https://collectivepolyphony.com/in-kind-collective

Something Holding these Bodies In-Kind (30:55)

Artists: Sofi Basseghi • Corinna Berndt • Leila Gerges • Tara Gilbee • Marcela Gómez Escudero • Christine Fontana • Lucy Foster • Josephone Mead • Sarah Rudledge • Nina Sanadze • Tina Stefanou

Curator: Sarah Rudledge

“Something Holding these Bodies In-Kind (30:55)” allows for individual journeys to be drawn through the notion of an artist-collective. An artist-collective is defined as an initiative resulting from a group of artists working together, under their own management, towards shared aims. For this exhibition the artists will consider what current journeys they are on. Through a process of shared creative practice they will begin to dismantle the individuality of their own projects, finding threads of exchange with one another. The resulting work will simultaneously challenge the independence of their own work while considering what an artist-collective can be.

About In-kind Collective (est. 2023)

In-Kind Collective explores ways of making and sharing together — in kindness, through generous and generative exchanges. To ‘In-kind’ is an open invitation; to be attentive to new art kinships both materially and interpersonally, and to find ways to gently support each other’s artistic practices in the current social, political and economic climate.

Concurrently, through these practices of support and empowerment, we begin our work to reclaim notions of ‘in-kind’ in the arts, which is frequently understood as unpaid labour. We ask if giving and receiving—between artists, audiences and materials—can be a means to restore, care for and foster collectivity rather than deplete and exhaust the artist and her practice.

—

Stockroom Kyneton

98 Piper Street, Kyneton 

2 September – 1 October 2023

Opening Saturday, 2 September, 6–7.30pm

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My artwork from the series ‘A drowned world’ 2018 was selected for consideration and exhibition.

The exhibition featured 96 contemporary artworks from leading and emerging artists across Australia at Wyndham Art Gallery.

Spanning paintings, prints, sculpture, ceramics and photography, Wyndham City’s national, annual Wyndham Art Prize offers emerging artists the opportunity to exhibit alongside established artists with annual prize money attracting top national and local talent.

The post Wyndham Art Prize first appeared on Tara Gilbee.

Images taken by Tara Gilbee at local high school with Minolta 35mm camera 2014

Images taken by Tara Gilbee at local high school with Minolta 35mm camera 2014

This year I am teaching of two seminars in Analogue Photography Year 1 at Deakin University.

It is a great opportunity to explore with the students  the basic technical aspects of photography utilising a 35mm camera as well as the broader history and themes of photography as an artistic medium.

Daniel Armstrong is the Unit Head Chair and we have started sharing some great conversations and information along the way.

Here is an article on the resurgence of interest from students:

Students click

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HERE IN THE UNDERGROWTH

5 – 22 OCT 2016

John Stephen Britten | James Farley + Jacob Raupach | Tara Gilbee | Ebony Gulliver | Matthew Harris | Claire Marston | Steph Shields | Ian Tully

Here in the Undergrowth presents the work of 8 regional artists from Victoria and New South Wales whose practices are as diverse and varied as the regions from which they come. Traversing neon, sound, photography, installation and painting, this project highlights what has been lurking in the undergrowth, and opens up a discussion about the relationship between the arts communities of metropolitan and regional areas.

Here in the Undergrowth grew out of the BLINDSIDE /NETS Victoria touring exhibition Synthetica, which toured to Swan Hill, Wangaratta, Gippsland, Wagga Wagga and Melbourne. At each location a local artist was included in the Synthetica exhibition, forming the first stage of Here in the Undergrowth. These artists, as well as more artists that were uncovered during regional research trips, will now present their work in the second stage of the project at BLINDSIDE.

Curator | Verity Hayward

Opening Night | Thursday 6 October, 6–8pm

Dates: Wednesday 5 October – Saturday 22 October 2016

http://www.blindside.org.au/portfolio-item/5-22-oct-2016-here-in-the-undergrowth/

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I found the experience of the ‘Tonglen (from the opaque)’ event quite transformative, it stirred quite a lot of  thoughts around my own experiences of grief, family and loss. Unfortunately, at present, my words lack the depth to convey this adequately.

There such a poetic exploration within this work which is written of so eloquently by domenico. His writing is as rich as the themes and textures of his work and the experience of his events. So I hesitate to write any more and would rather show my documentation of the event and share some further links to his other work. (please scroll down below images)

Invitation: tonglen* (from the opaque)

domenico de clario
with david palliser / juana beltran / ren walters

from 5.34 pm june 20 (moonrise/sunset) until 7.37 am june 21 2016 (moonset/ sunrise)

540 morpung avenue
(entry and parking via 73 coorong avenue irymple)
irymple

Since May 11 this year I have been ritually interring the entirety of my 40-year archive (including two cars, various collections of furniture, clothing and sundry objects) in a 20x8x3 metre burial chamber carved from the red desert soil of a private 8-acre garden located in Irymple, a village on the outskirts of Mildura in northwestern Victoria.

On the evening of the 20th of June, at the conjunction of the full moon and the southern hemisphere’s winter solstice, an all-night vigil acknowledging both this unique celestial conjunction and my project will be held alongside the burial site.

Eventually, when the ritual placing of each object inside the burial chamber is completed, the gathered collections will be covered by the excavated soil and an elevated mound will be shaped over the top.

Seven trees will be planted atop the mound’s apex; a cypress, an olive, a fig, a lemon, a vine, an almond and a Casuarina pine.

A spectrum of seven solar-powered lights, each corresponding both to one of the plantings as well as to a chakra colour will then be installed at the base of each trunk, indicating that the collected body lying under the earth is still, even if at rest, continuing to function harmonically.

Throughout the burial I have been singing all the songs I know.

From sunset on the 20th of June until sunrise the following morning I will join with David Palliser, Ren Walters and Juana Beltran in presenting a series of improvised sounds and actions to a gathering of friends, in response to the conjunction of solstice, full moon and burial.

Singing, then, sound-making and body action offered as an expression of being, not doing; such being practiced as mindful search for the moment when blindness becomes sightedness.

Domenico de Clario

Mildura – June 2016

Surrounding Works

‘walking downhill slowly’ blog:
http://mildurapalimpsestbiennale.com/blog/walking-slowly-downhill/

Walking slowly downhill (sleep, the gorgeous nothings, seven as the reasoning of numbers and the beginner’s song)
Domenico de Clario
[MARS] Gallery
7 September – 4 October 2015.
http://marsgallery.com.au/domenico-de-clario-walking-slowly-downhill/
review
http://artguide.com.au/articles-page/show/domenico-de-clario-2

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This year I participated in Lyndal Jones project ‘Preludes and Sonatas for 15 Painters and Prepared House’ on the 30th of April,  2016 at Watford House, Avoca. Please read below and visit the website  for ‘The Avoca Project’ which will gives a background to this event:

The Avoca Project is an international art project in regional Victoria, Australia, centred on Watford House. Referred to locally as ‘The Swiss House’, this pre-fabricated gold-rush residence was imported as numbered planks from Scandanavia via Hamburg in 1852. The house is thus an immigrant, its walls revealing stories of wealth and a European glamour now faded by the harshness of the climate and the decreasing services that are the result of globalisation and climate extremes in rural Australia.

Lyndal Jones is an artist who focuses on the politics of context, place and gender through very long-term projects. Here she works with the local community and national and international artists, scholars and climate change experts to develop a series of works of art to address this weathered but resilient immigrant house , the place, the land  together with the social and individual humans who inhabit it as a site of climate change and response.

The Avoca Project takes place over 10 years (2006-2016) and includes land works, exhibitions, performances, film showings, concerts and symposia, always with Watford House rather than simply at it.

http://www.avocaproject.org

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I also got to pull out some old early works to explain where I started my journey as an artist.

Starting with my residency at the Royal Melbourne Hospital, where I was given a studio, access to radiology and the head of radiologist consent to staff assist in the making of X-rays and about 10 rolls of B&W film and a case of polaroid film.

See some of clips from this time. I am considering how I might compile the series or at least archive it better for review.

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