2005
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David Simpkin, Red Buttons, 2005.

Red Buttons was the outcome of an international residency (Cite Internationale Des Artes residency, Paris). Simpkin (a Conical committee member) reconsiders Yves Klein’s Leap Into the Void & Gordon Matta Clarke’s Conical Intersect via a collection of unlikely forms - including his own body. Exhibited concurrently with OW the committee was interested in two very different Australian artists of the same generation responding to US & European contemporary sensibilities respectively. Additionally an immediate relationship between their practices was evident in the juxtaposing of these projects.

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Dominic Redfern, OW, 2005.

Redfern is a video artist who works with his own image in fractured narratives. OW consisted of two monitors installed vertically depicting the upper & lower half of the artists body stuck in an industrial air conditioning duct. A smaller monitor displayed a video of the gallery power socket. Redfern spent the summer of ‘03-‘04 at the OzCo Studio in L.A. where he developed OW.

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Andrew Hazewinkel, Gathering in ‘Cluster’, 2005.

Hazewinkel works with shadow & reflection in relation to the perception of form. For Cluster he installed a field of freestanding sculptural forms functioning as screens for the reception of their own image (via sequential slide projections). This work was later included in the Dimensions Variable 1:1 Sculpture Festival at CCAS.

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Richard Giblett, Sub City (While you were sleeping) in ‘Cluster’, 2005.

Giblett produces large-scale models & works on paper. For Cluster he configured laminated plywood blocks into a tableau of geometric shapes sourced from his pencil drawings. Giblett is currently undertaking an OzCo Green St residency in NYC.

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Jakov Zaper, Re-Entry, 2005.

Zaper is an emerging artist of Croatian descent whose primary medium is light. Re-Entry created translucent reflections & projections from & onto the installed material objects. Both constructed and found objects became vehicles for the phenomena of light, shadow, dynamics & stillness.

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Katie Lee, Hang, 2005.

Lee (also a MA candidate at RMIT) works with industrial materials installed in repetitive formats. Hang was a series of vertical & horizontal steel rods suspended from the rafters in formal rows that replicated built form (both specific & generic) whilst evoking historical, institutional & personal references. Lee will be joining the Conical committee in 06.

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Ian Tippett, Ground Level, 2005.

An emerging photographer, Tippett’s series of six large-scale photographs portrayed the shared urban space occupied by pedestrians & pigeons. Ground Level set up a dialogue between the real elements of the street & the unreal qualities of cinematic expression. Ground Level subsequently travelled to Rocketart in Newcastle.

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Shaun Elstob and Viveka Marksjo, Indemnity, 2005.

Elstob (Conical committee member) & Marksjo (2005 Samstag scholarship recipient) This DVD projection was the result of a years on-site research. Indemnity was a duplicate of the empty interior of the gallery space projected onto an entire wall of the same empty interior. It showed an image of the gallery slowly & unaccountably filling up with water. Produced from hundreds of architectural detail stills but entirely modelled & animated in the computer. Indemnity will be exhibited at Elastic Residence (London UK) in 2006 as part of a subsidised Conical-initiated exchange project.

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Sarah Lynch, waiting for…, 2005.

This young recent graduate of VCA presented a video projection of herself sitting immobile in a chair to the side of an industrial roller door in an empty back alley bathed in afternoon light. Waiting For… shows Lynch waiting for twenty minutes & twenty seconds of unedited screen time by which time the sun goes down & the screen goes dark. The same chair is positioned in the gallery space to mirror the screen image. Waiting For… was presented concurrently with Indemnity & is another example of our curatorial role in suggesting relationships between emerging practices.

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Liz Henderson, Lie Scattered Here and There, 2005.

Henderson (a recent MFA Graduate from VCA) scattered clusters of pomanders (baubles of dried herbs & spices made by the artist) onto a floor-based circular form of raked sand that occupied the centre of the dimly lit gallery space. The intrusion of a powerful aroma gave the work a multi-sensual dimension.

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Stephen Sinn, Walking in, 2005.

Sinn’s first solo exhibition presented a video projection of various suburban underground computer gaming venues. The camera depicted the moment of arrival from the street as teenagers playing digital war games continue, oblivious to the intrusion. Rather than claiming a moral position Walking In was a study of the differences in youth social grouping & the relationship between play & conflict.

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Anne Sande, Wear it (A political Diary), 2005.

Torie Nimmervoll, Balloon 2005.

A subsidised Conical project. Balloon was Nimmervoll’s third solo exhibition investigating the physical experience of an event through measurement. The artist, accompanied by live accordion music, launched a scaled-down replica of a nineteenth century hot air balloon at the opening. An installation of traditional measuring equipment such as barometers & drawing equipment became functional data collection tools that tracked the balloon’s progress & it’s environment as it floated freely throughout the gallery space. Facts such as how far, how long & how high were dutifully recorded daily – despite being incapable of registering the emotional atmosphere of the balloon’s journey.

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VIA-n Launch , 2005.
Victorian Intiatives of Artists Network

www.via-n.org

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Pam Clements, Reflection, Resemble, Remember, 2005.

A subsidised Conical project. Clements’ practice develops an experience of site & memory through venue-specific installation. Reflection, Resemble, Remember explored the architectural & social history of the gallery building through the notion of ‘city living’ as it is now - with reminders of what it might have been. Clements ‘furnished’ the Victorian room that is the main gallery. Working on-site an ‘absence of objects’ was fashioned from obsolete Telstra insulated copper cabling.

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Jason Maling, Museum of Fortitude, 2005.

A subsidised Conical project. Maling (a Conical committee member) presented The Museum of Fortitude as a component of an off-site project (Fortitude Game) that was auspiced by Conical two months prior. Originally developed in the UK whilst at The Slade School, Maling’s Museum project is a fluid composition dealing with the notion of play. For the Gallery component an abandoned playing field of sorts was constructed & strewn with Fortitude Game’s worn out equipment. A video projection onto an old gramophone player & a re-mixed sound track were the only direct reference to the wider off-site context.

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Monique Redmond and Simon McIntyre (NZ), Agency, 2005.

This collaboration between two established mid-career Auckland artists continues Conical’s long-standing relationship with New Zealand. Agency formed the second part of the project: Mapped: Site Specifity, Local Environs & Documentation (The first being Proposition exhibited at Blue Oyster ARI, Dunedin in July). The installation was documentary & elemental in nature. It included digital images, floor-paintings, light boxes, tarpaulins, live plants & other sculptural objects that united together to shape a freeform atlas - a site within a site. Accumulative in their relationships, they mapped that which exists inside & outside the space at Conical.

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Kylie Johnson (TAS), Another Sniff of Romance, 2005.

Johnson’s practice focuses on the small energy transformations between people. Another Sniff of Romance presented photos, journals, wall text & other documentary media to reiterate the physical transfers (often bruises) that are mementoes of social encounters. The work forms part of a personal memory structure that constantly returns knowing it never can. Johnson is a founding member of Inflight ARI in Hobart.

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Mark Brown (SYD), Exuent_Site Manouvres, 2005.

A subsidised Conical project. Brown is an emerging Sydney based sound/installation artist exploring site, architecture & sonic atmospheres that we had worked closely with for ten months prior to this involved on-site installation. In Exuent_Site Manoeuvres Brown critiques notions of site-specifity by extending beyond the confines of formal responses to the container of a particular place. Brown’s use of technological mediatory devices explored sonic navigation, military & computer gaming technologies & locational nodes. This particularly ambitious project consisted of three related works or ‘propositions’ entitled: NoiseGate, Demarcation & WayPoint.

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