10/30/13

LONG WIRE INSTRUMENT ADAPTED FROM WUKIR'S DRAWING
2013 ... [click here]

Site-driven sound: 
five Long wires tensioned throughout the room extend from a central point on the floor. The wires produce spectral tone when played by an operator, who wears rubber gloves to increase friction and ‘excite’ the instrument through consistent movement. The strings not only produce sound, but also fragment and cut the space of the room into sections that must be carefully navigated by stepping over and ducking under. The wires also connect to the network of signals used to trigger electronic samples in Dylan Martorell’s ‘Drum Plough’.

MATERIALS: long wires, tin cans, rubber gloves, rosin
PERFORMERS: the artist, Wukir Suryadi, Joel Stern, Kristi Monfries
DEVELOPED FOR: Instrument Builders Project
CURATOR(S): Joel Stern, Kristi Monfries  
PERFORMED/EXHIBITED AT: Indonesian Contemporary Art Network, Jogjakarta, 2013

10/28/13

A PROPOSAL FOR A PERMANENT FIXTURE AT ARK GALERIE IN TWO EDITIONS: SUPERLIGHT
2013...click here







In A Proposal for A Permanent Fixture at Ark Galerie in Two Editions: Superlight, Melbourne-based Indonesian artist, Ardi Gunawan duplicates the mezzanine floor of Ark Galerie and creates an exact replica of his earlier work, Superlight. Superlight is a sculptural work that consists of an assemblage of detritus that Ardi had selected according to distinct categories. For Ardi, this act of categorizing is important as it emphasizes art practice as a staged practice that is built according to specific parameters, rather than arising from the artist's intuition alone.


For this exhibition, Ardi utilized a variety of leftover items such as building materials, furniture, soft toys and used fabrics, reconfiguring and assembling them until they reach a balanced point. By doing so, he questions the convention of sculpture as a solid and permanent entity that stands undisturbed by chance. In doubling his earlier work, Ardi also becomes involved in a critical act of self-parody. The technique of parody is further employed in creating a replica of the gallery space as a response to its commercial function as well as modernist, "white cube" design, with its usual preference to authentic works that cannot be duplicated.


WRITER: Mitha Budhyarto
CONTRIBUTOR: Spiros Panigirakis and Keith Wong
PERFORMER: Nadine and Sherine Hassan
EXHIBITED AT: Ark Galerie, Jakarta, 2013

luckily theres no inside no inside ( brick muppet filth face anxiety ladder . emotion traffic reenactment jakarta body )...click here
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POEM-TITLE: Michael Farrell
COSTUME DESIGN: with Lingkan Pantow and Jimmy Gunawan (Jilsi)
PERFORMERS: Sophia Cowen, Tim Darbyshire, Tom Davies, Helen Grogan, John Hewitt, Britt Salt, Lisa Stewart
POSTER: James Ramli
EXHIBITED AT: Open Archive, Melbourne, 2011
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luckily theres no inside re-enacts parts of a performance that i initiated in 2009. The 2009 work, entitled: Sculptural Relations: embodiment, forces, event, and material performance operated through a number of invited artists performing specific tasks, roles, and scores. Mimmo Cozzolino unexpectedly photo-documented this performance. In thinking about how to distribute the re-presentation, re-interpretation, and re-modification of these images, i reconsider the form of soft sculpture and stuffed toys. 

For Open Archive, i have constructed muppet costumes inspired by the photo-documentation that Cozzolino captured during my performance. The documentation, stills from Sculptural Relations, depicts Melbourne-based artists Bianca Hester, throwing a brick, Spiros Panigirakis throwing a plinth, and Masato Takasaka walking around with a ladder on his head. From these images, i have collaborated with my parents - who founded and operated Jilsi; a small toy business specializing in rocking animals - to transform them into muppet costumes. Employed models were wearing these at the opening and through the course of the exhibition. 

This new project continues/discontinues a deviation from Sculptural Relations and enters an experiment with self-parody, fandom, identity, caricature, bad taste, documentary and fiction, commercial merchandising and perversion. It will form part of ongoing projects and will be adapted into a B-grade horror/sci-fi short film, with a screenplay written in collaboration with an ex-employee of the Indonesian Film Censor Institution based in Jakarta. 

9/29/11

/////////DESPERATE EXHIBITION MAKING TECHNIQUES/////////////////
Y3K Gallery, Melbourne 
2010

In this exhibition, artists Ardi Gunawan and Nikos Pantazopoulos took as a starting point the model of a studio residency, in which situations and actions are developed on-site. The show involved an instructional script that explored various methods of developing ephemeral sculptures and images of sex, labor, power and institutional and social space through a collaborative and participatory framework. 

9/11/09

Influence(s) - with Nikos Pantazis
2009 at LIGHT PROJECTS.


The exhibition is informed by and contributes to Nikos Pantazis’ ongoing project.

Here, i taught Nikos how to use the I Ching,
which involves throwing coins or dice and we
made a video / document with the material gathered.
Subsequently, we developed a score
using the I Ching as a way to devise encounters
with the materials that are available on site.

Click the image above to see the video of the actions in
Influence(s).


CONNECTIVES:

Many Things Seen At Once


11/27/08

MANY THINGS SEEN AT ONCE - 2008
as part of GCAS studio show
click here to view images of the work



MONSTERA DELICIOSA - 2008

A colaborative project with Bianca Hester, Brad Haylock, & Simon Mcvilly
- as part of Advance/Retreat at Westspace.
Click here to view images of the work.