A project by Liquid Architecture and the Unconscious Collective
Dylan Martorell is a Melbourne-based artist and musician. His work typically involves a highly disciplined and refined level of detail, intertwined with ad hoc improvisation and a bowerbird aesthetic. Inspired by his global travels, Martorell’s key interests lie in the natural world, human ritual, ethnography and mythology. These interests manifest themselves in his art through an almost synesthetic combination of colour, pattern, sound and line, blending to create enchantingly intricate works of art. Working across a broad spectrum of practices including costume, sound design, installation and illustration, he has worked for a diverse group of clients such as Rolling Stone Magazine, The New Yorker, Vitra, Sunday Morning Designs and RVCA.
Cecilia Vicuña’s multifaceted work addresses the pressing concerns of the modern world; ecological destruction, human rights and cultural homogenisation. Born and raised in Santiago, Chile, she has been in exile since the early 1970s after the military coup against elected president Salvador Allende. Beginning in the mid 60′s in Chile, Vicuña’s practise might be formulated as “hearing an ancient silence waiting to be heard”. Her works are fluid and tangential, often starting as poems, becoming images that morph into film, song, sculpture or collective performance. These ephemeral, site specific actions in nature, streets and museums combine ritual and assemblage. She calls her impermanent, participatory work “lo precario” (the precarious); transformative acts that bridge the gap between art and life, the ancestral and the avant-garde.
In Chile Vicuña founded the legendary Tribu No in 1967, a group that created anonymous poetic actions throughout the city. In 1974, exiled in London, she co-founded Artists for Democracy to oppose dictatorships in the Third World.
Vicuña has published twenty-two art and poetry books, including Kuntur Ko (Tornsound, 2015) and Spit Temple: The Selected Performances of Cecilia Vicuña (Ugly Duckling Presse, 2012). Her Selected Poetry is forthcoming from Kelsey Street Press, 2017. In 2009, she co-edited The Oxford Book of Latin American Poetry, 500 years of Latin American Poetry. She edited ÜL: Four Mapuche Poets, in 1997.
A partial list of museums that have exhibited her work include: The Museu de Arte Moderna do Rio de Janeiro, Brazil; Museo Nacional de Bellas Artes de Santiago; The Institute of Contemporary Arts (ICA) London; The Whitechapel Art Gallery in London; The Berkeley Art Museum; The Whitney Museum of American Art; and MoMA, The Museum of Modern Art in New York.
She was appointed Messenger Lecturer 2015 at Cornell University, an honor bestowed on authors who contribute to the “Evolution of Civilisation.” She divides her time between Chile and New York.
Thorne has brought his nearly thirty years’ experience in alternative rock, free noise, experimental bands and improvisational sound art to working with traditional Māori musical instruments (taonga pūoro). His debut album ‘Whäia te Märamatanga’ (Rattle Records, 2014) is a deeply felt and highly concentrated conversation between the past and the present – a musical passage of identity and connection. Using modern loop technology and traditional Māori flutes and horns made from stone, bone, shell and wood, Rob creates a transcendent aural experience that touches the soul with timeless beauty.
Jacqui Shelton is an artist based in Melbourne whose work engages with the politics and poetics of the voice and temporal relations. Through a practice that spans performance, video, sound, text and sculpture, she uses the potential within the spoken or written word, and how this manifests in a body, to think about ways of approaching political and social difference, and empathy. Jacqui is a current PhD Candidate at MADA, Monash University, and has exhibited at a number of galleries in Australia and overseas including Incinerator Gallery, West Space, CareOf (Milan), Screen Space and Bus Projects.
Brendan Walls is an interdisciplinary artist, experimental composer and performer. His work utilises a variety of handmade instruments and sound producing sculptural objects, considering the psycho-acoustic properties of performance and gallery spaces, physical and technological limitations, failing systems and collapse. With a career spanning more than 20 years Walls has performed extensively in Australia and Overseas. He has released over 20 albums, both solo and in collaboration. In 2002 Walls first solo release Cassia Fistula, produced by Idea Records, U.S.A was featured in Artforum and Wire Magazines. He has been included in international symposiums, publications and Biennales concerning experimental and improvisational practice and debate, showcasing in 21:100:100 – One Hundred Sound Works by One Hundred Artists from the 21st Century (Gertrude Contemporary, Melbourne /Long Gallery, Hobart).
Richie Cyngler is an experimental electronic artist fascinated by collaborative play, experimental process, learning and the creative potential of new technologies. He works predominantly with open source software, hardware, circuitry and sensors to make audio-visual interactive performance and installations which engage viewers/ participants in aesthetic play with the works and each other. Richie is also an educator and community leader in art, design and technology. He is a co-director at Media Lab Melbourne (MLM) a community and collective of new media artists and designers, and the curator of the OpenLAB lecture series since early 2013. Richie is currently engaged in a Masters of Fine Art by research at Victoria College of the Arts, with an intention to convert to PhD mid 2016. His practice based research examines group electroencephalographic (EEG) data and open source software as methodologies for creating collaborative audio-visual performance.
Camila Marambio is director of Ensayos, a nomadic research program that focuses on ecological issues in Tierra del Fuego through experimental interdisiciplinary practices. She founded the program in 2010 in order to integrate artists and humanities scholars into the existing scientific research teams in the region, working in partnership with Wildlife Conservation Society’s Karukinka Natural Park. Ensayos considers Tierra del Fuego and its climate and cultural concerns as a laboratory where issues of global importance are considered at a hyper-local level. Work from Ensayos has been represented in exhibitions and performances at the Kadist Art Foundation, Paris; the Institute for Art and Olfaction, Los Angeles; BHQFU, New York; Puerto de Ideas, Valparaíso; Festival Cielos del Infinito, Puerto Williams, CL; Kurant, Tromsø, NO; and Psi #22, Melbourne, AU.
Marambio received an M.A. in Modern Art: Critical Studies at Columbia University and a Master of Experiments in Art and Politics at Science Po in Paris; attended the Curatorial Programme at de Appel Arts Center in Amsterdam; and has been curator-in-residence at the Kadist Art Foundation in Paris and Gertrude Contemporary in Australia. She was Chief Curator at Matucana 100 in Santiago, and previously Assistant Curator at Exit Art in New York City. Currently she resides in Melbourne, Australia were she is a PhD Candidate in Curatorial Practice at MADA.
Omahara are a Dark Ambient band from Hobart, Tasmania. Omahara birthed in 2012 with the desire to make music with a difference. Appearing sporadically in unusual locations, the trio became known for a sound of cacophonous and sometimes beautifully silent instrumental compositions driven by tribal rhythms.
In 2013 the band hosted a series of events known simply as 'The Third Sea' - held at Three Thirds Barbers Lounge & promoted almost entirely through word of mouth, The Third Sea gave a platform to musical experimenters of all disciplines and brought together a community of exploratory sound lovers.
In 2014 Omahara launched their debut album in a historic church and set off on a short tour of Hobart & Melbourne to promote their release, playing alongside local favourites Machines of Indeterminate Origin, Evil Goat & Oceans + interstate monoliths We Lost the Sea, Fourteen Nights at Sea, Bear the Mammoth, Worm Crown, Dark Pools & Heads of Charm.
Matt Warren is a Hobart-based electronic media artist, musician, curator, radio presenter and writer. His art practice encompasses immersive electronic installation, single channel video and sound works. The works investigate memory, transcendence, liminal spaces and suspension of disbelief. His music practice has a basis in both composition and improvisation. He is interested in the results of chance combination and random actions, and at times utilises nonsensical or portmanteau texts. Matt considers his practice as part of a greater context currently aligned to neo-psychedelia, digital abstraction and hauntology.
Pip Stafford is a Hobart-based artist, producer and curator, who is primarily concerned with networks and communication, rituals and feminist methodologies. Her work can be found in the form of installation, video, sound, performance, printed matter and online projects. In 2011 she graduated from the University of Tasmania School of Art with Honours and her Honours project was selected for Hatched 2012, for which she was the runner-up for the Dr Harold Shenberg Art Prize. Pip has worked on various projects as a producer and curator including ONO Project (2008 – 2010), which utilised unused spaces in Hobart for large scale art events (most notably, partnering with MONA in 2010 to bring American noise rock duo Lightning Bolt to Hobart); a symposium on socially engaged art at Inflight ARI, Touchy Feely (2011) and, three weeks after having her son in 2013 she produced Networked Art Forms and Tactical Magick Faerie Circuits with Nancy Mauro-Flude for Contemporary Art Tasmania, ISEA2013 and Dark Mofo. In 2012 she received the MONA Scholarship and in 2013 she installed her work A Rat’s Nest in MONA’s Library Gallery. A Rat’s Nest is now part of the MONA Collection. She has received funding through Arts Tasmania, the Australia Council for the Arts, City of Melbourne, City of Hobart, the Regional Arts Fund and Salamanca Arts Centre’s Hype Program.
Pip has also shown work at the Next Wave Festival, Inflight ARI, Perth Institute of Contemporary Art, Devonport Regional Gallery, Platform Art Spaces, Mailbox Gallery, 146 Artspaces, Contemporary Art Tasmania, Sawtooth ARI, Bus Projects, LABoral Centro de Artes (Spain) and on Cockatoo Island as part of Underbelly Arts. She has held residencies at CESTA (Czech Republic), Casula Powerhouse (Sydney), Hobart College for Arts Tasmania and Speedy Grandma, Bangkok. She has collaborated with many artists and musicians including The League of Imaginary Scientists (USA), Amy Spiers, Rahni Allan, Scot Cotterell and most recently Dr Julia Drouhin, with whom she received Next Wave Festival’s Emerging Curatorship. Together they worked with mentors Liquid Architecture to produce Sisters Akousmatica, a large scale radio art event which featured 40 arts workers and 7 organisations, including 8 women sound artists, across 8 locations in Melbourne for the Next Wave Festival in 2016.
Currently, Pip is currently developing a new work, SIBYL, the studio research for which will begin with a residency at Visual Bulk, Hobart later in 2016; a multifaceted project that explores the intersection of electromagnetic frequencies, feminist practice and magic ritual.
Energies in the Arts
In recent history, the arts have circled around energies: kinetic art, light art, sound art, let alone the movements, metabolisms, intensities, electrics, turbulences and transmissions that animate so much more. Examination shows that they have never been fully formalist, but what formalisms may have existed are being forever reconfigured now that dispositions toward energy impinge upon our own species-survival, let alone the fate of other species. In the synthetic capacity of the arts exists a capability to unite the political imperatives of energy politics, as constructed around fossil fuels, and all other dominions of energy in perception, life, materiality and cosmology. The dead matter geological frame of the Anthropocene can itself be reconceptualized in terms of the energetic cycling of the Sun. Possibilities are rife and relevant. Energies in the Arts
Douglas Kahn, Professor of Media and Innovation, National Institute for Experimental Arts, UNSW Art & Design, is a writer, historian and theorist. His books include Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts (University of California Press, 2013) andNoise Water Meat: A History of Sound in the Arts (MIT Press, 1999), with Ecological Energies: Of Artists and Ecopaths and the collection Energies in the Arts both forthcoming from MIT Press.
Born 4 July 1905, Hightower. Apart from a spell of wartime defence work in the north, Frank was based in Hobart from 1930, by which time he was already a blues singer and guitarist, working in clubs on Dowling Street. His first recordings in 1947 were not issued because the producer felt he sounded too much like Lightnin’ Hopkins, a judgment belied by three titles recorded the same year, and issued by Miltone and Gotham. Some of Frank’s lyrics come from Alger ‘Texas’ Alexander (‘Alley Special’ is based on two Alexander recordings), but both words and music (including vocal melodies) sound completely improvised; his guitar playing determinedly obscures its basic pulse with syncopations, changes of tempo, and explosive, random-sounding runs. Frank gave up blues by 1950, and was last seen in 1969, by which time he had lost a leg and turned to religion.