Archives for category: installation
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The Space of the Biomedical Body Symposium // Wednesday 23 august
This symposium will investigate the intersections of contemporary art and medical science practice within and around the biomedical body. Bringing together artists, curators, researchers and scientists, this cross-disciplinary symposium will focus on the dynamic research, creative potentials, emotions and challenges inherent in working with live human materialities.

 

The Space of the Biomedical Body Symposium is presented by Sydney College of the Arts’ New Materialism in Contemporary Art research cluster and Casula Powerhouse Arts Centre in conjunction with SCA PhD candidate Fiona Davies’ installation Blood on Silk: Last Seen curated by Lizzy Marshall at Casula Powerhouse Arts Centre.

 

Guest speakers include: Fiona Davies, Dr. Ryan Jefferies, John A Douglas, Lizzy Marshal, Helen Pynor and Danica Knezevic.

 

When: Wednesday 23 August, 11am-1pm Where: Casula Powerhouse Arts Centre RSVP: reception@casulapowerhouse.com More information: sca.newmaterialism@sydney.edu.au

 

Image: Fiona Davies, Blood on Silk: Last Seen, installation, Casula Powerhouse Arts Centre.

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Blood on Silk: Last Seen by Fiona Davies

At the Casula Powerhouse Arts Centre, Casula, Sydney, Australia

Opening 21st July 2017 6-9p.m.

then open until the 17th September daily open hours of 10 a.m. to 5 p.m.

Curated by Lizzy Marshall

The turbine hall at Casula Powerhouse Arts Centre in Sydney, Australia is the first space entered by the visitor. It is large, at first glance it is apparently empty, a space approximately 13.8 metres high by 12.7 metres wide and 26.5 metres deep.

The ground floor of the hall is the site of multiple points of transition and multiple points of decision making, some of which relate directly to the architecture and some to the usual patterns or paths of passage in this architectural space resulting in an invisible crisscrossing pattern of use. The most overt point of transition is at the point of entry from the outside into the interior followed by less obvious multiple points of transition over the entire ground floor as the visitor determines what sequence they will follow or make. The visitor traffic is forced to the perimeters at the mezzanine level. All of the viewers in this hall are aware of the scale of the space.

Overlaid onto this patterning is the work Blood on Silk: Last Seen. The over arching theoretical concern of the project Blood on Silk is medicalised death in ICU. That is death that is constructed as a medical problem. The points of transition in the process of medicalised death start at the same place – coming through the entry doors either through emergency or as with Casula and many hospitals, the main front door. Layers of points of transition are then built up through the systems, design and architecture of the hospital – the controls of the visitor entry into ICU, the swing doors into the operating theatres and walking the empty shadowy corridors at night.

In this installation, large sheets of silk paper hang from the ceiling forming five rooms or partially curtained bed spaces. The ceiling is not lit so the upper reaches of the silk lie in darkness. On to these curtains of silk at just above head height, fragments of images of individuals passing through points of transition in a hospital are projected. The figures, seen from the back, are partially recognisable and partially anonymous. In the mezzanine gallery the hard lighting of fluorescent tubing starkly refers to the liminal space of the smoking area just outside the hospital buildings. All hospitals in NSW are smoke free work places including all outside areas.

In a recent talk at the Power Institute by the art critic Sebastian Smee, he talked about the book ‘In Praise of Shadows’ by Jun’ichirō Tanizaki. This book has been described as a haphazard exposition of the aesthetics of beauty and where in the dark of the shadow only then is it possible to experience a certain type of seeing. ‘The darkness seemed to fall from the ceiling, lofty, intense, monolithic, the fragile light .. unable to pierce its thickness   ……. the visible darkness. [1] The light of the floor and the darkness of the high ceiling illuminated only by the intermittent light of the projections offset by the liminal space in the mezzanine gallery speak to the clarity of the way of seeing in the shadow, this way of seeing in the liminal space of the carer in hospital .

  1. Jun’ichirō Tanizaki [1] In Praise Of Shadows, Leete’s Island Books, 1977. P 34-35

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Exhibition Launch: Friday 21 July, 6 – 9pm

EXHIBITIONS: BLOOD ON SILK: LAST SEEN

22 Jul 2017 – 17 Sep 2017 | 10.00am – 5.00pm

Casula Powerhouse Arts Centre presents its inaugural Turbine Hall Commission, Blood on Silk: Last Seen by established Western Sydney artist, Fiona Davies.

For this new work Davies will transform the Turbine Hall by creating five suspended makeshift hospital rooms from handmade silk paper. Representing the merging of public and private spaces, Last Seen investigates the emotional landscape that carers and visitors have with the hospital environment experience.

Fiona Davies is a PhD candidate at the University of Sydney. Davies’ works are multimedia installations encompassing both the real and simulated. She holds a B.Sc (UNSW) and Bachelor of Visual Art (UWS). She was awarded a MFA from Monash University.

Her current theoretical practice examines ICU medicalised dying, intertwining emotional knowledge with contemporary medical practices – specifically, definitions of death, the materiality of blood and processes of surveillance.  Her ongoing project, Blood on Silk (2009 – ) included working in collaboration with the late physicist Dr Domachuk.

She exhibits in both formal institutions and non-traditional spaces nationally and internationally.

The Turbine Hall Commissions offer visitors new perceptions of our architecture and public spaces through site responsive artworks.

Curated by Lizzy Marshall

Exhibition Launch: Friday 21 July, 6 – 9pm

Details ex Casula Powerhouse website

My work is included under the blood section after a whole lot of much more shocking materials like urine etc.

Click this link to go to the article. http://visual.artshub.com.au/news-article/bits-and-blogs/visual-arts/visual-arts-writer/artists-who-turn-body-fluids-into-art-253684

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photo credit Alex Wisser

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Two new Science Museums – London and Melbourne, expand the original exhibition in the Science Gallery Dublin in 2015 with exhibitions later this year around around June to October 2017. The dates are yet to be finalised.

Have a look at the exhibits from the Dublin starting point. My favourite is woofwoof by Franko B (UK)  https://dublin.sciencegallery.com/blood/woofwoof

Image credit – The Science Museum London website

 

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Responding to the quiet of the physical space of the wholesale fruit and vegetable market when it is closed and waiting to perform again.

 

munich truck u turn as installed

The third video night at Das KloHäuschen was the showing of a video shot last week on a public holiday when the market was clean, apparently  abandoned and quiet. A solitary delivery truck performed for the camera doing a simple and beautiful U-turn. This curve outward towards the camera was projected into the urinal whose interior surface curved away.

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As part of my collaboration with Das  KloHäuschen in the Munich main wholesale fruit and vegetable market, I was awarded a two month residency at the Villa Waldberta run by the City of Munich.  The studio space is something else again. I have made silk paper in many locations, my back yard, a studio in Culture at Work, a dance studio on loan through the P.A.S. and a meeting room in Mamre.  A beautiful location to make a beautiful material for the next installation

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