Tuning fork: Drill Hall

Collaborative (commissioned 40 minute work ) installation-performance work

Tuning fork: Shopfront

The audience of this performance got to view actions and installations building and evolving over time, and a projected time-lapse video.
In this iteration of Tuning Fork, James Cunningham & Joncli Keane continue the development of their two pronged approach to finding the watering hole of stillness and action, collabora tion and orientation.Originating from a showing in the Bell Tower II series, in the Judy's new Shopfrontspaoe, Tuning Fork will Fuks accentuate the durational aspect of movement through time-lapse video, heighten the trans formative potential of objects using three-metre long carbon rods as instruments of sense, sound and support and alter the space through the numerous tape measures which take on a life of their own. James Cunningham and Jondi Keane inhabit the Shopfront from Friday 7 November, eJqJioring, measuring, filming and projecting, in order to fine tune their interactions for the performance season commencing 19 November.

Anthology

This research is a practice led investigation of large-scale site specific performance installation works that respond to local and historical trauma, place making, and belonging for communities and audiences. The research is part of an ongoing PhD which is primarily questioning how layers of history and lived experience manifest or ‘imprint’ upon natural landscapes and urban sites using the driving concepts of landscape, archaeology, and community immersion to inform the practice. The site of the primary research investigation was Anthology www.anthology.net.au- a major site-specific theatrical journey through Westlake, now known as Stirling Park – Ngunawal land, a traditional pathway and the site of one of the camps created to house the workers building the new city of Canberra. Tents and a hall were erected followed by 61 cottages built in 1923, for married tradesmen building the infrastructure for the new Federal Capital of Australia. These families lived at Westlake for 50 years until the 1960’s when the families were relocated, the houses sold and removed. A community demolished. Westlake is now parkland (and prime real estate), nestled between the lake and the Embassies of Yarralumla. The event took place between 26th November and the 6th December 2014. The performance installation was created and produced over a 3-year period with $45,000.00 in funding provided by ArtsACT and the Centenary of Canberra. Anthology alluded to the power of immersive, site-sympathetic performance as a regenerative force for communities right now. What lies in wait for artists in sites, in places…to be uncovered…with its final form revealed through careful excavation? Anthology centralised rituals of remembrance and the importance of place as vital to the restoration and regeneration of community through processing and transcending what has been lost, hidden, suppressed or in the case of Westlake or Stirling Park ‘vanished’.

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.

Dirt Babylon

Construction of a school room installation and immersive performance as part of Dirt Babylon Glebe Park (commissioned by Robyn Archer for the Centenary of Canberra) in collaboration with Rebecca Rutter and ex- Splinters artists, November 2013

Diving horses

Diving Horses was created by second year students studying performance at Deakin University’s School of Communication and Creative Arts (SCCA) to bring to life the ghosts of a bygone era through visual installation and performance. You are invited to enter backstage and interact with the working life behind the spectacle and explore the untold stories and private moments behind the scenes of Wirth’s Circus- ‘the greatest show on earth’. Students have been asked to respond to the rich history of the Arts Centre Melbourne site and undertake research into the lives of the workers that inhabited the site from 1907 until the Wirth’s buildings were destroyed by fire in 1953. Some of the characters you will encounter are based on actual historical figures and others are drawn from archetypical sources as the students explored the fascinating backstage world of Australian circus life.

Forest of gestures : video installation and performance work

Invitation to contribute to Alexander Harrisions' program 'What's Coming' resulted in 'Forest of Gestures' a 3 channel video projection and installation with a live feed component

Strategies for improving the thermal performance and comfort levels of a kindergarten in the mountains of Nepal

Located on the Annapurna trekking trail in Nepal, Siurung is a remote mountain village where outside influences are almost non-existent. The thermal comfort levels of a recently-constructed kindergarten are well below international standards because of the climate and poor building envelope. A TRNSYS model of the kindergarten has been used to predict the current occupant comfort levels and subsequently determine the most effective way to alter the traditional construction methods to improve comfort levels. Improvements investigated were: reduced air infiltration, roof and wall insulation (separately and together), installation of a smokeless stove and a combination of all strategies.The model predicted that in the current building the PMV ranges from -1.94 in October to - 0.99 in July. It also predicted that the current PPD (%) ranges from 100 in January to 26 in July. With the combination of strategies, the predicted PMV values were all improved to between -1.08 and +0.34, and the PPD values of all months except January were reduced to below 10%. When improving the comfort levels of an existing school, reducing air infiltration, adding roof insulation and installing a smokeless stove are the most effective strategies. When constructing a new school, however, reducing air infiltration and adding insulation to the walls and roof are the most effective and feasible strategies. If a smokeless stove can be afforded and transported to the site, it is recommended that one be installed as it provides a more significant improvement than any other single strategy.