Tag: multimedia

Phil Brophy – Tripper

Phil Brophy – Tripper

I wasn’t expecting this! Neon Parc is an upstairs gallery space in the heart of Melbourne.

Philip Brophy – Evaporated Music

In the few seconds it took to enter the gallery and take a few steps up the stairs, the conversation stopped, the heavy bass and near incomprehensible vocals, coming from the gallery space, made me reconsider entering the gallery, and I fell into a sort of fight mode.

A few steps more, and a glance to the left – a large, comfortable yet generic sofa, facing a flat screen tv, both flanked by speakers. Visually inviting, an assuming safe and comfortable space.  I felt held by the opposing visual and audible aspects. The TV showed a familiar American teen television show from the 90’s/2000’s, dubbed with black metal words and lyrics and dark guttural sounds, with supporting subtitles. What I could see and what I could here, were so conflicting, almost unbelievable. Certainly something to be experienced. After 20 mins I left, and once outside, I felt so very calm.

After doing some research into Phil Brophy turns out he made Body Melt, which is a great face melting montage of a film.
bodymelt copy

His website, much like some of his work that I am familiar with feels a pretty punk! Theres a real sense of attitude, strong intentions and a individual way of making a mark across sound, film, graphics, music and art.

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Last two images taken from the Philip Brophy website.

Featured image from Ocula.com

Phil Brophy’s ‘Colour Me Dead’ exhibition at The Ian Potter Museum of Art, is coming up shortly, so Im sure I will write about that.

 

Tony Oursler – ‘Theres gold in the kitsch’

Tony Oursler – ‘Theres gold in the kitsch’

I’ll admit it, there was a time where I didn’t really ‘get’ video work. Alas times change.

More recently I’ve been exploring the possibilities of projection and looking at the work of Tony Oursler, who merges video, sculpture and installation, constantly expanding its potential, in a bid to physically embody thought.

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Ourslers’ collection of Phantasmagoria ephemera was on display last year in France, as well as the travelling projection piece, Influence Machine, which has been shown since 2009. This sees projections onto smoke and trees outdoors, its really intriguing and encouraging to see hes interest in the subject played out in his work. I really enjoy the inclusiveness of this, as maybe not everyone would go see it in a gallery, but it can certainly be enjoyed by all outdoors.

Many of the artists I have been drawn to of late all seem to be from CalArts. Tony Oursler and Mike Kelley where peers, ‘Poetics’ band mates and collaborators, brimming with raw intelligence and criticality.

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The Poetics Project, Centre Pompidou, France, 2013

Artnet asked Oursler what was his connection to kitsch…”I’m very fascinated with kitsch, pop art began alot of dismantling with the high low issues in america. There’s a real interest in exploring the kitsch, why things are kitsch for my generation, i think there’s gold in the kitsch’. I love this statement and couldn’t agree more.

I used to collect fastidiously, from a young age I roamed car boot sales and flea markets every weekend with my parents. Making small purchases, growing the collections and continuously re-arranging them. Small porcelain animals, to 60’s domestic products, like boxed wash gloves and shoe protectors for the highly aesthetic graphics, different packaging including printed plastic bags to Fiendish Feet yoghurt pots which had legs. I could go on.

 

The Videotapes of Tony Oursler by John Minkowsky

In the Studio with Tony Oursler by Michael Kimmelman

 

Sigmar Polke

Sigmar Polke

Polkes capacity and drive to cross mediums and experiment with materials are very inspirational.

‘Polke’s notoriously multidisciplinary approach produced an expansive oeuvre, marked by promiscuity in material and medium as well as an absence of identifiable style, yet all the while bearing the hallmark of his inimitable spirit as playful provocateur.’ From Nahmad Contemporary.

 

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Fensterfront, 1994
 

 

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To create this work, Polke has very simply adapted his environment.

 

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Libespaar II [Lovers II] 1965, Oil on canvas

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Affen 1974 Dispersion and spray enamel on canvas
References:

Tate

Alex Kittle Blog

Nahmad Contemporary

Book: Alibis, Sigmar Polke, 1963-2010, MoMA