ARTLAND: 2018 runs from 2 October to 24 October.
Presented by RMIT Student Life - Creative and RMIT Curatorial Collective, ARTLAND: 2018 runs from 2 October to 24 October 2018.
ARTLAND: 2018 is RMIT’s annual exhibition of site-specific art installations at RMIT’s Brunswick campus. This year, ARTLAND: 2018 will present an exploratory playground of contemporary art by nine multidisciplinary artists. In a time and place where everything is speeding-up, screen-culture is entrenched and constantly evolving, ARTLAND: 2018 critically responds to our shifting reality.
With touches of humour and the absurd, the artists collectively respond to the theme of ‘movement and change’, the idea of our digital future in the context of RMIT’s Brunswick campus – melding fact and fiction, and engaging in a performative play with the natural and built environment to explore thresholds and the in-between.
Co-curated by: Jessica Clark, Wilson Yeung Chun Wai and Liss Fenwick
Artists: Simon Crosbie, Allen de Carteret, Martina Clarke, Declan Mulcahy, Felix Wilson, Jade Richards-Butler, Kieran Boland, Rebecca Delange and Sarah Walker (Read more about their exhibited works below)
Opening event: Hosted at RMIT's Brunswick campus on Tuesday 2 October, the Artland opening event included artist talks and a tour of the works, followed by drinks and nibbles. Read more about the launch here.
Meet the artists
Clickbait strives to burst the liminal blister of jouissance.
One History looks at autobiography through the medium of fabric and its multiple narratives: sweat, cold nights, good and bad days, the cultural meshing of aspiration and history.
Benjamin, Deleuze, Kristeva – perceptions of cultural celebrity and memorialization inverted.
Alumni is fashioned around the threshold of representation and absence – the liminality of liminality.
Simon Crosbie is currently undertaking PhD studies in the School of Art at RMIT. He has also recently presented papers regarding trauma at the University of Edinburgh, the University of Zagreb, and the 34th International Conference on Psychology and the Arts (2017) in Palermo, Italy.
Using found objects and materials, Allen de Carteret develops projects that engage contemporary concerns through the poetic of inhabited space. The process-driven and site-specific installation of ‘windmesh’ paintings feature found fabrics that have been altered in the studio through hand application of paint in various designs. The found material is a semitransparent mesh with remnants of printed text from its previous use. The conceptual frame for this approach is to form a dialogue with the urban environment through the material themselves.
Allen de Carteret completed his undergraduate study in Fine Art at RMIT and Preston Tec. in Melbourne followed by period in Canberra, teaching, and exhibiting in galleries across NSW and Victoria. Having established a domestic architectural and building practice in Sydney and the Central Coast of NSW, de Carteret returns to RMIT to undertake the Masters of Art in Public Space, working and researching art and architecture as an interdisciplinary field.
In an attempt to uncover the paradoxical understanding of nature in our present cityscape, Martina constructs installations which manipulate and control representations of the Australian landscape while also caring for and supporting its survival.
Martina Clarke is a currently completing her Bachelor of Fine Arts at RMIT University. Her practice aims to integrate nature back into the sterile, hostile urban environment, and back into the lives of people. At the core of her practice is the exploration of human experience in the modern world and consideration of essential societal changes.
Cannot compute is multimedia installation work that presents a tragic scene of new technology struggling to keep up with itself and the expectations placed upon it. At the centre of the scene is RMIT Security’s newest employee, a mannequin repurposed from the fashion school and fitted with the latest surveillance technology. Fully sentient but utterly confused, this rudimentary AI unit is left alone in a small office space, solely in charge of monitoring the Brunswick campus during the entire duration of ARTLAND 2018.
Mulcahy aims to probe and parody the growing technophobia that has inevitably developed alongside the plethora of new devices and programs available to the public. Many people are increasingly suspicious of technology, especially when it comes to the sensitive realm of security and privacy. Between the worldwide networks of social media and more local systems of surveillance, human data is more available for analysis and appropriation than ever. Responding to the ARTLAND theme of ‘movement and change’, Cannot compute proposes that the technology at the centre of this changing world is just as overwhelmed by the shift as we humans are.
Declan Mulcahy is a multimedia installation artist whose primary interest is the intersection of surveillance, social media and subjectivity.Declan is in his final semester of the Master of Fine Arts program at RMIT, and is an executive committee member of Coalesce ARI.
The brushtail possum is one of the most commonly encountered native species in urban Melbourne where ready access to food and shelter have allowed them to live in much greater densities than in their standard habitat. Although we often consider the city a human domain, we share it with many species, willingly and unwillingly.
The encounter between human and possum reveal our relationship with the broader nonhuman world, a relationship which many consider in crisis. brushtail possum, encounter’s reversal of scale between human and possum also allows viewers to reconsider how humans and nonhumans share the city.
Felix Wilson is an artist based in Melbourne and is currently a PhD candidate in the RMIT School of Art. His practice uses photography to engage with questions around the human relationship with ecologies of the nonhuman, material and animal and to find ways for images to speak to the connections underlying the anthropocene.
Jade Richards-Butler’s panormamic images have been created through photographs appropriated from Google Streetview. They represent street facades of the East and West throughout the decade since Streetview’s release in 2007.
The nature of the Google Street car’s photography means the removal of bias and manipulation, allowing the viewer to form their own ideas in relation to the passing of time and transformation of space. Through these photographic panoramas viewers will be able to perceive the effects of Melbourne’s rapidly rising population and growing infrastructure on the architecture of Brunswick’s Sydney Road. Trends will be recognized through the closure of businesses and opening of new ones whilst some might be surprised at the persisting nature of certain buildings.
Jade Richards-Butler is currently pursuing her Master of Fine Art at RMIT and also holds a diploma of Filmmaking from the International Academy of Film and Television (Republic of the Philippines) and a Bachelor of Fine Art with a major in Photography from Savannah College of Art and Design (Hong Kong). Her work exists mainly as lens-based imagery and has been exhibited in both Australia and Hong Kong.
Backyard Psycho utilises footage shot on an iPhone in 2017 of the house now relegated to a theme park attraction along with additional composite elements including the old woman. The screen is attached to a wall within an alcove that contains a rare public telephone.
The object the old woman finds in the video is an in-flight cockpit voice recorder (CVR) - more commonly referred to as a “black box”. Locating the black box in the event of a crash in order to analyse the last moments of the pilots’ conversation is the highest priority. The term black box is also used to refer to the dedicated room used for video projections within an art gallery. Such a darkened space can at times discourage free movement —an affect one can attribute to the influence of cinema where the audience is temporarily removed from life. Just as the obligatory switch to ‘flight mode’ during air travel frames either end of our journey between places, cinema etiquette insists our phones be switched to silent for the experience. Ironically, the same phones are now capable of shooting moving images fit for a cinema screen.
In the last ten years, despite frequent visits to the Brunswick campus, the artist has never seen anyone use the public phone within its alcove. Is it akin to the black box of an aircraft—existing only for an unlikely but feared moment of loss? A petition was recently circulated to save the “original” Psycho house. Will a petition to save the Brunswick campus public phone appear one day or will it simply disappear without warning? Would anyone even notice if its missing?
Kieran Boland is a current PhD Student in the School of Art. His practice examines voice transmission associated with the smartphone as both a ‘personal’ device and as the definitive convergence of technology and culture that influences our bodily behaviour today. His practice aims to shed light on insinuations of the otherworldly that frame much of the previous research into the disembodied voice.
Surface and Line, Light and Line is a site-responsive investigation of the temporal and material relationships and encounters between the ephemeral, transient, poetic and soft material aspects at play in the site - in relation to the dominating and monumental structure of the building itself.
The works look at perceptions regarding the qualities of permanence and ephemerality. The building appears as solid and static whilst the light and shadows dance through it, but it is in fact the building that is moving, through space at approximately 1600 km per hour.
Rebecca Delange is currently a PHD candidate at RMIT researching the capacity for expanded sculpture practice to develop a material and spatial language configuring new meaning from specific and metaphorical sites. In 2015 she completed Master of Contemporary Art with first class Honours at the Victorian College of the Arts. Recent Exhibitions include Knot Not at Bus Projects and Alpha Beta Whatever at Notfair.
Sarah Walker’s background in theatre has informed her fascination with the narrative potential of contemporary art, and the ways fiction can expose truth. The work is a guided walk through the campus, using narration and sound effects that shift from the current time and space into a future where Melbourne has been flooded as a result of climate change. The work encourages physical movement across the campus space, bringing the listener into a state of heightened observation and reflection. It also uses the form of tragicomedy to disarm the listener, by using humour and absurdity.
This work was also informed by the writings of playwright Fleur Kilpatrick about the ways in which localized fiction can make climate issues feel more real, immediate and urgent than fact-based works that locate the problem elsewhere.
Sarah Walker is a Melbourne-based artist. Her work explores thresholds of existence and the complex potential of language through photography, video, installation and sound. In 2016, she was the winner of the ‘Best Portrait’ prize at the CCP Salon. She has been a finalist in the National Photographic Portrait Prize, Maggie Diaz Photography Prize for Women and semi-finalist in the Moran Photographic Portrait Prize. She is also an award-winning theatre director and designer, and co-hosts the podcast Contact Mic.
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