Donald W. Reynolds Center for the Visual Arts, CA+E Archive Collection
AdelaideFringe Festival, Harts Mill, Port Adelaide
die amüsierte Baugruppe
Lecture, architecture and art, Hafencity University Hamburg.
Constructing Atmospheres – Test Sites for an Aesthetics of Joy, published by AADR
is an unchoreographed, transformative public sculpture that explores co-productions of joy.
The Belgian Philosopher Isabelle Stengers refers to ‘Palaver’ as a democratic technique where the participants together facilitate a process of an ‘emerging agreement’. Audiences are invited to join me in exploring how joy-based exercise brings about states of freedom through the aid of different materials. The arrangement looks at whether and how such a collective ‘piece’ performs itself. Who ‘looks at’ ‘it’ when there is only [perceptive] involvement and what can possibly be identified/presented as ‘artefact’? Is there a need to do so? How can individuals entertain complicity between being audiences and artists, as they are responsible for and participating in immediate joy-productions? What is an ‘art-piece’ like that consists in combining, distilling, redistributing, condensing perceptions and materials alike so as to form shared ‘joys’?
Commissioned by the City of Marion with funding from Arts SA.
A project by the Australian composer, pianist, teacher and writer on music, Stephen Whittington
team: Margit Brünner, Dan Thorpe, Sebastian Tomczak, Iran Sanadzadeh
The remarkable geology of Hallett Cove is the result of the actions of wind, water, sedimentation and tectonic movement over a very long time span. Hallett Cove – One Million Years is an audiovisual artwork showing nature as a dynamic process in a perpetual state of change, on a timescale far exceeding human experience – a time scale that exceeds the history of the human race. The piece consists of video images shot at Hallett Cove using a high speed camera, and sounds that were also recorded at the Cove. This video channel presents a documentation of the project that transverses the epic time scale of the work and of the Cove, offering glimpses of the installation over the 60 year span of its potential duration.
Changes in the video image are linked to the lunar calendar, which itself is correlated with the rhythm of the tides. Sounds – mainly those of waves, and water movement over rocks – have been filtered to extract subtle but audible notes. These notes are tuned according to an ancient Chinese tuning system – the 60 lu – that were closely linked to the rhythms of nature. In the Chinese view, nature and human life were intimately linked, and human activities such as music had to reflect and conform to the patterns of the natural world.
This footage will appear in the installation some time in February 2030 — or, Month 1 the Year of the Dog — 庚戌年一月)