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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30 November – 19 January 2023

During my residency at Carss Park I will explore the fluctuation of water and time. Having previously explored this theme in other residencies, I plan to focus on the Georges River as a prime location in which water and urban spaces intersect. Looking specifically at the shimmery reflective light of the river I hope to capture the ways in which it intersects with the ecologies of natural and urban forms.

More details regarding the residency program are here : Carrs Park AIR

Join current Artist in Residence Tara Gilbee for : 

An artist’s talk about her photographic practice and site specific explorations. Sunday 18 December 2022, 2.00pm – 3.00pm 

Ephemeral Photography Workshop. Wednesday 18 January 2023, 2.00pm – 3.00pm

Thank you to Georges River Council and the supportive staff at Hurstville Museum Gallery

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Curated by Danny Lacy, MPRG Artistic Director / Senior Curator
29 May – 22 August 2021

James Newitt, Christian Thompson AO, Harald Vike, Rosie Weiss, Emily Ferretti, Raafat Ishak, Emma Phillips, James Gleeson, Nadine Christensen, Tara Gilbee and others

Surreal Landscapes is a group exhibition that explores the way artists position subtle and strange, absurd and dreamlike interventions within the landscape, abstracting and shifting our reading of the landscape. These interventions often exist around an unusual story or personal narrative and quietly embed political and social commentary within these representations. The show includes newly commissioned work alongside MPRG Collection works and selected loans.

Tara Gilbee The strangest pulse (series) 2018-2019 Hand printed silver gelatin photograph on Bergger fibre paper. Image size variable.

Tara Gilbee The strangest pulse (series) 2018-2019 Hand printed silver gelatin photograph on Bergger fibre paper. Image size variable.

Tara Gilbee The strangest pulse (series) 2018-2019 Hand printed silver gelatin photograph on Bergger fibre paper. Image size variable.

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Mornington Penninsula Regional Gallery presents a special online exhibition featuring new photographic based work by Tara Gilbee. Tara was an artist in residence at the Mornington Peninsula Shire’s Police Point Artist in Residency program in 2018 and 2019. Using solargraphic and pinhole techniques, these powerful and haunting images capture a unique and other worldly perspective of Point Nepean.

This solagraphic series tells the story of the Old Quarantine site at Point Nepean in Victoria through use of arcane recording devises. Forming part of a larger creative investigation undertaken to explore some of its layered histories.

The longitudinal and immersive nature of this work required the artist to take up residence on the site throughout 2018 and 2019.

The devices used gave way to pinhole light recordings whereby the solagraphic record is imbued with the marks of the sun rising and falling (note the sun stripes within the images). The photographic material also registers its own weathering and records the textured surfacing of the elements from its duration at site. The works look to create a unique registration that can reflect the ephemeral elements within the site, dismantling notions of the representative landscape and delving more into temporal ideas of contained time and surface tracing.

Interview with Danny Lacy on sound cloud

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This residency involved  visits and photographic works that were developed in intervals over over the course of 2018 and 2019. These artworks utilised an extended residency process to incorporate camera-less photography and its capacity to trace the light and temporal aspects of the Quarantine station.

The residency took the form of  field notes for the embodied exploration of the landscape. Many aspects of my experience were sensed and recorded via note taking, sound recordings and other digital means but this sat in an ancillary fashion around the process of tracing the space and movement of light, bodies and weather over the surface of photographic paper, which only registers a proportion of this as present, the rest is all absent from imprint. Sensing the greater echos of absence within the site itself. 

Please visit other pages for more examples of the artwork developed and exhibited as part of Surreal Landscapes at Mornington Peninsula Regional Gallery.

The below images belong to the digital navigation records taken during the January residency and are sketches of ideas taken from the site, alongside pinhole artworks and solargraphy cameras which were left insitu and developed over 6 and 12 mths at a time.

The Gatekeepers Cottage and the Quarantine Station:

The Gatekeeper’s Cottage is situated on the 17.5 hectare Police Point Shire Park, Portsea which has a rich history that played an important role in shaping the early settlement, quarantine and defence of Victoria. Point Nepean Peninsula is a nationally significant cultural heritage site ‘…located in the [traditional] lands of the Boon wurrung balug, one of at least six clans of the Bunurong/Boonwurrung who were part of the Kulin Nation of Central Victoria’ (Management and Conservation Management Plan, 2012). It intersects with Boon Wurrung and European cultural heritage and the present day.

My residency has been split into two seasons of exploration. Starting with the long light of summer and gentle sea breezes, it will then conclude in the low light and more rugged season of winter.

The initial visit was a way of exploring the site extensively and developing a greater knowledge of the way in which I can respond to the historic and social nature of quarantine and the sites defence past.

Images above are all taken while exploring the site and represent a recording of aspects of the site rather than the artistic work undertaken.

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First built in 1861 and active for over 130 years, the Old Castlemaine Gaol has seen men, women and children of all ages pass through its imposing wooden gates. This site is currently utilised as a venue and for historic tours. With its high position above the town, it has the auspicious advantage of 360 views of the town of Castlemaine.

I have chosen the sites Old Guard Towers which are flanked at the back of the goal. The title of this project takes the nature of the site and the nature of the use of these towers as starting point to also explore wider concepts around the viewing platform and the socio political history of this site.

This project is a creative development of photo visual art works encompassing these four guard towers.

Utilising the cameraless processes of camera obscura and pinhole photography, I plan to research and develop an experimental process of converting the towers into a studio for artwork production and audience participation.

The works will draw the existing material of the site into a spectral field that engages light as a means to trace the delicate and hidden aspects of the landscape.

Regional Centre for Culture:

The Regional Centre for Culture program celebrates Victoria as a creative state and shines the light on one geographic region for one year, celebrating local creativity, culture and communities.

The 2018 Regional Centre for Culture region is one of Victoria’s key regional cultural hubs comprising the City of Greater Bendigo, Mount Alexander Shire, Central Goldfields Shire and Hepburn Shire.

This project is supported by the Victorian Government through Creative Victoria. Further details about the 2018 Regional Centre for Culture program can be found here http://rcc2018.com/

Further information about The Old Castlemaine Goal can be found here https://www.oldcastlemainegaol.com.au/

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November 2016

The double-module Carving Out the Spaces for Our Commoned Life: A Training Ground takes different economic principles and workings at its core. In the two weeks we will explore whether we, as artists, designers or cultural practitioners can envision a novel mutually supportive economic ‘space’ for our lives and work. A daunting task, to which aid we will call some of the forerunners that have already started the transition. But equally a formidable challenge that demands we break down some of the assumptions and workings concerning the economy, delve into areas we usually experience as ‘outsiders’ and start re-creating them on our terms. Money, debt, insurance, time, servi
ces – to name a few.

The module consists of a five-day line of activities at Cittadellarte-Fondazione Pistoletto (Biella, from 14th to 18th of November, 2016), and a subsequent five-day line of activities at the Stoking House of City in the Making (from 21st to 25th of November, 2016).

The collective trip from Biella to Rotterdam marks the symbolic shift from Cittadellarte’s UNIDEE – University of Ideas, to City in the Making’s universe of enactment, where City in the Making re-imagines life and work, in a stock of former social housing for a period of 10 years.

Image of workshop at Stad in de Maak – City in the Making – Rotterdam (Image – Stealth Ultd)

Information on residency

More info here

Carving Out the Spaces for Our Commoned Life: A Training Ground

For background on the fantastic Mentors from this residency –

http://stealth.ultd.net

Publication of Stealth ultd research

Upscaling, Training, Commoning – the book

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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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