STUDIONONSTOP

Visiting Pieces
Anne Kay & Lisa Kelly

West Space
16 september – 3 october 1998
Melbourne

1. Scraps 1998
mattress fabric scraps, interfacing.
2. Untitled 1998
printed plastics, glass slide, cardboard box, slide projector, timer.
3. Repairs 1998 (with view of Picture Tree Anne Kay)
transparency, slide viewer and packaging.
4. Lost [reverse] 1998
adhesive vinyl offcuts.
5. Untitled 1998
found plastic.

I WANT TO BE LIOELN DOOLSN an account

Only one and a bit days to go
Mikala Dwyer
Darren Knight gallery, Sydney.
28 june – 23 july 2005

I WANT TO BE LOIELN DOOLSN
performed by Justin Butcha, Grzegorz Gawronski, Tom Isaacs, Jum and Ben Terakes
28/6/05

published
VOLUMEVERYTHING
chapter Delirium selected by Bianca Hester
CLUBSproject
Melbourne, 2005

[download pdf [1.2MB] or read full text below]

Turning up to an opening can inspire a moment or two of presentation anxiety. Approaching the entrance you’ll do what you can with your hair, straighten clothes and hope there’s nothing stuck in your teeth. Crossing the threshold swells this hyped exteriority, the work suddenly a dim pretext for your arrival to play a part in the galaxy of interactions, signs, signals and social insincerities that greet an exhibition into the world of interpersonal relations on its opening night. Though the gears will change quickly, the moment you’re afforded to assess the situation (who’s here? who’s not here?) from its ‘outside’ swiftly collapsing as you’re swept into its overflow with a hello, an observation, an exchange. Becoming suddenly of and integral to the human context field of this artist, this exhibition, this gallery. Depending on how at home or in good company you feel inside this ‘inside’ there might be flashes back to that outer rim (glancing eyes, things said and unsaid), as a roomful of people go about interconnectedly generating and processing a meshwork of messages and meanings around, about or beyond the artwork they’ve come to see.

Funny things were happening at the opening of Mikala Dwyer’s ‘Only one and a bit days to go’. Planted into this given theatre of interactions seemed to be a cast of players acting at subtly externalising and frazzling these edges of personal conceit and consciousness. It wasn’t obvious at first, and remained slight enough to be unsettling even when you ‘got it’. Continue Reading »

reading:

Metronome No. 10
Future Academy
Shared, Mobile, Improvised, Hidden, Floating
Oregon, 2006

ON EMPTINESS
MP: you need to have a practical fear in order to raise the value of life. Do you still remember the Cittadellearte when there was the idea of emptiness and no decision, no definition…?
CD: Yes, and no studio. Do you remember when the exhibition was the studio and the residents were always searching for their own place?
MP: I still think that this empty space is very basic and very important. If you have something that has already been decided on you don’t find anything different. Organisation is not about filling things, but about emptying things. An artist today has choice, but only one choice, which is to put their work in a collection, a gallery, or in a museum. There is no other choice. But if you make an empty space maybe an economy will grow that can enable art to become a job in a different way? The need for this void is essential.
CD: That word institution is not necessarily bad. Institution means an association of people…
MP: I don’t complain about institutions! I complain about institutions that I do not like.

Interview with Michelangelo Pistoletto, CD, Biella 04

Garden Cities of Tomorrow

1. gallery view
2. New Tree (Sony Center) & New Tree (Darling Harbour) 2004
inkjet print on heat transfer, scrap MDF
3. Rubbish & Rubbish Trees 2004
inkjet print on heat transfer, fabric
4. Water (aloe) 2004
live plant, plaster, Bach flower remedy, waste timber
5. Water (bamboo) 2004
live plant, plaster, cigarette ash, waste timber

Down the road from the studio
Josie Cavallaro, Sarah Goffman, Lisa Kelly

Chrissie Cotter Hall
january 24 – february 7 2004
Sydney