As part of Channels: The Australian Video Art Festival, ACMI hosts the Australian premiere of Smith's NOTES live audio-visual collage, that questions our complicity in the digital consumption of information.
Curated by Filipa Oliveira
Italian photographer Gabriele Basilico explained that his aim was to construct images that incited a slow- paced gaze. Sam Smith employs a similar strategy. Focusing on the cinematic apparatus and imagination, Smith produces works that expand the concept of film by creating multi-layered, multi-temporal experiences of the image. The experience is one of traversing different realities.
In Smith’s work, and particularly in this exhibition, there is an ingenious interaction, spillage even, between cinema, sculpture and the architectural space. Cinema takes a sculptural turn and sculpture takes a cine- matic turn in an intimate relationship with the exhibition space.
Not only cinema is presented as a slow form, but also art becomes the space for deceleration, for a slow- paced, high-intensity experience of time and image. Smith provokes a tension between the apparatus, the machine and its form and thus presents an expansive form-knowledge experience.
Smth's commissioned installation Slow Fragmentation opens Channels: The Australian Video Art Festival 2015 at Screen Space
curated by Erik Martinson
Monday July 13, 2015 at 3:30 - 5:30pm
UCSB Department of Art, Room 1237
The appearance of a weathered VHS copy of Hellraiser atop a bus shelter on Old Kent Road in South London became a kind of urban legend, or at least a puzzle. Since this first occurrence in 2012, there have been other instances, other portals opening, visible from the upper level of double-decker buses. Copycats aside, the content of the bleached VHS case, Clive Barker’s 1987 film, has at its core a puzzle box, the ‘Lament Configuration’. This box, when solved, can suture dimensions. From the other side, the ‘Cenobites’, demonic in appearance, claim the clever individual for a suturing of another kind, between pleasure and pain. A pop mystery, the VHS tape in its odd placement, now a different sort of analog puzzle box, offers a detour on a routine commute. Portals, mundane or not, need a here and there, a clever body to pass through.
Portal Atop a Bus Stop is a screening of international artists’ films and videos (im)materializing in various constellations for a multitude of sites. Erik Martinson is an independent curator currently based in London, UK.
JUST DO IT, Avril Corroon (Ireland), 2014, 6:42
The Eternal Quarter Inch, Jesse McLean (USA), 2008, 9:00
Slow Fragmentation, Sam Smith (Australia), 2015, 5:30
? HS. FS. ZWN-BS. NC. BS, Paul Simon Richards (UK), 2014, 14:00
Figure-ground, Jean-Paul Kelly (Canada), 2013, 4:46
Devil’s Gate, Laura Kraning (USA), 2011, 20:00
Immortality, Home and Elsewhere, Sasha Litvintseva (UK), 2014, 12:28
MAGO would like to invite you to How far is here, with works by Emma Waltraud Howes, Kaia Hugin, Stine Marie Jacobsen, Lynne Marsh, Sam Smith and Ciarán Walsh. Resident curator: Charlotte Lalou Rousseau.
Where is here? What does it mean to be here? What happens when you’re not where ‘it’s happening’? How far do we have to go to know where we are?
As resident curator at MAGO for the summer of 2015, Charlotte Lalou Rousseau aims to address exactly her situation, namely questions of contemporary art (epi)centres, specifically issues related to the implantation of international art residencies. What kind of knowledge is produced by displacement for a resident curator, artist, and for the local community? Who is that community? What are the conditions under which such exchanges grow and how to effectively keep them alive? These questions seem particularly relevant in the context of the burgeoning project of MAGO in the communities of Eidsvoll Verk, Oslo and Norway.
How far is here is about potentials of dislocation. The exhibition takes place on the second floor of an obsolete hydroelectricity power plant. We hope to open up artworks by bringing them into a new environment and, conversely, unfold the potentiality of structures through art. In a time when the idea of the international is highly cherished, immobility globally depreciated, and the quest of personal refocusing spreading like plague, we feel the need to make a distinction between agitation and displacement.
NOTES is a live video essay/performance in which a constellation of images from cinema are brought together into a stream of collaged audio-visual vignettes. Fragmented scenes draw together key reference points from Smith's practice, including the mediation of object via the camera eye's flattening gaze, the cinematic framing of landscape, and, through architecture, an audience's complicity in the projection image.
To RSVP, please send an email to firstname.lastname@example.org.
For public events the regular entrance fee + 3 EUR applies.
Your Time Is Not My Time lays the question of blurred boundaries between viewer, author and user within the current habitual fear of missing out and hyper-circulation of images. The exhibition uncovers a thorough pace and tacit admission within the changing lexicon of the public sphere, data-driven economies and forms of usership. Participating artists include: Alexandra Navratil (CH), Sam Smith (AU), Riley Harmon (US), Andrés Galeano (ES), Bruno Zhu (PT), Lav Diaz (PH), Wu Tsang (US).
Curators: De Appel Curatorial Programme 2014 - 2015 participants: Barbara Cueto, Bas Hendrikx, Chiara Ianeselli, Inga Lace, Lian Ladia, Rani Lavie.
with Josephine Callaghan, Andrea De Stefani, Felix Melia, Sam Smith and Marco Strappato. Curated by Carolina Ongaro.
The myth of wilderness. A nowhere, imagined place; a territory still suitable for intervention. A construction.
Spaces we create, a projection of meanings; but what meanings, whose ones?
A grid extends in front of us, upon us and with us, absorbs bodies; it divides up space, unequally, unevenly, and creates the illusion of a permanent, stable position in the world.
I stare at a landscape painting, I no longer recognise this stability. I feel surrounded by picturesque screens, dizziness. The frame falls apart, I need another perspective.
'this place is really nowhere' invites artists Josephine Callaghan, Andrea De Stefani, Felix Melia, Sam Smith and Marco Strappato to reflect on present modes of engaging with space from the viewpoint of a Western-landscape tradition. Framing nature and the surroundings has defined an aesthetic, visual experience that calls for new paradigms of vision and thought. Reflecting upon current ways of experiencing architecture and the lived environment, a state of transition and mobility is opposed to stable certainties and fixed parameters of inhabiting the world.
Here, Jupiter Woods is conceived as a space-in-becoming. A container hosting potentiality on the inside, and affected by processes of endless development and transformation on the outside. Through a contemplation of landscape as modern construction, the human/nature divide it fosters becomes material to reflect upon; to soften the rigidity of framing systems and envision new spaces for intervention - elsewhere or nowhere.
to think with Thabiso Sekgala
“Symphonic Node” is a project inviting artists to write a letter referring to real space, physical, imaginary or otherwise, in all possibilities of identifying it, and which has infused their research and practices, generating concepts and material for their artwork. An all day open-air gathering will be dedicated to the act of reading these letters. Imbuing whispering words of temporary soundscapes into the landscape of Paliomylos, considers ways of valuing experiences of echoing narratives. In this sense, we explore the idea of reading letters in convivial gatherings as an exhibition format. The letters become perceivable not through a means of “display” but by their embodiment via a reading given by the audience present.
Petra Bauer, Daniel Gustav Cramer, Assaf Zeev Gruber, John Holten and Sam Smith, Marina Kassianidou, Runo Lagomarsino, Oda Projesi, Christodoulos Panayiotou, Ana Tiscornia.
For »Framework 6: parallelisms« insitu presents 2 exhibitions taking place consecutively and both featuring works by three artistic positions: Eli Cortiñas, Ingo Mittelstaedt and Sam Smith.
With the desire to draw out different threads between the multi-layered practices of these artists, insitu has invited an additional curator to see how shifts of curatorial perspectives can produce different exhibitions and ideas while working with the same trio of artists. The first part of the show is curated by An Paenhuysen, followed by the second part curated by insitu’s team consisting of Nora Mayr, Lauren Reid, Marie Graftieaux and Gilles Neiens. Paenhuysen and the insitu team have been working separately on their respective shows, maintaining only a shared blog to generate associative ideas, without telling each other what they will show from the respective artists.