Tag Archives: Lisa Kelly

To Follow Things as I Encounter Them: Blogging, Art, and Attention

An article I wrote about two blogging projects by Lisa Kelly and Thea Rechner is now online, over here.

Here’s a little snippet from the introduction:

The tiny annotated moments of ephemeral experience are what I want to focus on here. Via a brief exploration of two blog projects by Australian artists, I hope to demonstrate the mutually transformative relationship between the practices of blogging and the quality of our attention.

It’s for a new online journal called 127 Prince – named after the address of the restaurant called FOOD, run by Carol Goodden, Gordon Matta-Clark and friends in 1971. My penpal, Randall Szott, is one of the editors. He invited me to contribute something to this first issue of the journal, which “will present and examine ideas on the art of social practice, and the social practice of art.”

I’d love to hear anyone’s thoughts about the ideas about blogging and attention that I am sloshing around over there. The journal has a comments section for discussion after each article, and the editors are keen for a dialogical process rather than using a top-down “refereed” system of selection and publishing articles.

feedback manual

Clubs Project Space in Melbourne runs “Feedback Sessions.”

From their Feedback page:

CLUBSfeedback focus upon on the means by which the work in question exists in the space of its presentation/actualisation. It is an attempt to develop an engaged reading or analysis of work through focused and extended collaborative dialogue. CLUBSfeedback begins by unravelling, through observation, the material and spatial structure of the work. These observations then open into critical discussions. The artist is not required to justify or explain the work in this process, but is engaged towards the end of the discussion when questions are formulated. These sessions are intended to be supportive, whereby the artists’ project is opened up to detailed analysis. We borrowed and developed this practice from an academic model that we shared together as students and we decided to continue it in order to build empowering and engaged peer relations.

Recently, in Sydney, a bunch of us (including Lisa Kelly, Sarah Goffman, Anne Kay, Kylie Wilkinson, and I) have adopted this model, and Feedback Sessions have been carried out for Michelle Ussher (as part of MCA’s Primavera 2005) and for Josie Cavallaro (for her recent show at Scott Donovan Gallery).

At the moment we’re running off Clubs’ Feedback Manual (which is on their site, and a pdf is saved here also). I reckon before long we’ll reformulate that manual for our own ends, in keeping with the Clubs open source policy!

– –

ps: as of 2007, we now have a Sydney Feedback Sessions on the go! See http://feedbacksessions.com/

petition to raise artists fees

Sydney Art Seen Society: meeting no. 1
Thursday, 8 July 2004, 7:30pm
Reginald Murphy Hall, Kings Cross

Gail Hastings and Lisa Kelly organised this meeting to lobby for “a raise” in artists fees for exhibitions in Australian galleries and museums which receive government funding. They have been distributing a petition to that effect. About 40 people were in attendance, at my rough estimate, maybe half of them being artists. The other half were, I reckon, “soft spies” – that is, folks who work at government funded galleries who came along to check out what might happen. It was a rainy night, and Sydney people being who they are, it was probably a pretty good turn out.

There was some contention as to the details of the “demands” in the petition – at least $2000 for solo exhibitions, and at least $500 per artist for group shows. Some artists, like Marg Roberts, reckoned that this amount was just as tokenistic as asking for $50. For Marg, something in the realms of $20,000 was more realistic.

Damien Lawson made a clear comparison between galleries and employers, both of whom have it in their interests to reduce “labour costs” to a minimum. He advocated a more “french” way of organising artist’s wages, something ongoing like a “living wage” and referred to a big artists strike in Paris which ground the big summer arts festivals to a halt. The “living wage” idea (was/is this in place in New Zealand?) also would accomodate the vast majority of artists who DON’T exhibit in government-funded galleries. Lawson’s points were important, I thought, because no matter what the nuts and bolts are of the “demands,” it will be essential for artists to have some kind of solidarity and collectivity in order for it to succeed. Artists seem to always suffer from this idea that we are “individuals” – not to mention the very opportunistic and competitive nature of the contemporary art world.

Chryssy Tintner from Viscopy was there, and she was good to have at the meeting because she pointed out the discrepancy between what is standard procedure in the paying of royalties for the use of music in commercials, for example, and the amount paid for the reproduction of artworks. It’s all part of the same set of rights that visual artists don’t have…
Tamara Winikoff from NAVA was there too – she provided essential information about the ongoing campaigns that NAVA has been involved in to try to improve artists rights – it will definitely be necessary to continue to collaborate with NAVA.

One of the issues that was glaringly obvious was the rarity of this kind of meeting – that artists are not very good at working collectively – and it would be good to get more information about the history and activities of the ArtWorkers Union – it may be necessary to revive the union to become once again a workable grassroots organisation.

A follow up meeting will take place at 2:00pm on Saturday, 17.07.2004 at the Art Gallery of New South Wales coffee shop.

For more information and the full minutes of the meetings, email sydneyartseensociety@yahoo.com

…………………………………………………………………….
ps the original call out for this meeting was:

SYDNEY ART SEEN SOCIETY: meeting no.1
WHOA! Was that a banana skin I just slipped on! or just another sliding
art-institution standard?
URGENT PUBLIC MEETING please pass on to others
WHEN THURSDAY, 8 JULY 2004
WHERE REGINALD MURPHY HALL
Corner of Greenknowe Ave and Elizabeth Bay Rd, Kings Cross
TIME 7:30 to 8:45pm
The Sydney Biennale opened recently, which provided the opportunity for
many artists to meet and a number to recognise in each others misfortunes
the rapidly declining viability of the local, visual art situation here.
While the Howard Government may have commissioned the Myer Report to analyse,
nationally, the extent of artists’ troubles, its recommendations have not
only not at all been felt within the visual arts at the ground level (ie. by
artists), but also little address the pervading ‘dumbness’ (in both senses
of lacking intelligence and a stifled dialogue (lacking speech)) that is
creeping through our major art institutions and throttling an engaging and
internationally recognisable contemporary visual culture here. Sydney is
quickly becoming the black hole of the Australian contemporary art scene,
the place where contemporary visual artists get swallowed up and disappear:
their work unacknowledged, its potential wasted. Need this be so?

If you feel like some dangerous discussion, please join us at this informal
meeting to rekindle a much needed dialogue and to work out ways to kick-start
a re-engaged, contemporary visual culture in Sydney. At least
come along and sign our petition.*

* A petition will be present that calls for a standard artists’ fee of no
less than $2,000 per individual exhibition and a pro rata payment no less
than $500 for group exhibitions to be adopted by all publicly funded, visual
art institutions, nationally.

FOR MORE INFORMATION PLEASE CONTACT CO-CONVENERS GAIL HASTINGS AND LISA
KELLY AT sydneyartseensociety@yahoo.com

The Sydney Art Seen Society has been formed as an urgent redress of the
current decline of standards in the professional environment of contemporary
visual art in Sydney, where the production of visual culture is being more
and more determined by art-institutional programmes rather than these
programmes being determined by the art. By facilitating a meeting place for
artists to discuss, debate and discern solutions to the prevalent issues
hindering progressive visual art here at present, the Sydney Art Seen
Society aims to stimulate the development of a more vigourous and potent
contemporary visual culture in Sydney, based on the vital and critical
practice of visual artists.

DUE TO THE IMPOVERISHED STATE THE CURRENT SITUATION FINDS VISUAL ARTISTS,
MEMBERSHIP IS FREE, ONE NEED ONLY JOIN AT A MEETING

SPLINT MATE

[this article was written in early July 2004, and originally appeared in Spinach7 Magazine, under the title SPLINT MATE. Before that, it emerged as a scrappy blog entry here.]

LUCAS IHLEIN argues that ‘interactive’ arts practice means more than pressing buttons; and assembles a gammy billy-cart to prove his point.

Much has been made of recent advances in new media art — particularly the development of ‘interactive’ and ‘immersive’ environments and installations. Melbourne’s Australian Centre for the Moving Image (ACMI) and its German sibling Zentrum für Kunst und Medientechnologie [ZKM] pride themselves on supporting artists who experiment with new ways of overwhelming our senses with sound and image. The public (so the marketing department tells us) is hungry to see futuristic interfaces between human and machine. Yet how many of these artworks succeed in engaging museum visitors beyond “press here and see what happens”? How often is it that a simple, old fashioned conversation is more rewardingly ‘interactive’ than the choose-your-own-adventure style new media works to which we are increasingly exposed?

Around the same time that ACMI launched its teched-up exhibition 2004: Australian Culture Now in Federation Square, CLUBSproject inc, an artist-run venture above Melbourne’s Builders Arms Hotel, presented multipleMISCELLANEOUSalliances (mMa). Taking place in July, mMa was an ongoing series of “art conversations” taking the form of “collaborative events and activities […] by and between people whose practices construct, explore, and enact multiple social relations”. The most sophisticated items of ‘new media’ in mMa were video cameras and television sets — all of which have been more or less available as artists’ tools since the early 1970s.

Among the myriad of old media projects at mMa was Splint, a kind of organic Meccano set made by Jason Maling and Torie Nimmervoll. Described as “the way of the stump and the strap”, Splint is a toy/tool-kit, hand-made from wood, rope, and leather that deliberately comes without instructions or hints.

Nimmervoll and Maling rarely present Splint within an art gallery context, which they claim can restrict free play and participation (they prefer to work in schools or public places). Gallery visitors usually come with a tentative not-sure-if-I-can-touch inhibition, which they learn from the conventional presentation of art. Splint’s makers set arbitrary (and often silly) tasks for themselves and willing participants to carry out — usually within an urban context. For instance, “use the apparatus to scale a tall, sheer wall”.

When I arrived at CLUBS my friend Damien was already sniffing around Splint — he was instinctively drawn to it, but wasn’t sure exactly how to tackle its mysterious inventory of spare parts. The elements of the kit seem very much like found industrial tools for the engineering of a car. They look like something ‘proper’ — something extremely well made with a (hidden) intended purpose. The kit is divided up into “cells” – each cell contains wooden disks, various lengths of rope, spiral-carved “stumps” (much like medieval cricket stumps), and a leather harness and hexagonal mat. All are engineered to withstand the hammering they receive from enthusiastic users, and are often repairable when damaged or worn out.

Splint lends itself to — and almost demands — collaboration. Soon enough Damien and I were diving into the metal cases containing the stumps and rustic-smelling sisal rope, and attempting, in our uncritically-masculine way to make our own ‘billy-cart’. This playful, absorbing construction task kept us going for a few hours, and even when our makeshift vehicle ended up in the pits, with a tragically split chassis, Maling didn’t chastise us — “I guess we’ll retire that piece,” he said with a shrug.

Cleverer than us were a duo of (also male) theatre designers who set about designing a comfy and functional chair out of the versatile kit. The dedicated pair, concerned not just with the use-value, but also the look of their piece of furniture, gave themselves the limitation of not using any knots. Such aesthetic concerns are very much a part of the Splint experience. The kit comes complete with a “self-assessment” system — a blackboard (pictured) upon which participants can rate their own progress — using criteria like “environmental negotiation, utility, gameplay, geometry, physical negotiation, and aesthetics”. And Maling and Nimmervoll have kept a log of results at regular intervals during the evolving life of Splint.

One of the most important products of Splint is also one of the most intangible: the collaborative relationship which stealthily develops between the two or more ‘players’ as they work on a common task. This was evident in the knotted brows of the chair-makers as they quietly tackled problem after problem with the utility of their ad-hoc furniture, while not wanting to sacrifice the aesthetic decision to avoid knots. Splint is thus a tool for learning, not only about physical construction, but also about how to negotiate joint decision-making in a (self-determined) task. This educational aspect renders the kit ideal for workshops with children — and watching them work with the elements of Splint helps Maling and Nimmervoll improve its materials and design in a constant process of evolution.

When I returned to CLUBS a few days later, I found our billy-cart had been recycled by subsequent participants into a harness and rope ladder for scaling the exterior wall of the Builders’ Arms Hotel — a MacGuyver-style emergency exit system from the bustlingly sociable art venue.

Each time I visited mMa it was jam-packed and chaotic. Groups of artists seemed to be cooking up projects in every corner, and newcomers were warmly welcomed to join in. Soup was doled up as you walked in the door, and free tea and coffee were available. These humble, hospitable gestures may seem minor, but I don’t doubt that they were as thoroughly discussed and orchestrated as any of the other rich and interactive elements of mMa.

…………………………
addendum for blog:

Also part of mMa:
-a vast repository of artists books, zines, articles and journals, set up in a comfy couchy carpeted space next to a ricketty photocopy machine.
-a re-creation of Azlan McClennan‘s censored artwork – complete with a planned forum to discuss the issues surrounding the work, on Sunday 4th July…
-an old Mac Classic set up so that visitors can log in their immediate responses and messages regarding the show (presumably these responses will be posted on the CLUBS website shortly)…
-documentation of The Laws Project by Damien Lawson and Kylie Wilkinson – this piece began with the distribution of hundreds of fridge magnets outlining the US government’s INTERROGATION RULES OF ENGAGEMENT – rules which became apparent following the scandal surrounding the treatment of Iraqi prisoners by American soldiers.
Wilkinson and Lawson followed this up with a “re-enactment” (in Federation Square) of the famous photograph of the Iraqi prisoner balancing precariously with a black sack on his head.
-and there are DOZENS more projects coming up during the rest of the mMa…

The launch afternoon of mMa was jam-packed and chaotic. Soup was doled up as you walked in the door, and tea and coffee were constantly available for free. These humble, hospitable gestures may seem minor, but I don’t doubt that they were as thoroughly discussed and orchestrated as any of the other elements of mMa.

mMa was organised by Bianca Hester as a part of Resistance Through Rituals, coordinated by Lisa Kelly at Westspace.

multiple and miscellaneous in melbourne

Over at CLUBSproject, which I reckon is the most exciting gallery project in Australia right now, they're doing mcultipleMISCELLANEOUSalliances (mMa) – "a series of collaborative events, objects, actions, activities, documentation and information by and between people whose practices construct, explore, and enact multiple social relations." It's a mouthful, but basically we're talking artists who want to use the gallery as a "venue" rather than as a pristine display case.

CLUBS has a great deal going with the Builder's Arms Hotel in Fitzroy, where they get to use a few large, rough rooms above the pub for free – and rather than just renting them out for "static exhibitions" the committee consistently offers the space up for events which allow playful and dynamic interaction, often with an accessible and lo-fi approach. Damien, a veteran artist and activist who I met during mMa, commented that CLUBS was moving towards the kind of model a "Social Centre" aspires to [for more on social centres, see http://scan.cat.org.au] – and that it was exhilirating to see artists embracing this very progressive form of organising.

Damien and I got stuck into Splint, a kind of organic meccano set made by Jason Mailing and
Torie Nimmervoll. At first we sniffed around it, not knowing what to do (like most projects at CLUBS, no explicit "instructions" are offered) – but soon enough we were diving into the metal cases for the hand-carved wooden stakes and beautifully-smelling sisal ropes, and attempting to make our own "billy-cart".

I can't speak highly enough about Splint – the playful, absorbing construction task kept us going for a few hours, and even when our makeshift vehicle ended up in the pits, with a tragically split-chassis, Mailing didn't chastise us – "I guess we'll retire that piece" he said with a shrug.

Cleverer than us were a duo of theatre designers who set about constructing a fully functional chair out of the versatile Splint kit, and even gave themselves the limitation of not using any knots! (Which famous architect said "It is harder to design a chair than a building"?)

One of the most intangible "products" of splint is the collaborative relationship which stealthily develops between the two or more "players" – and this was evident in the faces of the chair-makers as they tackled problem after problem with the utility of their ad-hoc furniture while not wanting to sacrifice their aesthetic decision to avoid knots.

Right next to Splint was CXXXXX's Breath piece – a fluxus-like task where friends were encouraged to step up to opposite sides of a piece of perspex projecting from the wall, and gently breathe condensation onto its surface. The sensation was intimate and confronting – the perspex allowing both participants to get very close to one another without quite touching – and some folks responded by utilising "distancing" strategies – laughing to break eye contact, or deliberately breathing onto the perspex away from the face of the other.

Also part of mMa:
-a vast repository of artists books, zines, articles and journals, set up in a comfy couchy carpeted space next to a ricketty photocopy machine.
-a re-creation of Azlan McClennan's censored artwork – complete with a planned forum to discuss the issues surrounding the work, on Sunday 4th July…
-an old Mac Classic set up so that visitors can log in their immediate responses and messages regarding the show (presumably these responses will be posted on the CLUBS website shortly)…
-documentation of The Laws Project by Damien and Kylie Wilkinson – this piece began with the distribution of hundreds of fridge magnets outlining the US government's INTERROGATION RULES OF ENGAGEMENT – rules which became apparent following the scandal surrounding the treatment of Iraqi prisoners by American soldiers.
Wilkinson and … followed this up with a "re-enactment" (in Federation Square) of the famous photograph of the Iraqi prisoner balancing precariously with a black sack on his head.
-and there are DOZENS more projects coming up during the rest of the mMa…

The launch afternoon of mMa was jam-packed and chaotic. Soup was doled up as you walked in the door, and tea and coffee were constantly available for free. These humble, hospitable gestures may seem minor, but I don't doubt that they were as thoroughly discussed and orchestrated as any of the other elements of mMa.

[a tidied up version of this blog entry, focusing on the SPLINT project will appear in the upcoming SPINACH7 magazine…]

[ps – i have posted that article up online now. See here.]