In November, Adelaide Festival Centre's Moving Image Program is exhibiting 'Mesh The Place Up V2' by Emma Northey, 'Vanishing Point' by REAL (Rare Earth Artist Lab), and 'The Critical Time of the World Civilisation’ by Sarawut Chutiwongpeti.
Alinta Krauth, Machinimenomenology (no. 1), moving image,12:00 mins
Image: Emma Northey, Mesh The Place Up V2, moving image, (still), 1:40 mins
'My moving image artworks evolve from the collection and distortion of media from analogue and digital sources and devices, including VHS, Super 8, digital cameras, and television. Image sequences are generated by experimenting with the genre of portraiture, filming new images, and using found footage. These sequences are then abstracted and rearranged to create an alternative way of viewing the world.
Mesh The Place Up V2 is a moving image work created through the animation of analogue and digital media. These abstracted city visions and wobbly portraits envision the computerised flow of imagined beings in a morphing cyberspace - the squishy, wobbly populace of a digital mesh.’ Emma Northey, 2018.
Anastasia Tyurina, Colour 32, moving image, 10:00 mins
Image: REAL (Rare Earth Artist Lab), Vanishing Point, moving image, (still), 2:00 mins
Rare Earth 2018 is a digital video work that represents REAL's latest response to issues around humanity's existence on this unique planet. The work stages an interplay between two distinct streams of animated text. A black and white 'Barcode' forms a stream of vertically orientated quotes concerning global economic, environmental and ethical issues. Confronting this didactic stream is a collection of multicoloured, personal responses by the Adelaide public to the question: What will be important in the future?
Rare Earth Artist Lab is comprised of artists Georgina Willoughby, John Blines and Michele Lane.
Monika Morgenstern, Visitors of the Night, moving image, 5:00 mins
Image: Sarawut Chutiwongpeti, The Critical Time of the World Civilisation, moving image, (still), 3:49 mins
‘My goal is to investigate the expressive possibilities of conceptual visual language and to develop collaborative new art as part of both contemporary art/contemporary global structure and the technological civilisation in which we live today. I am especially interested in exploring how contemporary art can enhance the distribution of information and foster a profound universality in human nature, as well as cross-cultural artistic and critical collaboration. The very possibility of enriching contemporary art may also come into question.
In my inquiry, I am guided by the following set of questions: Are sensations and reactions to contemporary art still significant today? In what ways can contemporary art theory and practice address and help solve today’s global problems? And finally, can contemporary conceptual art expose corrupted social values in megacities and create a bridge between the present and future generations?’ Sarawut Chutiwongpeti, 2017.