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The members of Vibes want to experience, experiment with and investigate different modes of living and making art together. They also want to share different ideas and experiences of collectivity with the public. They do all this because they find it fascinating, meaningful and urgent in the current cultural moment.
The members of Vibes want to experience, experiment with and investigate different modes of living and making art together. They also want to share different ideas and experiences of collectivity with the public. They do all this because they find it fascinating, meaningful and urgent in the current cultural moment.
Jess
White Horse
WHAT
The White Horse project spans two years in several parts. These parts include interviews, workshops, a photographic series, a parade and still more to unfold including a book and a video installation.
HOW
Situated in Bloemfontein, South Africa and expanding out from this geographical location The White Horse of Bloemfontein is the central character in this project. In particular the contestation over this landmark’s origin - who put it there and why is a matter for great debate between different cultural groups.
WHY
The White Horse exists in the space between written and oral history, between mythology and evidence based reason. This project resists the temptation to search for truth in this space, rather opening up space for creativity to play a role in the understanding and unfolding of a malleable historical narrative.
Parade
WHAT
Parade is a procession. A group of children marching down the main street of Kandos, in rural NSW, Australia. A town that was once in service of a now defunct concrete works. These children are the first generation not to seek employment in this factory. Their procession is in ode to cement.
HOW
A series of workshops where undertaken with local children to imagine an embodied cement factory. The industrial concrete buildings of the Cement Works of Kandos past formed the basis of the costume design. The children where then free to explore the materials at hand to create their own interpretation.
Why
This project was commissioned by the Cementa Festival healed biannually in Kandos, I engaged with the children of the town as a way to understand how regional towns with dying industries continue to operate. The lack of employment that confronts much of rural Australia became the material of the project.

Revision as of 13:58, 1 October 2015

The specific outcome for the RW&RM seminar of 2013-14 will be a 1500 word text which reflects on your own method and situates your work in relation to a broader artistic and cultural context. The various texts produced within the RW&RM seminar will serve as source material for your text on method. In common with all modules on the course RW&RM serves to support the other elements of the course (Self-directed Research, Issues in Art & Theory, Practice-Group Critiques &c.). Therefore, the text on method will inform your Self-Evaluation at the end of the third trimester and provide the basis for your Graduate Project Proposal that you will produce in the fourth trimester.


Connie

First work

Jules Verne Op-Object

What:

Jules Verne Op-Object is a digital photograph, painted with oil. The photograph is of a small sculpture made from clay, Sellotape and fabric. The piece was made for a group which was held in a private house, whose owners had a collection of the British Op-artist's Michael Kidner's paintings.

How:

The piece was made by working with clay, fabric and Sellotape, to make an object that when photographed would resemble a land mass or glacier. The printed digital photograph was then painted on, changing its status from a multiple to an original.

Why:

The piece was made in response to a visit to Iceland, where I encountered vast landscapes. I began thinking about Vules Verne's 'Journey to the Centre to the Earth,' and the resurgence of interest in 19th century science fiction in the 1960's with the advent of psychedelia.



Second Work

Theory of The Romantic Sportsman

What:

This piece is a single dub plate with a three-minute sound recording on each side, made in collaboration with Sophie Lee. Side A is a spoken word rap over a beat produced by Killian Immervol, and side B in the instrumental version. The cover artwork was also produced in collaboration.

How:

Sophie Lee and I worked together to write and record the lyrics to create the three-minute spoken word rap using the sound editing software Logic. We then sent to file to a carvery, which cut the track onto a dub plate. The cover artwork was produced by working with a model and fashion photographer.

Why:

The words for the rap were produced in response to Tiqqun's publication 'Theory of a Young Girl.' The character of the Romantic Sportsman was a joint creation between Sophie Lee and myself, as was based on a young white male city-dwelling fine art graduate working as a gallery technician and consumed with creating his own aesthetic world to reside in.


Anni


First work: Vibes


What:

A piece made by a seven-member collective called Vibes. It is a total, perennial piece consisting, for example, of one-off performances, gatherings and videos. Vibes deals with collectivity – being and doing together – in art as well as in life and the world in general. It deals with commitment & freedom.

How:

Vibes is made through, for example, gathering, writing, creating performances and videos. Sometimes the collective keeps these activities and their outcomes to themselves. Often the outcomes are made public and occasionally the public can also participate in the activities. Autobiographical material gets frequently mixed with fiction, and utopias with dystopias.

Why:

The members of Vibes want to experience, experiment with and investigate different modes of living and making art together. They also want to share different ideas and experiences of collectivity with the public. They do all this because they find it fascinating, meaningful and urgent in the current cultural moment.

Jess

White Horse

WHAT The White Horse project spans two years in several parts. These parts include interviews, workshops, a photographic series, a parade and still more to unfold including a book and a video installation.

HOW Situated in Bloemfontein, South Africa and expanding out from this geographical location The White Horse of Bloemfontein is the central character in this project. In particular the contestation over this landmark’s origin - who put it there and why is a matter for great debate between different cultural groups.

WHY The White Horse exists in the space between written and oral history, between mythology and evidence based reason. This project resists the temptation to search for truth in this space, rather opening up space for creativity to play a role in the understanding and unfolding of a malleable historical narrative.


Parade

WHAT Parade is a procession. A group of children marching down the main street of Kandos, in rural NSW, Australia. A town that was once in service of a now defunct concrete works. These children are the first generation not to seek employment in this factory. Their procession is in ode to cement.

HOW A series of workshops where undertaken with local children to imagine an embodied cement factory. The industrial concrete buildings of the Cement Works of Kandos past formed the basis of the costume design. The children where then free to explore the materials at hand to create their own interpretation.


Why This project was commissioned by the Cementa Festival healed biannually in Kandos, I engaged with the children of the town as a way to understand how regional towns with dying industries continue to operate. The lack of employment that confronts much of rural Australia became the material of the project.