Other Locations
Dave Hullfish Bailey
Lecture-performance
4 August, 2011
Auckland Art Fair
The lecture-performances of Dave Hullfish Bailey are discursive presentations that transform the conventional artist slide-talk format into an artistic medium in its own right. Via unconventional analytical approaches and a series of lateral extrapolations, Bailey makes often-humorous connections to his subject matter that echo and elucidate his material production. Bailey's lecture-performance for the Auckland Art Fair (4–7 August), will reflect upon the procedures and implications of the CityCat Project, a collaboration with Brisbane Aboriginal activist and playwright Sam Watson that has been ongoing since 2003. In addition to his lecture-performance, Bailey will present selected aspects of the material production from the CityCat Project in the booth of David Pestorius.
Dave Hullfish Bailey's visit to New Zealand was organised by David Pestorius Projects and realised in co-opertation with the Auckland Art Fair.
David Pestorius Lecture
Saturday February 19, 2pm
Friedrich Petzel Gallery
New York City, NY
This lecture is being held in conjunction with the Heimo Zobernig exhibition (17 February– 26 March) at the Friedrich Petzel Gallery, New York. The lecture will track the evolution of Zobernig's diamond grid paintings, a work group that was commenced in mid-2004 and which today has a strong presence in the artist's wide-range oeuvre. For further information: http://www.petzel.com/news/heimo-zobernig/
Saturday, 7 May, 2010, 6–8pm
The Ian Potter Museum of Art, Melbourne*
"What interests a Dadaist is the way he himself lives..." (Tristan Tzara, Dada Manifesto, 1920)
Mirroring street style and contemporaneous popular music, a distinct art practice emerged in Brisbane in the punk/post-punk 'moment' of the early 1980s. Aware of, and informed by, international currents in post-structuralist thought and No-Wave music, radical Brisbane artists nonetheless critically restructured these developments to their own creative ends. Through hybrid, performance-based events involving music, film, installation and performance, the artists in this film program challenged the revered art object as the fetishistic depository of beauty, and, like the Dadaists their work has been compared to, celebrated the power and pleasure of the instantaneous moment. Made in an era of repressive conservative rule and general cultural stagnancy, these Brisbane punk films provide a fascinating glimpse into the experiences of the artists who made them: Gary Warner, John Nixon, and Jeanelle Hurst. Projected from the original Super 8 and preceded by a short discussion by Danni Zuvela/OtherFilm.
* An event of the exhibition MELBOURNE > < BRISBANE:punk, art and after
video, 55 minutes, black and white & colour, stereo sound
Thursday, 29 April, 2010, 6–8pm
Cinema A, Gallery of Modern Art, Brisbane
Saturday, 1 May, 2010, 6–8pm
The Ian Potter Museum of Art, Melbourne*
Screening + Dan Graham in conversation with David Pestorius
"Basically I would just go up to Dan's apartment and we would talk about music every day" (Thurston Moore)
"One of the most important texts on the theory of rock music" (Diedrich Diedrichsen)
"Rock My Religion marks this point where he really went beyond the white page and the beautiful type-set design of conceptual art." (Tony Oursler)
"... it was magic, and there is a point at which magic goes away, and then it just became music again" (Glenn Branca)
"I always thought it was about architecture" (Kim Gordon)
"A work of anthropology" (Dan Graham)
* An event of the exhibition MELBOURNE >< BRISBANE:punk, art and after
Dan Graham's visit to Australia was organised by David Pestorius Projects and made possible with the assistance of The Australia Council for the Arts, Queensland University of Tehnology, The Ian Potter Museum of Art, OtherFilm, and the Queensland Art Gallery/Gallery of Modern Art.
24 February — 15 May, 2010
The Ian Potter Museum of Art, Melbourne
Melbourne >< Brisbane: punk, art and after will trace the extraordinary interaction of the alternative music and art scenes between Melbourne and Brisbane during the punk and post-punk years, 1975–85. The exhibition reveals the entwined artistic and musical histories of the two cities through music, film, ephemeral publications, photographs and paintings by artists including Howard Arkley, Tony Clark, Brett Colquhoun, Peter Cripps, John Nixon, Peter Tyndall and Jenny Watson, and bands such as Anti-music, the Saints, the Go-Betweens, Nick Cave, the Birthday Party, Ed Kuepper, and the Laughing Clowns.
Guest curator David Pestorius, a Brisbane-based arts activist, says Melbourne >< Brisbane explores the development of artists’ practice as a social and strategic experience. “The exhibition highlights a period when the repressive political regime at the time in Queensland drove the Brisbane avant-garde to a musically hungry Melbourne scene, with results that were often creatively explosive,” he says. “And Melbourne artists happily took up the challenge to confront the prevailing Brisbane sensitivities.
“Crossing boundaries between art and music, gallery and gig, the exhibition reveals important strategies in the formation of a postmodern avant-garde, joining clusters of artists united by location, friendship, shared experience and interests.
“In Australia, punk music offered artists new strategies for collaboration (with artists forming as bands), new models for presentation (promoting and staging exhibitions as gigs), new channels of communication (the cassette, the record, the ‘zine).
“Above all, punk musicians established new definitions of independent practice. The do-it-yourself mentality that drove punk music was transferred to the art scene, propelling the independent art spaces and magazines that were the foundation of vanguard practices in the 1980s.”
Director of the Potter Museum, Dr Chris McAuliffe, says Melbourne >< Brisbane is an opportunity to declare the historical significance of art and punk music in Australia in the late 1970s and early 1980s. “The exhibition will connect audiences with contemporary art through issues and ideas strongly connected with everyday life and popular music,” Dr McAuliffe says. “We retrace a time when Australian punk music led the genre (pre-Sex Pistols) and the creative vibe between Melbourne and Brisbane echoed the Paris/Moscow artistic frisson celebrated in the famous Beaubourg exhibition in Paris in 1979.”
Melbourne >< Brisbane traverses painting, photography, installation, video, film, music and writing. It features rarely seen archival and documentary material, including extensive private archives of audio tapes documenting performances by artists’ bands; Howard Arkley’s personal photographs of his Melbourne ‘Art tram’ and Brisbane ‘Muzak mural’ projects (Brisbane, 1981); Tony Clark’s early DIY operas under the Anti-Music banner; and Brett Colquhoun’s personal dialogue with the late Grant McLennan.
Melbourne >< Brisbane also looks at a number of artist-driven projects that have called attention to this history, not only through its critical re-telling, but also via collaborations which demonstrate that the associations forged during the ‘historical period’ continue to resonate strongly into the present. Beginning with an important series of exhibitions organised by Peter Cripps at Brisbane’s IMA in 1985-86, Melbourne >< Brisbane will also highlight more recent art/music projects involving Tony Clark, Robert Forster, and Ed Kuepper.
As part of the exhibition, New York artist Dan Graham will present a public screening of his film, Rock My Religion, an exploration of threads linking non-conformist religion, counterculture and punk rock.
(From the Media Release issued by The Ian Potter Museum of Art)
Lecture-performance
4 August, 2011
Auckland Art Fair
The lecture-performances of Dave Hullfish Bailey are discursive presentations that transform the conventional artist slide-talk format into an artistic medium in its own right. Via unconventional analytical approaches and a series of lateral extrapolations, Bailey makes often-humorous connections to his subject matter that echo and elucidate his material production. Bailey's lecture-performance for the Auckland Art Fair (4–7 August), will reflect upon the procedures and implications of the CityCat Project, a collaboration with Brisbane Aboriginal activist and playwright Sam Watson that has been ongoing since 2003. In addition to his lecture-performance, Bailey will present selected aspects of the material production from the CityCat Project in the booth of David Pestorius.
Dave Hullfish Bailey's visit to New Zealand was organised by David Pestorius Projects and realised in co-opertation with the Auckland Art Fair.
Heimo Zobernig
David Pestorius Lecture
Saturday February 19, 2pm
Friedrich Petzel Gallery
New York City, NY
This lecture is being held in conjunction with the Heimo Zobernig exhibition (17 February– 26 March) at the Friedrich Petzel Gallery, New York. The lecture will track the evolution of Zobernig's diamond grid paintings, a work group that was commenced in mid-2004 and which today has a strong presence in the artist's wide-range oeuvre. For further information: http://www.petzel.com/news/heimo-zobernig/
Punk Super 8 in Brisbane: Jeanelle Hurst, John Nixon, Gary Warner
Saturday, 7 May, 2010, 6–8pm
The Ian Potter Museum of Art, Melbourne*
"What interests a Dadaist is the way he himself lives..." (Tristan Tzara, Dada Manifesto, 1920)
Mirroring street style and contemporaneous popular music, a distinct art practice emerged in Brisbane in the punk/post-punk 'moment' of the early 1980s. Aware of, and informed by, international currents in post-structuralist thought and No-Wave music, radical Brisbane artists nonetheless critically restructured these developments to their own creative ends. Through hybrid, performance-based events involving music, film, installation and performance, the artists in this film program challenged the revered art object as the fetishistic depository of beauty, and, like the Dadaists their work has been compared to, celebrated the power and pleasure of the instantaneous moment. Made in an era of repressive conservative rule and general cultural stagnancy, these Brisbane punk films provide a fascinating glimpse into the experiences of the artists who made them: Gary Warner, John Nixon, and Jeanelle Hurst. Projected from the original Super 8 and preceded by a short discussion by Danni Zuvela/OtherFilm.
* An event of the exhibition MELBOURNE > < BRISBANE:punk, art and after
Dan Graham - ROCK MY RELIGION (1982-84)
video, 55 minutes, black and white & colour, stereo sound
Thursday, 29 April, 2010, 6–8pm
Cinema A, Gallery of Modern Art, Brisbane
Saturday, 1 May, 2010, 6–8pm
The Ian Potter Museum of Art, Melbourne*
Screening + Dan Graham in conversation with David Pestorius
"Basically I would just go up to Dan's apartment and we would talk about music every day" (Thurston Moore)
"One of the most important texts on the theory of rock music" (Diedrich Diedrichsen)
"Rock My Religion marks this point where he really went beyond the white page and the beautiful type-set design of conceptual art." (Tony Oursler)
"... it was magic, and there is a point at which magic goes away, and then it just became music again" (Glenn Branca)
"I always thought it was about architecture" (Kim Gordon)
"A work of anthropology" (Dan Graham)
* An event of the exhibition MELBOURNE >< BRISBANE:punk, art and after
Dan Graham's visit to Australia was organised by David Pestorius Projects and made possible with the assistance of The Australia Council for the Arts, Queensland University of Tehnology, The Ian Potter Museum of Art, OtherFilm, and the Queensland Art Gallery/Gallery of Modern Art.
MELBOURNE > < BRISBANE: punk, art and after
24 February — 15 May, 2010
The Ian Potter Museum of Art, Melbourne
Melbourne >< Brisbane: punk, art and after will trace the extraordinary interaction of the alternative music and art scenes between Melbourne and Brisbane during the punk and post-punk years, 1975–85. The exhibition reveals the entwined artistic and musical histories of the two cities through music, film, ephemeral publications, photographs and paintings by artists including Howard Arkley, Tony Clark, Brett Colquhoun, Peter Cripps, John Nixon, Peter Tyndall and Jenny Watson, and bands such as Anti-music, the Saints, the Go-Betweens, Nick Cave, the Birthday Party, Ed Kuepper, and the Laughing Clowns.
Guest curator David Pestorius, a Brisbane-based arts activist, says Melbourne >< Brisbane explores the development of artists’ practice as a social and strategic experience. “The exhibition highlights a period when the repressive political regime at the time in Queensland drove the Brisbane avant-garde to a musically hungry Melbourne scene, with results that were often creatively explosive,” he says. “And Melbourne artists happily took up the challenge to confront the prevailing Brisbane sensitivities.
“Crossing boundaries between art and music, gallery and gig, the exhibition reveals important strategies in the formation of a postmodern avant-garde, joining clusters of artists united by location, friendship, shared experience and interests.
“In Australia, punk music offered artists new strategies for collaboration (with artists forming as bands), new models for presentation (promoting and staging exhibitions as gigs), new channels of communication (the cassette, the record, the ‘zine).
“Above all, punk musicians established new definitions of independent practice. The do-it-yourself mentality that drove punk music was transferred to the art scene, propelling the independent art spaces and magazines that were the foundation of vanguard practices in the 1980s.”
Director of the Potter Museum, Dr Chris McAuliffe, says Melbourne >< Brisbane is an opportunity to declare the historical significance of art and punk music in Australia in the late 1970s and early 1980s. “The exhibition will connect audiences with contemporary art through issues and ideas strongly connected with everyday life and popular music,” Dr McAuliffe says. “We retrace a time when Australian punk music led the genre (pre-Sex Pistols) and the creative vibe between Melbourne and Brisbane echoed the Paris/Moscow artistic frisson celebrated in the famous Beaubourg exhibition in Paris in 1979.”
Melbourne >< Brisbane traverses painting, photography, installation, video, film, music and writing. It features rarely seen archival and documentary material, including extensive private archives of audio tapes documenting performances by artists’ bands; Howard Arkley’s personal photographs of his Melbourne ‘Art tram’ and Brisbane ‘Muzak mural’ projects (Brisbane, 1981); Tony Clark’s early DIY operas under the Anti-Music banner; and Brett Colquhoun’s personal dialogue with the late Grant McLennan.
Melbourne >< Brisbane also looks at a number of artist-driven projects that have called attention to this history, not only through its critical re-telling, but also via collaborations which demonstrate that the associations forged during the ‘historical period’ continue to resonate strongly into the present. Beginning with an important series of exhibitions organised by Peter Cripps at Brisbane’s IMA in 1985-86, Melbourne >< Brisbane will also highlight more recent art/music projects involving Tony Clark, Robert Forster, and Ed Kuepper.
As part of the exhibition, New York artist Dan Graham will present a public screening of his film, Rock My Religion, an exploration of threads linking non-conformist religion, counterculture and punk rock.
(From the Media Release issued by The Ian Potter Museum of Art)