This exhibition and program of performative lectures enter their last few days . Cast a Cold Eye on Life, on Death: The Remake – Medicalised Death in ICU finishes on Saturday 18th May at 4 p.m.
Until then the exhibition is open 11-5 and performative lectures are programmed for 1 pm on Thursday, 11 am and 2 pm on Friday the 17th with the last performative lecture of this series being on Saturday at 2 pm. This last lecture will be followed by a poetic performance given by Bhupen Thakker titled DEATH …( of fear). Then we’ll raise a glass to celebrate.
Book a free ticket to attend one of the performative lectures at https://www.eventbrite.com/e/the-remake-medicalised-death-in-icu-performative-lecture-tickets-59253831806
Cast a Cold Eye on Life, On Death: The Remake – Medicalised Death in ICU at SCA Galleries in Sydney College of the Arts, Kirkbride Way, Rozelle Sydney Australia
Image my work in progress Blood on Silk: Bleeding Out
5 February – 20 February 2016.
10 Junction St, Marrickville NSW 2204, Australia
Opening: Friday 5 February 6pm – 8pm
‘Her Moving Presence is an exhibition of moving image work by twelve female artists. The exhibition navigates implied, and actual, presence through the mediums of video, projection, interactivity and screen based performance.
This exhibition is curated by Yvette Hamilton and Danica Knezevic, shown at Airspace, Marrickville, Sydney, Australia. The twelve artists are: Ella Condon, Fiona Davies, Kath Fries, Sylvia Griffin, Yvette Hamilton, Melissa Howe, Danica Knezevic, Vivienne Linsley, Sarah Breen Lovett, Sara Morawetz, Katy Plummer, and Tamara Voninski.’
Had a weird misunderstanding recently where I assumed it was possible to start a discussion about the transformative nature of art by using my art practice as an example. It started me thinking about a really old post from last year about the process where the post art making conversations sparked by the presence of my art about the death of my father were such an important part of my practice. In other words it’s as if my art and the engagement of the viewers with it is how the conversation starts that may or not be transformative.
Here’s part of that post again below
‘While an element of my practice has always been an engagement with community in the process of producing art, I reflected that often for me the production of the physical art object whether it be sound, video, installation, object whatever is then layered with additional engagement by a community post production. The physical work ” the art’ serves as a touch stone or means of putting an idea to a group or individual and then watching and waiting for the response. This process of engagement mostly in terms of conversation then becomes a totally ephemeral un-documented art work in its own right layered on top of the initial physical art.
My formative experience of this process was by accident. I hadn’t thought it through. I hadn’t designed it in any way. Following the medicalised death of my father I made an installation in the church of the town where he grew up. Aberdeen in NSW is a former meat works town of about 1500, now a dormitory suburb for the coal mines further down the valley. I had originally approached the rector about putting an installation in the church hall and his response was suggesting moving it into the church. Coincidentally on the day I opened the show the town’s pumpkin festival was being celebrated in the closed off street next to the church. That resulted in a lot of people coming to the exhibition without it being a big deal for them and coming almost by accident. With every group that came in I talked about the background to the installation i.e. the death and dying of my father. Nearly all of the visitors told me in response stories from their lives about when they watched and waited as someone died in intensive care, in emergency, at home wherever. These stories were the response that would not be shared between us without the physical presence of the art installation combined with the stories I told of my father’s death.