10.8.20

Rox De Luca, Still gleaning for plastics, on the beach

Open Fri-Sun 11am-5pm 14 - 30 August
(except Sunday 16 August)

Open day  Friday 14 August from 11am to 5pm 
(see conditions of entry below)

Voices of Women presents Still gleaning for plastics, on the beach, an installation by Rox De Luca, showing work made from materials she has gleaned from the beach near where she lives.

Still gleaning for plastics, on the beach is also the location in which Clearway (Corona) will be filmed. This is a short Voices of Women film in which Australian women’s stories are performed in conjunction with the installation and with the music written in response to it by composer Elizabeth Jigalin.

Due to Covid-19 restrictions, the film Clearway (Corona) will ONLY be streamed online on Thursday 27 August or Friday 28 August. 
For tickets register here: https://voiceswomen.com/ 

Rox gleaning on Bondi Beach. Photo credit Alana Dimou

Rox gleaning on Bondi Beach. Photo credit Alana Dimou

Rose Bay Beach shoreline Photo credit Rox De Luca










Rox De Luca: Gleaning for plastics, defying wastefulness
Most days Sydney-based artist Rox De Luca gleans along her local beach, Bondi, or a little further away at Rose Bay Beach. She is looking for flashes of colour and of whiteness against the sand, the signs that the beach—like every beach on the planet—is adjusting fragment by fragment to the deluge of plastic waste that our species generates daily. She collects the weather-worn fragments from the sand, and she takes them home to clean and to categorize by size, colour and shape. Then her defiant transformations occur.
Using steel wire or fishing line she threads the plastic remnants into long sinuous garlands, or she collates them into smaller, intimate bundles. Sometimes De Luca accesses her plastics from other sources—for example, the tamper-proof aviation seals that are discarded in their hundreds of thousands each day in airports across the world—and reorders them into shapes like the skeletons of deceased sea creatures, an allusion to the lethal work done by plastics when ingested by the marine animal and bird life of the earths oceanic ecosystems. At times, De Luca homes in on a recognizable plastic form that seems to proliferate without pause, a key example being the red tops from the small fish-shaped plastic soy sauce bottles that are ubiquitous in Japanese restaurants. That De Luca can create massive spirals out of those small, but endlessly available, discards, says a lot about the poor design choices that food producers have made, and that we as customers accept without question.
I use the verb to glean” to frame De Lucas aesthetic interest in the environmental spate of discarded plastic in two senses: to gather something laboriously and slowly; and to detect, discover, unearth, often little by little, ergo to deduce, to infer, also slowly. Usually applied to the actions of people collecting remnant grains or vegetables or fruits after harvesting, De Lucas gleaning involves her gathering of plastic detritus, and her remaking of those plastic shards and discards into new forms, and thus new modes of critical deduction and inference.
The constructions evolving from De Lucas gleaning are beautiful in their sinuousness and their subtle, at times translucent, colourations. Even the minimal, neat order of her small bundles invites admiration precisely because the environment appears to be assisting De Luca in configuring that order. At the same time De Lucas works are humbling in their defiant reminder of our destructive, wasteful propensities.
A January 2016 World Economic Forum report forecasts that in the middle of this century our oceans will hold less fish than plastics. And—as De Lucas gleaning intimates—plastics are vying with sand itself to form the core constituent of the planets beaches. De Luca’s practice addresses such forecasts by asking her audience to intuit something of these global displacements, and the vastness of their scale, when viewing the reformulated results of her gleaning for plastic, on the beach. It seems apposite, then, that this exhibition takes place in the middle of a global pandemic that has caused many of us to reflect on our relations with, and impacts on, the world that hosts us.
© Paul Allatson, University of Technology Sydney, 2020

Conditions of entry to the exhibition:
There are limited places inside Articulate. You may have to wait a few minutes if it is full when you arrive.
Please stay at home if you’re unwell.
Stay at home if you’ve been in contact with a known or suspected COVID-19 case.
Please wear a mask/face covering when inside Articulate.
Utilise hand sanitisers provided at the Articulate entrance.
Leave your contact tracing information on entry.
Maintain 1.5 metres distance from other visitors and staff.
Have your forehead temperature taken with touchless temperature gun on entry to Articulate.

9.8.20

What do I say 4

WHAT DO I SAY ABOUT THIS WORK NOW? is an online project begun for the COVID-19 shut-down period. As new spatial artwork can not easily be shown during this period, this project instead encourages discussion of artworks that already exist. Artists are invited to reflect on one of their own works, including how and why its location is part of the work, for posting on this blog. Responses will also be posted here, and can be self-posted on Facebook and elsewhere. Here is the fourth reflection:


Noel Farina Le Point Rouge (The Red Dot) 2019


















SPACE/PLACE & THE RED DOT

I invited my artists to comment on the nature of the Articulate project space before an exhibition is hung: Marco Smudge says, “it’s a space waiting for my personal expression”. Flavia de Jour says, “it’s there for the communication of my difference.” Desirée de Kikk  says, “it’s a place asking for trouble.” Tra Tekram (TM)[1] says, “it’s a place made for my purposes!” Noel Farina says, “it’s a space for my free flowing thought.”

Subsequently, I asked Noel Farina to review Nola Farman’s artwork titled
Le Point Rouge (The Red Dot), which was in a group exhibition at Articulate project space and it was shown at Artspace as a part of Nora Fleming’s Misguided Tour.

Here, for the pleasure of debate, are Noel’s comments,
Dr Permangelo E. Regularis

Thank you for this opportunity Permangelo. Firstly, a gallery is a space haunted by human imaginings. It is where artists collectively create a sense of place. Here, in Articulate Project Space, framing a Red Dot and placing more of the same amongst other artworks is an intrusion, it suggests contagion. Today this would inevitably gesture towards the current pandemic. The red dot is infectious. It cannot be contained. It spreads easily in a crowd. It goes viral. A collective noun would be a rash of red dots,

The Red Dot is an indicator of value, both aesthetic and monetary. It is highly selective, pleasing few and dis-pleasing many, placing and dis-placing. It is the logo of an insatiable cannibal, consuming some and spewing out others, selectively – the mis en place for the main meal. The driving force, the driving farce, slipping between the lines – under the lines of defence – into the line of fire – the spot to aim for. Well spotted. A spotty rash, a spatter of blood and an insatiable itch – irresistible – contagious.

Not every viewer has symptoms. But after a fever, a raised heart rate, feelings of pending doom, a tendency to faint[2], followed by an inclination to reach for a credit card, Red Dot Fever (RDF) is confirmed. There is no known cure and it’s doubtful that a vaccine will ever be developed. 

TM wishes RDF could invade and infect all the spaces of the art world. Oh to be airborne!  So easy.  A red dot can be stuck on with a digit – digitise – no need to lick  – no lechery here. Just a seductive dance in space – see it from across the room. Try to refuse. It is hypnotic. If you go away, you will come back. Dance attendance.

Noel Farina, Sydney, August 2020




[1] Tra Tekram (TM) is an artist, whether we like it or not, in the sense that he is the arbiter of aesthetic value. From the outset his saucy little dots have been and still are a significant part of the repertoire composing his body of work. In a noble gesture, he decided to gift his oeuvre to the art world and it has since become familiar to artists, viewers, collectors and dealers alike. Hence, the red dot has taken on a life of its own.

[2] Stendhal Syndrome: the first example of something resembling RDF was recorded in 1817 and considered to be unique to Florence. This is disputable, given recent evidence of the behaviour of art collectors all over the world.

John Gillies: Proposal for a Performance Space

Final performance








Photos: Colour: Marta Ferracin; black and white: Christopher Verheyden

8.8.20

Final Weekend: John Gillies, Proposal for a Performance Space

Open Fri - Sun 11am - 5pm till Sun 9 August


Sunday 9th August
Artist Talk 3pm

Performance 4pm
https://www.eventbrite.com.au/o/articulate-projectspace-30753826322


Chris Abrahams & John Gillies, Aug 1 2020, Articulate project space (photo: Denis Beaubois)





Conditions of entry to the exhibition:
There are limited places in the gallery. You may have to wait a few minutes if the gallery is full.
Please stay at home if you’re unwell.
Stay at home if you’ve been in contact with a known or suspected COVID-19 case.
Please wear a mask in the gallery. We have spare ones
Utilise hand sanitisers provided at the entrance of the gallery.
Fill in your contact tracing information on entry to the gallery.
Maintain 1.5 metres distance from other visitors and staff.
You are encouraged to bring your own headphones to the gallery


This project has been supported by funding from the Inner West Council through its 2020 Creative and Cultural Resilience Grants Program.

21.7.20

John Gillies: Proposal for a Performance Space

John Gillies presents an evolving exhibition 'Proposal for a Performance Space' at Articulate project space including a new video work Untitled_2020 and the soundwork Crowd.
Gillies, who most recently performed his video-music works at the Golden Age Cinema will also perform live music to accompany the installed video work.  He is joined on August 1st by legendary Australian experimental keyboard player Chris Abrahams on organ. Gillies has also performed similar work at Artspace NZ, ACCA and the IMA Brisbane.

Originally conceived as a showing of Gillies VR experiments with Tactical Space Lab, it expanded to include abstract video and conceptual soundwork which references the VR work. The VR work proposes a model for a new kind of performance space, that is endlessly re-configurable and flexible. While yearning for the connection to live performance, it proposes ways beyond the current impasse. Expect the exhibition to change and evolve over the coming weeks.

See the events below (due to limited numbers please register with Eventbrite to attend).

John Gillies  (photo: Alessio Cavallaro)

https://www.instagram.com/p/CDDSb7MjnBg/


Conditions of entry to the exhibition:
There are limited places in the gallery. You may have to wait a few minutes if the gallery is full.
Please stay at home if you’re unwell.
Stay at home if you’ve been in contact with a known or suspected COVID-19 case.
Please wear a mask in the gallery. We have spare ones
Utilise hand sanitisers provided at the entrance of the gallery.
Fill in your contact tracing information on entry to the gallery.
Maintain 1.5 metres distance from other visitors and staff.
You are encouraged to bring your own headphones to the gallery





This project has been supported by funding from the Inner West Council through its 2020 Creative and Cultural Resilience Grants Program.

15.7.20

Introversion artists' talks & closing drinks: Sunday 19 July 2-4pm

Last weekend coming up: Open 11-5pm Fri- Sun until 19 July

CATALOGUE
Introversion is a group exhibition by Isobel Markus Dunworth, Kath Fries, Prudence Holloway, Fiona Kemp, Kenneth Lambert and Jacqui Mills  reflecting on processes of folding inwards during the COVID-19 crisis. Their videos, sculptures, paintings and installations each trace energy flows within interior worlds and engage with introverted patterns of psychological orientation.

Prudence Holloway Kneading, 2020, still from 30 minute video loop: https://vimeo.com/432754008#at=9

#introversionexhibition

Because of the COVID-19 pandemic, we ask visitors to please: 
• leave your name and contact number at Articulate for contact-tracing 
• have your temperature taken with non-contact thermometer on entry
• always ensure you keep 1.5m distance from others
• use hand sanitiser available
• keep the maximum number of people in Articulate to 35 (the 4sqm/person rule)
• stay home if you are unwell

5.7.20

Introversion opened yesterday with Breaking Bread

Open 11-5pm Fri- Sun until 19 July


Introversion is a group exhibition by Isobel Markus Dunworth, Kath Fries, Prudence Holloway, Fiona Kemp, Kenneth Lambert and Jacqui Mills, which reflects on processes of folding inwards during the COVID-19 crisis. Their videos, sculptures, paintings and installations each trace energy flows within interior worlds and engage with introverted patterns of psychological orientation.

Breaking Bread opening event: Saturday 4 July 2-4pm
Artists talks and closing drinks: Sunday 19 July 2-4pm

#introversionexhibition






This project has been supported by funding from the Inner West Council through its 2020 Creative and Cultural Resilience Grants Program.

29.6.20

Introversion is open from 11am Friday 3 July

Open 11am - 5pm, Fri-Sun 3 – 19 July 2020

Kath Fries, Prudence Holloway, Fiona Kemp, Kenneth Lambert, Isobel Markus-Dunworth and Jacqui Mills

Breaking Bread opening event: Saturday 4 July 2-4pm
Artists talks and closing drinks: Sunday 19 July 2-4pm

#introversionexhibition

 Isobel Markus-Dunworth, Sad plant, 2020





Introversion is a group exhibition by Isobel Markus Dunworth, Kath Fries, Prudence Holloway, Fiona Kemp, Kenneth Lambert and Jacqui Mills, which reflects on processes of folding inwards during the COVID-19 crisis. Their videos, sculptures, paintings and installations each trace energy flows within interior worlds and engage with introverted patterns of psychological orientation. Turning one’s attention inwards has been almost unavoidable for many people during COVID-19 enforced social distancing; for some this self-isolation has been regenerative, but for others the compulsory alone-time has been challenging.

The artists in this exhibition would usually value alone-time and seek it out on residencies or in studios, insulated away from the world. For them the COVID-19 crisis period of isolation wasn’t necessarily positive or productive in that way, but it did open up some space for reflection and introspection.

Prior to the COVID-19 crisis these artists were all connected by their participation in the ‘Silence Awareness Existence’ residencies at Arteles Finland, 2012-2019. Drawn to the isolated, quiet and introverted elements of Finnish culture, winter countryside and the secluded nature of the residency; they were inspired to focus on and develop their individual introspective creative processes.

From these common threads of contemplation and quiet attentiveness, new conversations have grown whilst grappling with recent imposed isolation at home. These creative connections now come together opening up space for sharing with others recent experiences of folding inwards during the COVID-19 crisis.

Introversion is a collective response to the artists’ exploration of self, home, imagination and mindscape; letting go of the outside world, the city rat-race and extraverted social interactions. Through their shared exploration of alone-time, each reflects on their unique challenges of enforced social isolation and its impact on the inner psyche. Introversion shares their experiences of creative indoor plant cultivation, working patiently with layered textures and natural materials, mesmerising metallic painting processes, videos conjuring the elemental and notions of memory, and the meditative process of kneading and baking bread.

Isobel Markus-Dunworth http://isobelmarkusdunworth.com
Kath Fries  http://kathfries.com
Kenneth Lambert https://www.kclart.com 

Because of the COVID-19 restrictions, there will be no opening event and we ask visitors to please observe the following 
• ensure you keep 1.5m distance from others
• use hand sanitiser available
• a maximum of 35 people are allowed in Articulate under the 4sqm/person restriction.
• leave your name and contact number in case of contact-tracing 

This project has been supported by funding from the Inner West Council through its 2020 Creative and Cultural Resilience Grants Program.

25.6.20

The last Weekend of An Installation by Lesley Giovanelli is coming up

Open Friday 12 - Sunday 28 June 
11am -5pm Friday to Sunday
This immersive installation uses fabric, texture and colour, expanding through space to incorporate the architecture. Inspired by the rich colour and lightness of an Indian sari, the installation creates the experience of walking inside a 3D painting with movement in every direction; above, below, across and around.






Photos: Margaret Roberts

19.6.20

Tonight's Zoom - WHAT DO I SAY ABOUT THIS WORK NOW?

We had very interesting conversations tonight about the form of theatre that Voices of Women used in the Leichhardt Town Hall last year, and the challenges that variously restructured live spaces create for performers, actors and audiences.  Also about the theatre Nola Farman is enacting on #nolamayfarnam. We also talked about how our current use of Zoom is effecting our relationship to physical space, and how it sometimes effects relationships with people in surprising ways, perhaps because its shared live time might explain why it seems not as artificial or virtual as we might expect. 

Listen to tonight's Zoom discussion here.

Screen shot of tonight's Zoom discussion
Please send your own reflection on a past work, either as text or as video or aural recording, or mixture, for posting on the Articulate blog, so that, once it is posted, the next zoom discussion can be arranged. Details of what to send are found here.

16.6.20

What Do I Say About this Work Now 3 - Zoom discussion

Please join discussion of the third reflection of What Do I Say About this Work Now? on Friday June 19 At 6pm


Topic: What Do I Say About this Work Now 3
Time: Jun 19, 2020 06:00 PM Canberra, Melbourne, Sydney

Join Zoom Meeting

Meeting ID: 872 3327 1980


from: Voices of Women,Leichhardt Town Hall 2020. Noni Carroll Photography.  https://www.youtube.com/watch?v=PES30S7XvJQ&feature=youtu.be

To prepare for the discussion of reflections on Voices of Women 2019 please :



Thinking about the performance of Voices of Women in 2019 at Leichhardt Town Hall: activating the space means rethinking about how we listen - where we gather - and why we come together to share story. What is a public space? What is an intimate one? Thinking about active listening of an audience, the craft of storytelling, and the spaces that can change and be transformed to accomodate that.

Understanding that an audience is never JUST listening, while accommodating the voices of multiple writers from diverse backgrounds. In the most obvious of setups, the reader would probably stand out in front of the audience, delivering the text in what is known as ‘front-on’ mode, like a lecture, or a sermon; a situation laden with associations of being ‘talked to’, or formally addressed.

Discussion with Lliane Clarke, Producer/Director, Clare Grant, Dramaturg and UNSW Performance Lecturer, Sage Godrei, actor/writer, hosted by Cassi Plate, broadcaster, curator. Includes QandA. 



14.6.20

What do I say 3

WHAT DO I SAY ABOUT THIS WORK NOW? is an online project begun for the COVID-19 shut-down period. As new spatial artwork can not easily be shown during this period, this project instead encourages discussion of artworks that already exist. Artists are invited to reflect on one of their own works, including how and why its location is part of the work, for posting on this blog. Responses will also be posted here, and can be self-posted on Facebook and elsewhere. Here is the third reflection:



Lliane Clarke's reflection on her Voices of Women project at Leichhardt Town Hall in 2019 is available via the link below  and is supported by the following text by Clare Grant.

VOICES of WOMEN - THE MONOLOGUE ADVENTURE 2019           https://youtu.be/PES30S7XvJQ


The staging of multiple voices in a shifting space
By Clare Grant

Thinking about the staging of the Voices of Women readings means thinking about maximising the staging possibilities for active listening for the audience, understanding that they are never JUST listening, while accommodating the voices of multiple writers. In the most obvious of setups, the reader would probably stand out in front of the audience, delivering the text in what is known as ‘front-on’ mode, like a lecture, or a sermon; a situation laden with associations of being ‘talked to’, or formally addressed.



From The Theatre of the Bauhaus; (ed) Walter Gropius and Arthur S Wensinger;

 Johns Hopkins University Press, Baltimore and London; 1961; p23.


This Bauhaus image clearly shows how the tiniest movement of a finger on a stage space can trigger exponential shifts in viewpoint for an audience; each line in the diagram impacts on each of the others. What happens, then, if you place the audience into this mix, ‘on the stage itself’, and ‘just’ read to them? The construction of the listening space becomes critical, so that the work and the listener are able to meet each other with as little distraction as possible – while never trying to persuade the listener that they are anywhere but in the actual building. They are on the real chairs, in real time. This ‘reading’ space becomes a kind of neutral space, open to the various ‘worlds’ being evoked by many writers’ imaginations and experience; a listening space that offers multiple ways to become immersed.

It’s a point of transition and exchange, with an extra layer if the writer is in the room too, in physical form, rather than just implied by the structure of the event itself. The reader/actor is also unquestionably present as themselves, while carrying into the space some of the characteristics of the figures of the story. It’s not strictly acting, because the writing is overtly being presented as itself, and the performer (usually) holds the script in her hands.

A rendition of an immersive performance space, designed by C20 theatre director Jerzy Grotowski, re-imagined by Justin Cash, “Non-naturalistic Performance Spaces” (2016) 2020; at: https://thedramateacher.com/non-naturalistic-performance-spaces/

An early proponent of a staging plan that shaped a disrupted viewing, C20 Polish theatre director Jerzy Grotowski engaged in one of the earliest experiments in spatial relationships with the audience, freeing up the theatre space to be reimagined, and to activate the most resonant relationships between a writer and a space. Bringing multiple voices into play in the same space needs this break from more traditional arrangements of bodies in space, to absorb the range of voices without illustrating any of them.

Staging the ‘Voices’ readings to date: the first, in a long thin studio space, where, to be in a front-on arrangement would have left most of the audience with poor eyelines and a lack of physical proximity to the readers, the use of the ‘traverse’ setup allowed for a constantly shifting point of focus and a broad scope for actions by the performers. For the second, the ‘in the round’ setup in the vast space of the Leichhardt Town Hall also allowed for the audience to connect immediately with the performers, and, with only two rows of seats, the sense of ‘accountability’ of the audience members is slightly ramped up. The use of a floor rug and several standard lamps created a sense of intimacy, the domestic, thus a cosiness that the otherwise expansive space could have killed. The rug and the lamps were simply signals to the audience to relax and allow themselves to engage in the writing, while the lamps, not intending to create any kind of fictional ‘setting’, were simply a functional means of being able to see, while also achieving a ‘mood’ to help contain the audience’s focus.

The new challenge in of this project in Articulate project space ….. the ‘space’ for the third event, might have been inspired by the following set-up proposed, and designed, by Jerzy Grotowski.

Figure 4.1 Jerzy Gurawski’s “scenic architecture” for Akropolis, 1962. 
Published in Paavolainen T. (2012) ‘Grotowski and the “Objectivity” 
of Performance’. In: Theatre/Ecology/Cognition. Cognitive Studies in 
Literature and Performance. Palgrave Macmillan, New York. P.133.

 
All parts and angles of the multi-levelled space, with its multiple and variously-delineated areas will be drawn on, to amplify and, possibly, challenge the written voices and their stories. Grotowski enables a way of thinking about staging that releases the audience from the traditional proscenium arch, pointing to the multiple potential stagings for the Articulate readings program, albeit this time, challenged to ‘pivot’ still further into the filmic, the virtual; a possibility that would have been anathema to Grotowski, the most rigorous of believers in the power and importance of the body of the live performer.