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

The post Georges River Sydney first appeared on Tara Gilbee.

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.

The post Surreal Landscapes first appeared on Tara Gilbee.

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

The post The Strangest Pulse first appeared on Tara Gilbee.

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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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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