Points of Entry, 2002
March 5th, 2002
Co-curated by Nina Czegledy,
Robin Petterd and Deborah Lawler-Dormer
POINTS OF ENTRY is an international touring exhibition project of installations and embodied electronic sculptural works using technology, by Australian, Canadian and New Zealand artists. The works address contradictions and diverse possibilities of working with interactive technologies. The installations range from self-standing kinetic sculptures and dvd projections to what appears at first to be high speed model cars, but on closer examination are machines that move so slowly they take will decades to move a small distance. A characteristic of all of the works is their physical nature; some are sculptural, while others focus on physical and spatial interaction.
Project description
Co-curated by Nina Czegledy, Robin Petterd and Deborah Lawler-Dormer
POINTS OF ENTRY is an international touring exhibition project of installations and embodied electronic sculptural works using technology, by Australian, Canadian and New Zealand artists. The works address contradictions and diverse possibilities of working with interactive technologies. The installations range from self-standing kinetic sculptures and dvd projections to what appears at first to be high speed model cars, but on closer examination are machines that move so slowly they take will decades to move a small distance. A characteristic of all of the works is their physical nature; some are sculptural, while others focus on physical and spatial interaction.
The title of the show, implies options and possibilities for audience engagement with the works. While the concept of interactive art is suggestive of choice and freedom, it is useful to consider the extent of these choices. The questions remains: within the digital domain of preconceived computer works, programmed virtual art and interactive sculptures, how much actual freedom, how much control over our choice remains? Each work in the show takes a different approach to these problems, some use simple interactions, or have pre-programmed behaviours, others subvert the conventions of what we term “interactivity”. A common approach of the contributing artists is a refusal to allow the technologies to dominate the works. As a result these works are subtle and simple, and aim to create an open-ended dialogue. It should be noted, that this genre of work is often overlooked in the realm of art (and technology),possibly because of their low-tech and alternative approaches.
Bringing together the works from different countries and varying contexts allows the possibilities for new dialogues to form. For pragmatic reasons, one of the key concepts of choosing the has been their suitability for touring. Funding and support for the artists to travel with the works will besought. The show will be organized on modular bases from each country. This allows for different combinations of the works to be shown at the various venues dependant on funding support and enables the project to proceed if funding applications are insufficient.
Participating artists:
Australia
Sophea Lerner, The Glass Bell (installation 2002)
Greg Bourke, Machines for Time (sculpture2001)
Leigh Hobba, Red (V.3) (installation 2001)
Andrew Burrell, Here (installation2000)
Canada
Jocelyn Robert and Daniel Jolliffe, A Set of Suspicions (installation 2000) Jon Baturin, Doukhoubor communal bath and cryptorium age5 (installation 2002)
Simone Jones, Sometimes You Need To Scratch: Studies in Compulsive Movement (kineticsculpture 2002)
New Zealand
Sean Kerr
Kim Fogelberg, Dot_IV. (installation 2001)
Virgina King, Antarctic Heart (installation2001)
Yuk King Tan, The New Siteseer (installation2002)
Alex Monteith, untitled (installation 2002)