22.7.17

SPLINSTALLATION OPEN REHEARSAL TODAY

Open 11am - 5pm Friday - Sunday till 30 July
Final concert Sunday 30 July 6-8pm
apologies for using the wrong recording method most of the time
best method is to come along yourself


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21.7.17

SPLINSTALLATION OPENED TONIGHT

Open 11am-5pm  Friday - Sunday till Sunday 30 July
Open rehearsal Saturday 22 July 3pm
Final concert Sunday 30 July 6-8pm

video
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This project is supported by funding from the Inner West Council



16.7.17

Splinstallation opens Friday 21 July 6-8pm

Opening Friday 21 July 6-8pm
Open 11am - 5pm Friday to Sunday 22 -30 July
Artists talks and performances - times to come

Splinstallation is a sound-based, site-specific project designed especially for Articulate's project space by the Splinter Orchestra.



The Splinter Orchestra is a large-scale ensemble working in improvised experimental sound and music, and that is developing its current interest in sound installations. It usually includes Prue Fuller, Laura Altman, Mel Herbert , Romy Caen, Bonnie Stewart, Andrew Fedorovitch, Jim Denley, Drew Bourgeois, Cor Fuhler, Peter Farrar,  Jo Derrick, Shota Matsumura, Axel Powrie, Max Alduca, Tony Osborne, Sonya Holowell, Rhys Mottley,  Luiz Gabriel Gubeissi, Adam Gottlieb, Alex Spence, Mel Eden, Weizen Ho, Jack Stoneham, Marco Cheng, Hannah Kim, Clara Pitt, Ruby Everett.  A final list of those participating in Splintstallation will be included here soon.

Splinstallation is planned as a combination of audio-visual installation, sounding sculptures and spatial music performance that will explore and examine the natural vibration, resonance and ambient sound environment within Articulate’s project space. 

It will use the two weeks in Articulate as a residency during which the group will pursue site-specific group improvisation and homogenous sound installation works to which the public will be invited during Articulate’s normal opening times.  Specific performance events will be advertised here.

Splinter’s practice draws from acoustic ecology, ‘psychogeography’ and phenomenology to explore the idea of listening as an active practice. Its aesthetic favours subtlety, quietude and unusual sound sources. More recently Splinter has developed an interest in sound installations. Many members have created their own self-playing instruments and sound devices, which can be dispersed around the room at rehearsals and incorporated into the groups rehearsing and playing.


 In June 2017 members of the group organised a Splintstallation at Tempe Jets (where it rehearses weekly). This installation used the many rooms and spaces of the building, and unlike other sound installation exhibitions, the individual artworks were made to coexist and compliment others, to create an immersive spatial sound environment.  

See previous events by the Splinter Orchestra on 

includes documentation from the Mungo trip and other projects
documentation from the first Splinstallation at Tempe Jets in June 2017







The project is supported by funding from the Inner West Council

De Quincy Co's PLATFORM finished today








PLATFORM performers 

10.7.17

PLATFORM performances 15-16 July

by Linda Luke, Eugene Ward and Tess de Quincey

Two performances only: Sat & Sun 15 & 16 JULY at 3pm

FREE ENTRY  - BOOKINGS ESSENTIAL - BOOK HERE

NB: There will be no normal Friday opening at Articulate on Friday 14 July


by Tess de Quincy, Lux Eterna, WeiZen Ho, Samuel James, Lian Loke, Kelly Nguyen, Lynne Santos, Alan Schacher, Clytie Smith, Luke Standish, Richard Stevens, Vsevolod Vlaskine, Eugene Ward, Marcus Whale, Christie Woodhouse

including Steerage, a  ‘performed objects’ collaboration with BOAT, the project showing in ArticulateUpstairs at the same time. (BOAT includes the work of artists, Anna Ingham (sculpture), Jan Taylor (drawings) and Toni Warburton (ceramics) and continues until Sunday 30 July. See BOAT invitation here. )

FREE ENTRY TO PLATFORM - BOOKINGS ESSENTIAL - BOOK HERE



This year's PLATFORM brings together exciting informal works forged in meetings between established and emergent artists from different disciplines—the fresh blood of Melbourne and Sydney—who will unfold the spaces across Articulate's three levels.



Organiser


4.7.17

Martyrium and Reliquary artist talk 3pm Saturday 8 July

Mireille Eid - 3 - 4pm Saturday 8 July

 Martyrium and Reliquary is open 11am - 5pm 
Friday - Sunday until Sunday 9 July


Mireille and Joy at the opening


24.6.17

18.6.17

Martyrium and Reliquary opens Friday 23 June 6-8pm

Mireille Eid and Elizabeth Presa

24 June - 9 July 2017

opening Friday 23 June 6-8pm

Martyrium and Reliquary will be opened by Professor Peter Hutchings, Dean of the School of Humanities and Communication Arts at Western Sydney University

Attempting to give sight to invisible silences, we seek to ignite the “unheimliche” as a way to awaken dormant senses. "While a wound or misfortune embodied is not always visible, the opposite is true for the “splendour and brightness which dry up misfortune.” If we understand the “splendour and magnificence” of the event as the luminous yet mysterious moment of “the immaculate conception,” as Deleuze writes in The Logic of Sense, then we see that life is not something that happens accidentally to us. When purely expressed, the event “signals and awaits us” as one might imagine a pregnancy to come, the unborn, as it were." (1) We trust that at the precise moment the visual encounter takes place, senses would surge whilst engaging the decision-making process in an oscillating movement between latent passion and calm-inducing meditation. Nevertheless, spectral representations unsettle these senses as any wound would, while inviting the viewer to seek the quintessential equilibrium between hope and the real, between memory and emotion. 


Mirielle Eid Mar Elias 101cm x 76cm Inkjet print 2017

Each of Eid’s images reminds one of what Merleau-Ponty calls“le mouvant”: the moving object that contains an implicit identity charged with psychic states that had become sanctified. Just as the logic of the perceived circle is the entity that possesses, in advance and in itself, all of the properties that analysis will discover there, the movable object is the object of an indefinite series of explicit and concordant perceptions and beliefs. Stills caught in mid-sentence, prayers yet to be uttered, yet to be discovered, mouth gaping, quiver with beatitude the hidden figures, the veiled reflections, and even dilations of one’s own life. “The hallucinatory thing is not the real thing, a deep being that contracts a thickness of duration in itself … the hallucination slides across time, just as it slides across the world”.(2)


Presa’s sculptures on the other hand function as reliquaries. But whereas reliquaries traditionally contain parts of the bodies of saints, here these small reliquaries, - made by folding , twisting and threading brass mesh - contain something of the inflections, shadows and luminations radiating from their material under differing plays of light. Resembling small Baroque experiments or excitations, they make evident the fact that the physical world, in its most mundane sense, holds within it potentiality for remarkable transformation, whereby the most common of materials can take on the character of an angels wing, metamorphosis of flesh, or transcendent experience. Such experiences may remain imperceptible or may appear in unexpected illuminations, forms and spacings.





1. E.Presa, text for exhibition, entitled "Life Must First Imitate Matter", 2015 
https://www.researchcatalogue.net/view/237176/237177 Orpheus Institute, Ghent, Belgium.

2. Merleau-Ponty, M., & Landes, D. A. (2014). Phenomenology of perception. Abingdon, Oxon Routledge, 2014: 355.

14.6.17

FINAL SOLIDARITY WEEKEND COMING UP

SOLIDARITY is open 11am - 5pm Fri-Sun Sunday 18th June

Curated by Akil Ahamat, Sarah Fitzgerald, Delilah Lyses-sApo and Alexandra Mitchell, Solidarity shows the work of sixteen current and recent students of Sydney College of the Arts, National Art School, UNSW Art & Design and UTS. The exhibition demonstrates the need to secure the diversity of art education in Sydney. Throughout the duration of the exhibition sixteen artists will use the project space as their studio space, working in sixteen mini studio spaces. The studios are open to the public who are invited in to see the process of art making, to talk with the artists and to see the final work at the Closing Party on Saturday 17th June from 6-8pm. 

SATURDAY 17th JUNE
4-5pm: Performance: Mending the Memory Gap #3 - Stella Chen.

5:30-5:45pm: Performance: Matter and Musical Motion (plate bells, piano and voce) - Marta Ferracin with Kim Cunio and Heather Lee: Kim Cunio and Heather Lee will play with plate bells and intervals of piano and voce to generate a cosmic musical motion inspired by the concept of growing found in nature. The cyclic nature of the music is designed to mirror the organic motion happening in the installation itself. 
6.15pm Address by local Greens NSW MP, Jamie Parker
7 pm: Performance by Liz Hogan 

6-8pm: CLOSING PARTY

THE ARTISTS PARTICIPATING:
SCA - Kalanjay DhirMarta Ferracin, Delilah Lyses-sApo, Sophie Suttonberg
NAS  -  Dominic Byrne, Sarah Fitzgerald, Elizabeth Hogan, Elizabeth Rankin
UNSW A&D  -  Stella Chen, Alexandra Mitchell, Caoife Power, Douglas Schofield
UTS  -  Akil Ahamat, Ayesha Wasique, Kristina Savic, Rathai Manivannan



Photos Alexandra Mitchell


11.6.17

Solidarity afternoon of performances and talks


Mending the Memory Gap #3: Stella Chen used water to make the temporary language of the body's imprint and of its words

Caoife Power talked about her practice of collecting parts of the city and bringing them into her studio . . .

Rathai Mannivannan talked about using her art practice to explore her Tamil culture in Australia 

Marta Ferracin talked about experimenting with the effect of sound on the growth of slime 

Alexandra Mitchell discussed the incorporation of sound into her art practice

Kristina Savic discussed the struggles she has with making art without a studio 

Sarah Fitzgerald discussed how she is using her location beside Parramatta Road in her work

Elizabeth Rankin discussed her use of narrative in her work and how it so often turns out to the narrative of her own life