Cutendpaste opens on Friday 31 October 6-8pm, and is open 11am - 5pm Friday - Sunday 1 - 16 November.
It is open other times by contacting the artists on 0433 307 680 or calling by to see if they are there working.
Artists' talks will be held on Saturday 15 November 2-5pm, in conjunction with Emma Wise who is working on All My People at ArticulateUpstairs.
In cutendpaste, artist Kathryn Ryan asked Linden Braye, Dorit Goldman, Anna Jaaniste, Melissa Maree and Margaret Roberts to join her in developing process-related projects in Articulate project space on conjunction with the location and each other. Visitors are invited to talk with artists and see their projects change throughout the 3 weeks of the project.
Follow progress on cutendpaste blog
Linden Braye Helpful Viewing Tools 2011
Dorit Goldman Artsider (detail) 2014
Meatology (working title)
WhereDoiComeFrom.WhatMi.WhereMiGoingThere is something very empowering in the ability to say: idontknow while feeling like I have done nothing wrong.
Looking into connecting my own dots through observing everything and everyone around. My research is a constant never ending process: itest
As myart is a very spatial case; property becomes a commodity. This is where relationships get tested: meateography gets mapped.
Meatology becomes theArt of everything: In the ancient classic Greek world, the biggest sin of them all, was cannibalism. Zeus all mighty, would rage when he saw people engaging in it.
Melissa Maree cutendpaste 2014: makeagif
Thinking about Process Art:
Process combines the concept and feeling of the artist towards space. Arguably, this definition of process involves nearly all art practices today. However, I think process art differentiates from other practices, through the intentional and purposeful action to collaborate with space. Conventionally, the retinal approach to art creation instigated its own private language, that delved into the emotional innards of the artist, distancing dialogue with the actual space the artwork was presented. This action repressed the social/political exploration of space, promoting a romanticised notion of the artist as genius, that supported omnipotent perspective art - closing the viewer into the beholder's grasp. Without the loss of the expressive, primal “touch” of the artist, process artists used materials that express a bodily character creating anti-illusionary work that acknowledged itself within its predetermined space. I feel retinal tendencies are still present today and close the connections between concept, expression and space that I feel is imperative to provoke thought.
As artist today I feel process art is an extension of the body positioned to critique places within space. I feel that process art can be a powerful tool to critique the power exerted over the body by societal/economic structures. My work reflects a desire for transparency, a need to see more deeply beyond image and illusions, values that I feel stem from process art.
Margaret Roberts SNAP 2013
I think of 'process' as a collaboration between thought and space. Thought occurs in someone's mind and it transforms into physical form when it is realised in actual space. This happens in all art-making (and in life generally) in some form, but 'process art' is when an artist's thought is specifically designed to give agency as much to the contingencies of the 'rolling-out' process in actual space, as to that design.
being in the moment of connection
never achieving a perceived goal or perfection
everchanging / fluid
can be a bodily, physical process that needs to be carried out
being unattached to a particular outcome
giving up full control and trusting in nature’s own will
Anna Jaaniste is supported by a grant from the Ada Merz Foundation