Societe Anonyme, The SKOR Codex

La Societe Anonyme, The SKOR Codex

Event two: Digital Age Archive Makers: Panel: Leisa Shelton, Danny van der Kleij, Emma Ramsay

This panel examines the way that history can disappear and reappear and the role that artists can play in countering cultural and historical amnesia. All of the artists on this panel have considered the role of archiving in the digital age. Leisa Shelton’s Mapping our Media Art is collecting stories from audiences of their seminal memories of media art experiences. Danny van der Kleiji speaks to the challenge of how to document the stories of one of the Netherlands dynamic arts organisations closed due to recent government funding cuts. Emma Ramsay worked with curator Alex White to create Tele Visions Afterlude so that Biennial audiences can surf with a remote control to access many of the live performance works and other works created for a TV broadcast from Carriageworks in Sydney to mark the end of analogue TV in Australia in 2013.

Donation of Skor Codex to State Library of Victoria

Paranoia by Anaisa Franco

Paranoia by Anaisa Franco

Event three: Embodied Knowledge Panel: Garry Stewart, Anaisa Franco, Maree Clarke

In this panel each artist explores the role of the body as a holder of knowledge and memory. Choreographer Garry Stewart in his collaborative film project Collision Course reveals the subtle differences of dancers and sports-peoples differing training through the use of slow motion film. Anaisa Franco in her Psychosomatic series creates interactive sculptures representing and eliciting from audiences different human emotions. Maree Clarke in Born of the land speaks about how the body holds knowledge through ritual.

Thursday 27 November to Saturday 29 November

Mapping Our Media Art: Leisa Shelton

Venue: RMIT Gallery

Times:

27/11/14 – 6-8 pm

28/11/14 – 12-3 pm

29/11/14 – 12-2 pm, 4-5 pm

What would a map of Australian media art look like? Leisa Shelton invites audiences to share their stories at RMIT Gallery in this audience inclusive artwork.

Leisa Shelton invites audiences to share their stories at RMIT Gallery 

What would a map of Australian media art look like? Leisa Shelton invites audiences to share their stories in this audience inclusive artwork at RMIT Gallery. Leisa is a performance artist, maker and curator whose practice foregrounds collaboration and advocacy for new Australian transdisciplinary work. Her practice concentrates on the development of new frames for the presentation of performance. Leisa is also dedicated to delivering greater environmental sustainability within the arts and performance sectors.