Tag Archives: NUCA

expanded cinema/deborah k

yes i wish i could bring valie export too. recently she was invited to london to give a talk on her work (she lives in germany and austria) and she said she couldnt make it (at the last minute) due to the flying thing. she doesnt want to fly in aeroplanes. the transcript from that talk that she didnt give (but she sent the text anyway) is at sensesofcinema journal which is at www.sensesofcinema.com/contents/03/28/contents.html
(but the site seems to be playing up at the mo, i cant make it work. hmm)
she writes really clearly about expanded cinema and its pervasive connexion to the rest of her work.
i hear ya about art about art. i must admit to having been a nerd about some of that conceptual art stuff (in the past, in the past!) which irritates the shit out of me now.
expanded cinema however is messy, its people getting together in small rooms and showing each other stuff and talking about it, its a bit like the sydney moving image coalitions super 8 nights. its about doing stuff with very little resources, and it was very much about the london filmmakers co-operative, a unique organisation which controlled the production, collection, and distribution of its work. i am very keen to see the project happen in sydney, partly because of the dire state of the film scene there (and the video installation "scene" if you can call it that). the film scene, well, squatspace has been ranting about that for a few years, the tropfest business and the fox studios hollywood production sweatshop. the video scene, because for some godforsaken reason it seems fascinated by the idea of "immersion" and "virtual reality" yet seems to do these things so badly. i even went to the zkm organisation in germany (the home of video-immersion-virtualreality) to see if i was wrong, but i dont think i am. its a resource-heavy parade of gimmickry. this is the kind of thing that expanded cinema artists were (and still are) against, yet theirs is a forgotten history. so its partly a historical-reconstruction project. i want to remind sydney artists that you dont need huge resources to make interesting moving image work.
yah, i wouldnt worry too much about the collectible thing. a few posters sold to a gallery certainly wont qualify you for a rush at the next madrid art fair.
but seriously, im keen for the project to explore "collectability/collectivity etc" in its many senses. so if you work with "collectives" often, that may be an interesting angle to explore for this one.
also, problems with collection are to be explored i reckon. mickie has complained about a similar issue, that his small disobedience kits are collected and put on the mantlepiece by "politically minded" but not "politically active" friends and colleagues, which for him kills the piece entirely. the project should bring out those issues.
for me, you are a prime candidate, even if you sell them posters to the gallery. i hope you do. we all need the cash.
50 most uncollectable is meant to be humourous and by necessity it cant become self-important. that is what we are working away from, the self-important cross-referencing of "credible" sources who "say" that an artist is collectible and are therefore slavishly followed by the market (who knows if this really works anyway, but it makes for some ghastly magazine filler).
ruark of course has his own motivations, and there is something to be said for his proactive attempt to insert the work into the collections of major galleries. strategic historymaking or something.
alla best

NUCA Update

The Network of Un-Collectable Artists (NUCA) is a brand new nation-wide affiliation. NUCA connects those who gravitate towards ephemeral projects, participatory experiences, illegal art actions, and activities that oddify everyday life. Some members make unwieldy installation projects, while others alter billboards, project images in abandoned spaces at night, or exchange ideas rather than objects. Some simply make dead ugly paintings that would never sell.

Because such artworks are often fiendishly tricky to document, they seldom grace the columns of “recognised” publications. NUCA is building a publicity machine of its own, so artists may exchange essential info about their activities, collaborate on new projects, and connect with Un-Collectable others.

For Next Wave 2004, NUCA will launch “Australia’s 50 Most Un-Collectable Artists”, a set of BubbleGum cards documenting the activities of these elusive individuals. The Un-Collectable BubbleGum Cards will be distributed by itinerant vendors at the various festival venues, and naturally, it will be damn hard to “collect them all”.

NUCA would like to invite you to join its ranks. Please send an email introducing yourself and your interests, to info@uncollectables.net to get the ball rolling. We will publish members’ pictures and information on our website, which will also house a discussion board.

A little more about the Australia’s 50 Most Un-Collectable Artists:

NUCA would like the project to explore “collectability/collectivity/collection etc” in its many senses.

Just because the project is about being “un-collectable” does not mean that selling a piece of art disqualifies you. Problems with “collection” are to be explored. [NUCA member Mickie Quick, for instance, has complained that his small civil disobedience kits (Refugee Island) are collected and put on the mantlepiece by “politically minded” but not “politically active” friends and colleagues, which for him kills the piece entirely.]

The project should bring out those issues.

Australia’s 50 Most Un-Collectable Artists is intended to be humourous, and by necessity it can’t become self-important. That is what it should work away from: the dubious practice of cross-referencing by “credible” sources who “say” that an artist is collectible and are therefore slavishly followed by the market (who knows if this really works anyway, but it makes for some ghastly magazine filler).

early unCollectable notes…

My friend Sussi recommended the dutch artist group “de greuzen”… they look great, check out their website.

people might wish to get involved with a fictional project i have thrown out into the ether. its a response to that ghastly magazine called the “australian art collector” and their “50 most collectable artists”…
here is the press release:

A dynamic network of artists from around the country will soon be launching their new DIY magazine The Australian Art Eclector. Each issue of The Eclector will incorporate an exciting feature on “Australia’s 50 Most Un-Collectable Artists”.

Phil T. Luca, magazine editor and spokesperson for the Network of Un-Collectable Artists (or N.U.C.A.) explains:

“The compendium of “Australia’s 50 Most Un-Collectable Artists” will be an important resource, especially for those wishing to look beyond the pseudo-official canon of Australian artists who have been vetted and rubberstamped by our short-sighted and commodity-oriented art institutions.”

The group obsessively documents the occurrance of ephemeral artworks, such as Weed-Killer/Pest Controller by Diego Bonetto and Emma Jay, where the artists created an informative audio tour of the various weeds on a run-down Drive-In Theatre site in western Sydney. Another project to make it into the top 50 was SquatSpace’s SquatFest, an anti-TropFest screening of film and video by independent artists and activists. The screenings were held in an abandoned brickworks in inner Sydney. Similarly, the artists of Hotel 6151 in Perth occupied a condemned 1970s hotel, with temporary installations and performances on every floor. The hotel was demolished shortly after.

Other works to make the cut were unwieldy installations, more subtle projects based around exchange and communication, and illegal activities such as billboard alterations.

For more information contact N.U.C.A. at info@uncollectables.net

at the moment it exists as an idea. but i envisage that the NUCA will emerge as a network as an end in itself. i would be happy with that…