Collapse

Collapse was a visual performance installation presented at the Old Port of Melbourne in 2008. The audience travelled by boat across Port Phillip Bay to witness the performance begins at Sciencework’s Spotswood Jetty, where the audience travelled by ferry across the Port Phillip Bay to a remote location, where society has “collapsed”. The performance then becomes a walking tour around this new location, encountering and experiencing the world that Red Cabbage has created.

“At that point…the collapse of their morale, their will power and their patience was so abrupt that they felt they would never be able to climb back out of their hole…Hence, floundering halfway between the abyss and the peak, they drifted rather than lived, given up to aimless days and sterile memories, wandering shadows who could have only found strength by resigning themselves to taking root in the soil of their distress.”- Albert Camus The Plague

Floundering halfway between the abyss and the peak…exist those that have not yet fallen…in a state of recurring collapse. The girl in the yellow dress, the man in the grey suit, the old man in the brown pants, the woman in the blue shirt and the man in the red hat are suspected carriers of the white sickness. They have been removed from their homes to the edge of the city for standard assessment. Here they meet the others, processed…waiting…isolated. By boat…they travel across the bay to their final destination. Not another Hollywood style apocalyptic melodrama in which our heroes find grace, hope and redemption in the utter destruction of modern civilization…in the collapse of lived time the ruins of humanity are exposed as already existent…the limits of our ability to be graceful were discovered long ago…the trauma of the end of time a given…the plague is now.

It came to pass

Peter Booth`s apocalyptic Burning City and Head stemmed from wartime experiences in Britain. Employing Friedrich`s Wanderer in the Sea of Fog as a portent of Germany`s imperialism, my painting collapses vision into nightmare, drawing in German artists Beuys and Rauch, caught up in a horrendous and inescapable legacy.

Dossier Chris Marker : the suffering image

Dossier Chris Marker: The Suffering Image is a study of a late-modern chiasmus, impersonal-personal agency, as it comes to expression in the works of French artist and filmmaker, Chris Marker, as the dynamic interplay of political and subjective agency. As chiasmus, the complementary halves of this often-apocalyptic dynamis (a semi-catastrophic, temporal or historical force-field) also – arguably – secretly agree to meet, through the work of art, in the futural. Consistent with the classical figure of concordia discors, these irreducible warring aspects of life experience are, in fact, resolved in an atemporal and ahistorical moment that inhabits the work of art from its inception. This redemptive aspect in art is also the ultimate gesture of the artwork as “mask” or “screen” for forces that reside beyond the frame of the image or work, as its proverbial Other, or within the frame, as other to that Other. A topological “knot,” or ontological “problem,” it is this very conflict that animates all of Marker’s extensive works – filmic and otherwise.

Dreamweavers

Dreamweavers is a touring show Curated by Simon Gregg at the Gippsland Regional Gallery, touring Nationally from 2011 until April 2013.

The exhibition explores the contemporary preoccupation for the Fantastic through a range of national and international art practices, that are united by an enduring fascination with darkness and dark places. Dreamweavers is a multi-sensory experience that is more like entering another world than an art exhibition. It combines sculpture, digital media, photography and painting, in an intoxicating visual feast.

Dreamweavers features the work of six artists. James Gleeson (1915-2008) was Australia’s pre-eminent Surrealist, and one of the country’s most acclaimed twentieth century artists. In his work massive, heaving and largely unidentifiable forms meld with apocalyptic skies and earth in twisted biomorphic shapes.

What is a cinema? Death, closure and the database

This chapter explores the possible ontological questions and epistemological propositions that arise from detailed empirical research into cinema closures. Repeated pronouncements of the ‘Death of Cinema’ in the wake of technological, social and industrial change serve to reinforce the coincidence of ‘death’ with a type of ‘closure’. The evocation of a ‘crisis’ in the cinema is ordinarily articulated within the terms of specific cultural concerns around transience and transformation in the social experience of the cinema. However, rather than adding another chapter to the apocalyptic historiography of the cinema this paper proposes instead the constitutive importance of ‘closure’ as a critical tool for rethinking our defining assumptions about cinema(s). Specifically, the chapter will demonstrate how the conceptual granularity entailed in the development of a detailed database of venue openings and closings (the Cinema and Audiences in Australia Project database) can in turn lead to a fundamental reconsideration of the ontology of the cinema itself.

The War Memoirs: Some origins of the thought of W.R. Bion

The work of W. R. Bion changed the shape of psychoanalytic theory in fundamental ways, one of the most important of which was Bion's insight into the nature of normal projective identification. No other psychoanalytic theorist has Bion's ability to represent the horrors of psychic abandonment and the converse, the absolute necessity of the presence of another mind for psychic survival. Through a discussion of Bion's War Memoirs 1917-1919 (Bion, 1997), Attacks on linking and A theory of thinking (1993), this paper explores the link between war, masculinity, the maternal and Bion's sensitivity to the significance of everyday interpersonal contact. It is argued that Bion's apocalyptic experiences as a teenage tank commander gave him shattering insight into the extent to which mind is inter-mind, self is inter-self. Bion's life writing has the quality of survivor insight: 'And only I am escaped alone to tell thee' (Job 1: 14-19), as he returns repeatedly to the events of the day when he 'died ', 8 August 1918. His insight into the elemental passions nature of love, hate and mindlessness are borne of his experiences on the battlefield, and exquisitely crystallized in his repeated explorations of an encounter with a dying soldier.

The new wilderness: A practice-led model for arts based enquiry

The New Wilderness is a practice-led, multidisciplinary arts project first piloted by artists, writers, teachers and academics from Geelong, Deakin University and Courthouse ARTS Centre in 2013. In a series of workshops run by artists, and working to specific themes, the project provided a platform for participants to explore and respond creatively to change in the community; it culminated in a large-scale installation at Courthouse ARTS Centre’s main gallery. Our paper positions the project as a able to cut across convention, empowering young artists to respond to ‘big questions’ of relevance to the changing material, spatial and social relations within their communities. In questioning and seeking to transform communities into sustainable media, economic, environmental and social ecologies, this emergent model begins with a localised focus, which is designed to travel across time and place, and pedagogical frameworks. The paper positions Geelong as a community under radical transformation in its economic foundations and demographics. As artists and academics living and working in the region we see it as an experimental ground for investigations into a series of provocations that mirror the shape of the paper we intend to give. The provocations, as outlined in the workshops, might also be envisaged as new relations to:Object – From consumable to unusable to play. In revisiting the first iteration of The New wilderness in 2013 we discuss the ‘superfictional’ (Hill, 2000) enquiry that participants were asked to engage with. Its premise described Geelong as an abandoned, post-apocalyptic site. Participants were asked to imagine themselves as a group of future explorers and excavate objects from the city’s old tip. In unearthing their choices and re-presenting the objects in the gallery the participant was prompted to analyse site, situation, object and process as phenomena for ‘being’ or ‘telling stories’, providing insights into wider realms of cultural experience (Ellis, Adams and Bochner, 2010). Parallel to this ‘autoethnographic’ reflection our paper uses the philosopher Giorgio Agamben’s analysis of consumer and material culture. He traces the subject’s relation to objects from use-value, to exchange-value and in the era of extreme capitalism, to pure exhibition-value. He searches for ways that the objects produced in our material culture can be ‘profaned’ (Agamben, 2007). Space – From the material to the spatial to the situation. We are interested in how objects and the practices they elicit can be ‘profaned’ by their situation (Agamben, 2007; Wark, 2103). To profane, according to Agamben, is to open up the possibility that the object loses its exhibition-value to ‘a special form of negligence’ (Agamben). He uses the example of the child’s ability to insinuate any object into a new logic of play (Agamben). Like the objects excavated for The New Wilderness they could be from a variety of spheres – business, household, industry, health etc… The child, like the artist, reconstitutes, reorders and assembles new relations between things. In reflecting on the first New Wilderness project the paper correlates the creative response of the participant (student, child, artist) with the occupier. The Occupy Movement, which took up residence in many of the world’s cities’ financial districts in 2011, used a number of strategies commensurate with both Agamben’s notion of profanation and McKenzie Wark’s reading of the Situationist International’s use of détournement - as a strategy that releases objects and subjects back into the field of play (Wark, 2013). The field was taken by the occupy movement to be the space in which they occupied – capitalism, its logic and its practices, were, for a short time, redundant in the occupied field. The New Wilderness conceptualises the city as a localised field, from which its discarded objects can be ‘profaned’ or, repurposed, to reflect on shared histories, responsibilities, pedagogies and future action. Subject: self/other– As much as we propose New Wilderness to be a pedagogical initiative we see it as personal, critical and political. In the themed workshops, designed to elicit personal responses to the object and the site, which culminated in a multi-disciplinary installation, performance and/or text based work, participants were encouraged to think critically, and importantly, collectively. Through the four workshops run in the first iteration of the project participants were asked to re-consider their material value-systems, much as the occupy movement was trying to do, and like the occupiers, participants were empowered to be agents of change. Our paper reflects on the practical outcomes and the conceptual, political and pedagogical strategies embedded in The New Wilderness project. The paper affords us the additional opportunity to imagine a life for it in other geographical, socio-economic and educational situations. Merinda Kelly and Cameron Bishop, 2013Bio: Merinda Kelly is a sculptor and installation artist, educator and PhD student at Deakin University. Her research interests include Visual Culture, Practice Led Research, the Ontology of Art, and Autoethnography. Her most recent work includes the Pop Archaeology' and the Globo-Touro Projects.Bio: Dr Cameron Bishop is an artist and academic working in Visual Arts at Deakin University. He exhibits regularly and has written a number of journal articles and book chapters. His research has focused on the philosophical and postcolonial dimensions of space and subjectivity and more recently has evolved into an active interest in strategic interventions into space and practice.

Art as parodic practice

Perhaps because of the pervasive sampling, remixing, rehashing and promiscuous citational blending in postmodernity, where quote marks dissolve, parody has come to be seen as a somewhat archaic concept, pertaining to cultures more stably codified and hierarchically ordered, rather than subject to the fluctuations of global markets and phantasmagoric projections affecting the flow of investment moneys. Given the anxiogenic nature of postmodernity under its various guises, willed as hypermodernityand metamodernity or supermodernity, the ideologeme ‘parody’ might be seen as nostalgic symptom in the wake of the ‘grand narratives’ (Lyotard 1984 [1979]) – a rehearsed post-apocalyptic nostalgia for a world of neo-feudalism and fiefdoms, where the seasonal lifting of prohibition for carnival brought on the ‘allowed fool’ (Shakespeare 2006) for parody’s brief upending of the hierarchical order, when high became low, mouth met anus, and wise became mad, even within the Pater Noster of the Holy Mass. (Bakhtin 1980: 78). How the revisitation of parody might illuminate contemporary cultural politics is a driving question behind this collection, a questionmade more urgent by recent global developments of terror.

The world to come: stories

In 1738, English preacher, Isaac Watts wrote ‘The world to come’, a Christian tract about departed souls, death, and the glory or terror of the resurrection. Almost 300 years later the world to come still fascinates readers. It’s not only climate change, it’s the climate of everything: from technological ‘advances’ that threaten to create an immortal humanity; to an endless ‘war on terror,’ which means that, though we may never know war, nor will we ever truly know peace; to a thousand visions of post-Apocalyptic life in the media. The world to come is everywhere; it is with us now… In this anthology, twenty-one writers respond to the world to come – the one just around the corner, the hereafter and the everywhen.