Martin Soto Climent premptively visualizes the news

Posted by Gemma on the 10th of August, 2011

(Frightening times on the BBC world service)


Impulsive Chorus (Feldschloesschen), 2010

Auntry Mabel's Zine Distribution/Gallery Central Residency Program

Posted by Gemma on the 10th of August, 2011

This Saturday from midday at 129 Beaufort St, the Perth Zine Collective are hosting a distribution party to celebrate the launch of their website.

The Collective, passionate about self-publishing, will generously offer a zine library and shop and also the equipment to produce new publications, so presumably one could arrive, eat a cupcake or similar and have a fresh piece of their mind ready to share by closing.

As they operate mostly nomadically, with events held irregularly in parks and at markets, the launch of the PZC's website will mean that there is a centralized, permanent distribution point from which local publications can be purchased all the time.The online store is open now, prices are beyond reasonable and submissions are welcome.

I was initially confused as to where on Beaufort Street number 129 was. I asked Anna Dunnill, a member of the Perth Zine Collective, about it and she reminded me that I'd been overlooking a pretty worthwhile arts opportunity, considering how often Perth artists are bemoaning the apparent lack of studio space.

129 Beaufort St is the location of Gallery Central/CIT's artist in residence program, and Anna has a studio there for a 5 week stretch. Our conversation went like this:

"Do you have to present anything at the end?"
"Nope, I just have to run a workshop for the students at the Tafe, or present to them about my work, and you can use the all of the equipment in the art school as well"
"Oh man."
"Yeah, I know. The technicians keep knocking on my door and offering me stacks of paper and things as well. I haven't had to pay for anything so far"
"But are you paying for the studio?"
"No it's totally free. You can live there as well, if you're not local."

Perhaps the reason why a residency program that is central, free, generous, located in a beautiful federation house/shop front and attached to fully functioning, multi-disciplinary workshops AND a central gallery space had slipped from my radar was that the outcome is internal, in that the artists are required to present only to the students of the institute, rather than as part of an event advertised to the general public. Perhaps other artists using the residency haven't been as proactive as Anna in using the space for such events independently. Either way, I felt sheepish.

The program does not run on fixed lengths of time either - artists are programmed on the basis of availability - and of course, merit - and the artist/s in residence (at the moment there are Anna and two friends, who applied as a group, and Geoff Overheu, who is living in the house) have to the potential to use the Gallery Central exhibition space. Applications are taken year round, it appears.

129 Beaufort, at any rate, will be open to the public from 12pm on Saturday for the PZC's event, which would allow for double birds/stone effect of supporting a good cause and poking around a potential studio.

Contact Perth Zine Collective for more information on self publishing/Saturday.

Information on/Application forms for the Gallery Central residency program can be accessed here

Gallery Central studio (feat. Harry Hummerston)
The March, Anna Dunnill, 2011

Guest Lecture: Hennessy Youngman

Posted by Jamie on the 8th of August, 2011

More Hennessey wisdom here

Unmonumental Renovation Sculpture

Posted by Gemma on the 5th of August, 2011

Not long now.

Art TV: Jake Chapman on young British Artists

Posted by Andrew on the 4th of August, 2011

Guest Lecture: Chris Johanson, 'Encinitas Realization'

Posted by Jamie on the 2nd of August, 2011

(West Coast Vibes.)

Starring Tobin Yelland as 'the surfer'.

Guest Lecture Series

Posted by Jamie on the 1st of August, 2011

OK's Guest Lectures will run as a weekly series of spoken advice/ideas/philosophies.

I really wanted to start with The Discreet Charm by Goldin and Senneby but it's not about on the internet.

It's a new work produced for the show The End of Money on at the moment at Witte de With in Rotterdam.

Through their collaborative framework Goldin and Senneby (Simon Goldin and Jakob Sennby) have been exploring the geograpies that are produced through capital and finance, presenting these explorations as theatrical and performative problems. The Discreet Charm takes the form of a "pitch" for a theatre play about self-interestd financial practices within contemporary banking. In Theatre, a scale model of the stage (model box) used to display the choreography of each scene, typically facilitates the communication between the actors and members of the production team, or between theatre company and potential producers and finaciers - in every practical sense the model box is a didactic device...
...The Discreet Charm includes a scale model of Witte de With, with all the elements that were present in the exhibition space during the performance enacted on opening night

It was a really great work that, while didactic in nature, wasn't heavy handed or more importantly, boring (not that this is a review).

You can find the catalogue for the The End of Money here

This Thursday (you'll need a car for this)

Posted by Andrew on the 1st of August, 2011

Anthony Riding Gallery
1/42 Pearse st, North Fremantle

'Secret Societies', by Maschi Fontana.

"Secret Societies is Maschi Fontana's first solo exhibition at Anthony Riding Gallery in Perth.

The mystery behind dying honey bee colonies, a crashed special operations helicopter, and a totem-like triangular structure communicating with cosmic realms, are among some of the ideas explored part of this exhibition.

'Maschi Fontana engages the shamanistic history of art, in particular the duo connect with a post-Beuys shamanistic tide of esoteric artists like Almagul Menlibayeva and Marcus Coates who engage in a variety of ritualistic, channeling art processes. Maschi Fontana's work taps into the performative aspects of shamanism and the idea of material transference and for mine these are inherently intertwined. Historically the tribe's engagement with the shaman was based on transference and transcendence and in terms of performing this, or presenting the transformation to the tribal group, the shaman utilised character channeling - symbolized through transforming materials; the shaman became the animal and their blood his. We see this in the Eucharist in the Christian mass and wine made blood and bread made flesh is not symbolic in the spiritual mind - it is real and this becomes essential to belief. The extension of this belief into the arts in also essential and indeed can be read as a cornerstone of contemporary art - what is the artist asking of us as an audience but belief - in this case acknowledging its importance but also divining its potential.'

The Shamanic Tryst, Rising Lotus catalogue essay, 2011, Ric Spencer"

91 Brisbane st, Perth

The IRIS Awards


'Charmwood', a group show featuring Todd Anderson-Kunert, Warwick Baker, Lindsey Gosper and Michelle Tran.

Miik Green's studio nights
64 Crawford rd, Maylands

The guest speakers will be Tom Freeman:

"Tom Freeman is a local visual artist who's been practicing steadily since graduation from Curtin University in 2007. He will talk about his practice to date and his current ongoing body of work exploring ideas of memory, nostalgia, truth and fiction, tangents and connections, mums and dads and a heavy dose of material affection and crafty process."

... and Chris Pratt:

"A perfect circle? 'Boomtown' has the opportunity to transform the face of this city and state. However, how is the profit from this resource driven boom being invested by the part of the population who are enjoying its benefits? And what part does the public library, the art gallery, the museum and the public square play in an increasingly more uninterested and 'drawbridge' social culture of Perth? Is it in state commissioned public architecture (such as education and health facilities), places in which the public interact on a more regular basis, where opportunities lie for an intersection of art/architecture in Perth?

Chris will summarise past, and current involvement in state funded projects, looking at the opportunities and restrictions provided by public architecture in Perth."

Maschi Fontana, Space Mustang, 2009, HD Film (Courtesy of Anthony Riding Gallery)

An Incomplete History of Being OK: OK Soda

Posted by Gemma on the 1st of August, 2011

Coca Cola discovered in the late 1980s that 'Coke' was the second most recognisable word across all languages; The first was 'OK'.

OK Soda, a strangely-demographic specific attempt to capitalize on this 'existing universal brand potential', was a total commercial failure, due partially to its attempt to seize a demographic already savvy to marketing games and partially to its reportedly terrible, generically fruity flavour.

Its marketing campaign, helmed by the same guy who invented the sickly portmanteau 'Fruitopia', was aggressively ideological. OK Soda wasn't a Soda, it was a Gen-Xy, Winona-hearts-Ethan, pop-philosophy lifestyle choice.

It had a Manifesto:

1: What's the point of OK? Well, what's the point of anything?
2: OK Soda emphatically rejects anything that is not OK, and fully supports anything that is.
3: The better you understand something, the more OK it turns out to be.
4: OK Soda says, "Don't be fooled into thinking there has to be a reason for everything."
5: OK Soda reveals the surprising truth about people and situations.
6: OK Soda does not subscribe to any religion, or endorse any political party, or do anything other than feel OK.
7: There is no real secret to feeling OK.
8: OK Soda may be the preferred drink of other people such as yourself.
9: Never overestimate the remarkable abilities of "OK" brand soda.
10: Please wake up every morning knowing that things are going to be OK.

The short shelf-life of OK Soda was amazingly detailed, absurdly self-aware and confusing in its ironies, both intended and accidental. The cans were printed in drab grey and black, a corporate subversion of corporate marketing itself with graphics that reference both 'alternative' comic culture and soviet propaganda. They were printed on the inside and out with segments of the Manifesto, which has deliberate echos of both Orwellian doublespeak and the self-help boom occurring concurrently with its release. There was a 1800 number (1-800-I-FEEL-OK) that consumers could call and leave messages after hearing an intentionally deadpan disclaimer: "your comments may be used in advertising or exploited in some other way we haven't figured out yet."

One of these comments, which may or may not be 'authentic', was actually used in a tv ad: 'Ah, this is Pam H. from Newton, Massachusetts, and I resent you saying that everything is going to be O.K. You don't know anything about my life. You don't know what I've been through in the last month. I really resent it. I'm tired of you people trying to tell me things that you don't have any idea about. I resent it.'

If a particular button on the telephone was selected, the automated voice would make bird noises.

The backlash was swift, and once the soda was declared a commercial failure and pulled form the shelves, it was finally embraced as a 'cult' item by the demographic - one that valued irony, obscurity, and liking things that no one else does - that it had sought out so overtly.

An empty plastic 2L bottle ('used') will currently retail on ebay for 13 US dollars.

(Information on OK Soda borrowed from Wikipedia )

The preferred drink of other people

Speaking of Arts TV Shows

Posted by Andrew on the 1st of August, 2011

An Andrew Frost lecture at COFA (2010):