Tech woes 😉
We have our best and brightest on the case, it should be running shortly. x m
Tech woes 😉
We have our best and brightest on the case, it should be running shortly. x m
The Indian Ocean Triennial Australia 2021 is coming! I must’ve mentioned it a bit, in passing at least, as my new work Juukan Tears will debut as a part of the festival when it opens in September.
But what is it?
Well, it’s a presentation of new works from a curated selection of artists from all over the Indian Ocean region. To show these works the Indian Ocean Triennial Australia curatorial team has collaborated with two major WA galleries; the Fremantle Arts Centre and the John Curtin Gallery.
And it’s also a huge series of satellite events (which includes the Aussie debut of the Connexions exhibition), and a massive opening weekend and a conference.
Shall we cut to an audio-visual for all-round better explanation?
BTW, if you’re missing my dulcet tones in your ear, stay at least until 45 seconds in, and if you want those sonorous tones (big irony here team, I’m even more high-pitched than usual, shall we say I was attempting to be heard over the waves..?) accompanied by my visage – and hands – (I’m talking with them of course!) stick with it for at least 1 minute!
To stay up-to-date with the artists involved and the timetable of events you gotta see the IOTA21 website. And start making your plans to see world-class art all around Perth in September.
If you’d like the opportunity to choose the outcome of the tale of the rings (in typing that I just realised I’ve made a mmp ‘choose your own adventure’ game!) please get in touch. You can comment below, reply by email – or go to my instagram and click on the relevant poll toggles in my stories.
The questions are:
And the Bilk Brooch Show invite I hyped up in my last post is next, I promise!
Hiya team. Apologies for that last cryptic post – with bonus secret password window – on the main blog stream. I feel like a right fool but now the url is attached to an application I can’t change it until adjudication finishes. If it’s any consolation most of the content was taken from last year’s Everything Must Go, with images taken from yet another post to bulk it out.
And to placate my own ego let me mention that I had managed to add an entire new section to the Works/CV page a little while ago without anyone noticing 😉 That was in lieu of smartening up my website (I’ve given up promising a date for that; soon, just soon) for another application. In that case I was not successful (asking a mining company for funds to protest another mining company was probably seen more as trolling than as a unique artistic concept) but at least the work I did is useful longer-term as an introduction to my current practice.
If you’re new around these parts why not check it out.
And in other news, a recent Craft ACT emailer used my image to promote The Neck, a show I have a work in at the moment. I’ll post their text in full below. I’ll soon be in another show just outside Canberra, thanks to Bilk. More news on that soon.
/ / /
The Neck //
Vivien Atkinson | Roseanne Bartley | Macarena Bernal | Vernon Bowden | Zoe Brand | Melissa Cameron | Anna Davern | Pennie Jagiello | Cara Johnson | Bridget Kennedy | Claire McArdle | Melinda Young
Curator Bridget Kennedy
The neck, often seen as a sensual part of the body, a site of vulnerability, is also a site of strength, supporting the heavy head, a conduit to our heart and lungs, providing life giving oxygen to our bodies, and nourishment through the ingestion of food. At a time when our planet and humanity seems to be suffocating on many fronts, strangled by powerful, self serving ‘leaders’, Bridget Kennedy invites selected artists to explore the neck as a vehicle for political, social, and environmental critique.
Vivien Atkinson is represented by Avid Gallery, Wellington. Melissa Cameron is represented by Bilk Gallery, Canberra.
Yesterday marks 1 year since the destruction of the Juukan Shelters, a traditional site of the Puutu Kunti Kurrama and Pinnikura (PKKP) peoples located in the Pilbara area in the northwest of Western Australia.
If you’ve been following this blog for the last few months you’ll know that I have made the facts of that event; the amount of time that the PKKP peoples had accessed and used the shelters – 46,000 years; the number of holes drilled into the shelters before the PKKP peoples were told of its impending blast – 382; and the reason they were destroyed – for more iron ore; into a large installation made from predominantly recycled steel.
I remember that the shock of finding out about this destruction was all the more galling because it came at the beginning of last year’s Reconciliation Week. This time last year, during the Indigenous Film Festival, I stayed on to see several Q+A’s for just-screened films. I watched as multiple hosts had to engage not only with the content of the films that they were charged with speaking about (generally involving weighty cross-cultural issues themselves), but also the Juukan destruction, as it filtered through the collective consciousness in the week following its detonation. The shock and sadness was all-pervading, and so it made its way into many of the question and answer sessions during the festival.
Watching it unfold in the media against this backdrop was heart-sinking, as here was a fresh way that government and corporate interests in Australia had failed our First Nations community. At the time it was a particularly unwanted extra burden, following as it did a bushfire season that had threatened and then razed so much of the east coast, and during a lockdown for a pandemic that many feared would be particularly serious for First Nations communities here, as many face poorer health outcomes than the general population.
It was immediately protested, and it would become an important fuel for us masked marchers at the Black Lives Matter rallies held here in Perth over last winter. And for me. It was and remains an important fuel for my practice, too.
[text below from the IFF newsletter of this morning]
There is only 3 days left to secure your spot at the Virtual Indigenous Film Festival for Reconciliation Week 2021! Celebrating a collection of award-winning Indigenous stories, followed by Q&As with special guest speakers including film makers, community leaders and cultural academics. Join us in celebration this Reconciliation Week from 27th-31st May for a week of inspiring stories and inclusive, actionable discussion.fanforcetv.com
National Reconciliation Week is a time for all Australians to learn about our shared histories, cultures and achievements. This year’s theme, #MoreThanAWord reminds us to always be working towards braver and more impactful action so take that action and join this years Virtual Indigenous Film Festival.
Grab an All Access Pass for 50% off all 6 films OR if you are interested in just one film, grab an individual ticket!
and just quietly, I have to acknowledge my financial supporter for the Juukan Tears project:
Thanks to the Department of Local Government, Sport and Cultural Industries in Western Australia for their financial support of this project
I’m in The Neck, a group show in Canberra, thanks to Bridget Kennedy of the eponymous Project Space in Sydney. It was meant to be last year, timed to coincide with the JMGA conference. In fact, it looks as though this whole programme was. Go see it if you can; there’s a lot of talent (and my friends!) in this room.
You’re invited // Craft ACT: Craft + Design Centre warmly invites you to join us for the opening of:
Making: A Way of Life
Alison Jackson and Dan Lorrimer
Danielle Barrie, Daria Fox, Emma Cuppleditch, Erin Daniell, Gretal Ferguson, Kath Inglis, Katherine Grocott, Polly Dymond, Sarra Tzijan and Zoe Grigoris
Body Layer; Semblance and Self
Zoe Brand, Roseanne Bartley, Liesbet Bussche, Jing He, Cara Johnson, Lauren Kalman, Matt Lambert, Claire McArdle, Kristina Neumann, Tiffany Parbs and Halie Rubenis. Curator: Simon Cottrell
Vivien Atkinson, Roseanne Bartley, Macarena Bernal, Vernon Bowden, Zoe Brand, Melissa Cameron, Anna Davern, Pennie Jagiello, Cara Johnson, Bridget Kennedy, Claire McArdle and Melinda Young. Curator: Bridget Kennedy
To be opened by: Tara Cheyne MLA, ACT Minister for the Arts, with guest speaker Oliver Smith, respected silversmith and senior lecturer at University of Sydney
Thursday 27 May. Exhibitions will continue until 17 July.
Craft ACT’s gallery, exhibitions and shop are open five days a week.
Tuesday-Friday from 10am-5pm
Level 1 North Building 180 London Circuit Canberra ACT 2601
If you are in the area, look out for the artist talk too:
Friday 28 May, 12-12.45pm
at Craft ACT gallery
Free, bookings essential
I have two short films about recent work in this festival. I know, what am I like?!? Lets hope they get played back-to-back so we can really compare how I aged over the 20 months between their filming…
And yes, my tickets are booked! Come along!
(Teaser and text below courtesy the amazing Maker&Smith website)
A new short film festival all about craft and making, presented by Maker&Smith.
This new collection of films focuses on how we employ the dexterity of our hands to create functional objects, art and to tell the stories of our lives.
The selection of films encompasses a broad range of craft, design and making disciplines presented in mini documentaries, story-led artist profiles to ingenious animations and music video.
Selected from near and far, the films spotlight the everyday habits and skills of ‘makers and smiths’, they reveal what drives enduring professional practice, and illustrate a diversity in film-making creativity as much as the traditional and contemporary craft approaches.
Disciplines and techniques include:
Basketry, Ceramic Art + Pottery, Costume Design + Making, Fibre Art, Glassmaking, Jewellery + Metalsmithing, Pearl Carving, Puppet Making, Screen + Block Printing, Sound Design + Making, Stop Motion Animation, Textiles, Weaving, and Zoetropes.
Screened in two sessions with an interval, the whole program lasts three hours.
Tickets include interval refreshments.
BOOK your tickets NOW. (unreserved seating)
For your delectation and delight, I present the live stream feed from today, conveniently queued up to the start of our q + a chat! We chatted, we answered questions, we got off topic (prompted by a comment, though) and I ranted, just a little.
As you would guess there’s 1 hr 24 mins of me grinding and making before this point, and after we’re done – there’s about an hour of talking – we get back to same, gradually finishing this piece. In that one hour we’re talking about the process, the reasons why we’re streaming at all, the changes to the studio between streams and how we plan to get this work out of this place and into the gallery, making this a good addition to the original Q + A we did in February (also below, so you can fully appreciate our changing hair styles.)
As you can note even in the screen grabs you see now, the major differences are 1/ the size of the work on the left hand size of the room, and 2/ the fact that today we were masked while talking. It’s not ideal, so I am sorry about that, but we were on schedule to have masks off indoors on when I planned this chat. Owing to a new COVID-19 case, that region-wide directive changed late Saturday afternoon. We got off ok, really, the football had to be played without a live audience so we were just foloowing the same rules, and are obviously just as popular 😉
Thanks for checking in, or at least enjoying the screen grabs, and I’ll be back in touch soon when I finish this piece. Very soon!
It’s another public holiday today in Perth, and after the uber long weekend I’ll still be on holiday (read: working on unrelated projects in the studio) until the 9th, coming back on the 12th of April.
Looking forward to seeing you – my beloved livestream devotee(s)- then 😉
Hey hey viewers.
Apologies for the stream being down this morning; there were some technology changes over the weekend which have altered the setup. They have been addressed now so we’re live again here.
Thank you for your patience 😉