http://stephencleland.net stephencleland.net Sun, 17 Mar 2013 22:38:23 +0000 http://stephencleland.net en http://stephencleland.net/SELECT-EFFECT-EXPORTPATRICK-LUNDBERG-JOHN-LYALL-SIMON-MORRIS-SARAH http://stephencleland.net/following/stephencleland.net/SELECT-EFFECT-EXPORTPATRICK-LUNDBERG-JOHN-LYALL-SIMON-MORRIS-SARAH Sun, 17 Mar 2013 22:38:23 +0000 stephencleland.net 3929435 SELECT > EFFECT > EXPORT<img src="http://payload81.cargocollective.com/1/8/268299/3929435/Rose Nolan_905.jpg" width="905" height="573" width_o="1200" height_o="760" src_o="http://payload81.cargocollective.com/1/8/268299/3929435/Rose Nolan_o.jpg" data-mid="27972229" border="0" align="left"/> Simon Morris, Manganese Blue Line, 5 hours 57 minutes, water based enamel on wall. Courtesy of Two Rooms, Auckland 25 April - 12 July 2009 Select > Effect > Export Patrick Lundberg, John Lyall, Simon Morris, Sarah Munro, Rose Nolan, DJ Simpson Curated by Stephen Cleland Te Tuhi Centre for the Arts, Auckland Select > Effect > Export presents a selection of projects that approach mathematical and mechanical methods of art production. Traversing from the miniature to the enormous, the exhibition explores calculated procedures of scaling up and reducing down linear form. From a large-scale typographic wall piece by Rose Nolan, to the machine carved objects of Sarah Munro, to an intricate set of hand produced drawings by John Lyall based on the 1mm grid of architectural drafting film, Select > Effect > Export approaches rule-based procedures of art fabrication and asks: what can be learned from mimicking machines? <img src="http://payload81.cargocollective.com/1/8/268299/3929435/Rose Nolan_905 copy_905.jpg" width="905" height="602" width_o="905" height_o="602" src_o="http://payload81.cargocollective.com/1/8/268299/3929435/Rose Nolan_905 copy_o.jpg" data-mid="27972322" border="0" align="left"/> Rose Nolan, A Big Word: DIFFICULT 2009, water based enamel on wall. Courtesy of Hamish McKay Gallery, Wellington <img src="http://payload81.cargocollective.com/1/8/268299/3929435/Simon Morris copy_905.png" width="905" height="552" width_o="1000" height_o="610" src_o="http://payload81.cargocollective.com/1/8/268299/3929435/Simon Morris copy_o.png" data-mid="20524373" border="0" align="left"/><img src="http://payload81.cargocollective.com/1/8/268299/3929435/Simon Morris_2_905.png" width="905" height="601" width_o="1000" height_o="665" src_o="http://payload81.cargocollective.com/1/8/268299/3929435/Simon Morris_2_o.png" data-mid="20524218" border="0" align="left"/> Simon Morris, Manganese Blue Line, 5 hours 57 minutes 2009, water based enamel on wall. Courtesy of Two Rooms, Auckland <img src="http://payload81.cargocollective.com/1/8/268299/3929435/John Lyall_905 copy_905.jpg" width="905" height="451" width_o="905" height_o="451" src_o="http://payload81.cargocollective.com/1/8/268299/3929435/John Lyall_905 copy_o.jpg" data-mid="27972386" border="0" align="left"/> John Lyall, 1, 2, 3, 4, 5, 6, 7, 8, 9, 0 1979 - 1985 (detail), 4mm nibbed pen on 1mm gridded architectural drafting film. Courtesy of Jane Sanders, Auckland <img src="http://payload81.cargocollective.com/1/8/268299/3929435/Munro_1_905.jpg" width="800" height="688" width_o="800" height_o="688" src_o="http://payload81.cargocollective.com/1/8/268299/3929435/Munro_1_o.jpg" data-mid="20524224" border="0" align="left"/> Sarah Munro, Blood Red Object 2008, automotive paint on hand laminated fibreglass support. Courtesy of Page Blackie, Wellington <img src="http://payload81.cargocollective.com/1/8/268299/3929435/DJ_Simpson_29 copy_12_905.jpg" width="905" height="444" width_o="916" height_o="450" src_o="http://payload81.cargocollective.com/1/8/268299/3929435/DJ_Simpson_29 copy_12_o.jpg" data-mid="27973122" border="0" align="left"/> <img src="http://payload81.cargocollective.com/1/8/268299/3929435/DJ Simpson_2_905.jpg" width="900" height="601" width_o="900" height_o="601" src_o="http://payload81.cargocollective.com/1/8/268299/3929435/DJ Simpson_2_o.jpg" data-mid="27972549" border="0" align="left"/> DJ Simpson, Mr Bezier (Black Gloss, SILVER GLOSS) 2001, SNO 2 2005, formica laminate on birch plywood. Courtesy of Sue Crockford Gallery, Auckland SELECT > EFFECT > EXPORT Simon Morris, Manganese Blue Line, 5 hours 57 minutes, water based enamel on wall. Courtesy of Two Rooms, Auckland 25 April - 12 July... http://stephencleland.net/SELECTED-ONLINE-PROJECTSWINDOWThe-University-of-Auckland2002-2007 http://stephencleland.net/following/stephencleland.net/SELECTED-ONLINE-PROJECTSWINDOWThe-University-of-Auckland2002-2007 Sat, 29 Sep 2012 22:36:02 +0000 stephencleland.net 4128294 SELECTED WINDOW ONLINE PROJECTS<img src="http://payload91.cargocollective.com/1/8/268299/4128294/Window main image_5_905.jpg" width="905" height="540" width_o="905" height_o="540" src_o="http://payload91.cargocollective.com/1/8/268299/4128294/Window main image_5_o.jpg" data-mid="21682465" border="0" align="left"/> Motomichi Nakamura, BCC, interactive software. Courtesy of the artist 2002 - 2007 Selected online projects Various artists Window, The University of Auckland Contemporary art and project space, Window, exists in two states: in its physical location in The University of Auckland's General Library Foyer, and in the dedicated Online space which runs a complementary programme. Hosting shows that are both internally curated and generated by our collaborators, Window aims to showcase a diverse range of ambitious and engaging projects, artistic or otherwise. Window is currently run by Henry Babbage, Henry Davidson, Rebecca Boswell and Alex Davidson. Window was founded by Stephen Cleland, Michelle Menzies, and Luke Duncalfe; three students from Elam School of Fine Arts. The idea for the space arose from the sense that Elam and its attendant art community was isolated from and inaccessible to larger audiences. The project sought to address this introspectiveness by creating a situation where artists, writers, academics, engineers – anyone with a good idea – could display works and interact with audiences. Window online The concept of Window was developed in 2002-04. While our initial conversations focused on establishing a physical exhibition site, an equal focus towards online media also quickly developed through the input of Michelle Menzies and Luke Duncalfe. Prior to a physical site being identified and established, nine online projects were facilitated throughout 2002. The online programme then paused when the opportunity arose to secure funding for the designed physical space on campus, and resumed in 2004 when Window's onsite space was launched. Window continues to run with an online/ onsite premise. Since its conception the Window website has been redesigned a number of times as its focus has necessarily evolved with the shifting perceptions of net art and the online curators. Like the physical project space, the website is hosted by The University of Auckland and continues to receive support within the Centre for New Zealand Research and Discovery (CNZRD). Essay S Cleland, S Brennan, “Onsite and Online”, Aotearoa Digital Arts New Media Reader, Edited by Stella Brennan and Sue Ballard, page 161-170 text PDF Selected Online projects 2002 - 2007 BCC, Motomichi Nakamura Click Clack, Luke Munn Twice Told Tales, Nicholas Economos Body Language, Michelle Menzies Fresh Icons, Thomas Swiss & Motomichi Nakamura Cargo example 1 BCC <img src="http://payload91.cargocollective.com/1/8/268299/4128294/BCC-1.jpg" width="33" height="32" width_o="33" height_o="32" src_o="http://payload91.cargocollective.com/1/8/268299/4128294/BCC-1_o.jpg" data-mid="29789934" border="0" align="left"/> BCC, Motomichi Nakamura (JAP), curated by Luke Duncalfe Click View Online work > below below below (headphones recommended) below below SELECTED WINDOW ONLINE PROJECTS Motomichi Nakamura, BCC, interactive software. Courtesy of the artist 2002 - 2007 Selected online projects Various artists... http://stephencleland.net/BOKSEUNG-YUL-OHThe-Physics-RoomChristchurch26-January-27-February-2011 http://stephencleland.net/following/stephencleland.net/BOKSEUNG-YUL-OHThe-Physics-RoomChristchurch26-January-27-February-2011 Mon, 24 Sep 2012 21:45:51 +0000 stephencleland.net 4132739 BOK<img src="http://payload91.cargocollective.com/1/8/268299/4132739/Screens_Seung Yul Oh_905.jpg" width="905" height="624" width_o="905" height_o="624" src_o="http://payload91.cargocollective.com/1/8/268299/4132739/Screens_Seung Yul Oh_o.jpg" data-mid="21710540" border="0" align="left"/> 26 January - 27 February 2011 Bok Seung Yul Oh in collaboration with Jeff Nusz The Physics Room, Christchurch Seung Yul Oh’s exhibition Bok features his recent Rain project, an online artwork realised in collaboration with Auckland interactive designer Jeff Nusz. On entering the gallery visitors were met with a video projection screening an empty grey field and an accompanying keyboard. Once the keystrokes are entered, Oh’s field becomes an absorbing game-like world where 3D shapes, animals, plants and other items randomly enter and move across the screen. Each of these actions is accompanied by absorbing game-like sounds and music composed by Berlin-based musician Luke Munn and Auckland composer Mike Newport. The title Bok is a Korean word that translates as 'luck' or 'good energy'. It stresses the highly visceral and kinaesthetic experience of liberally gliding hands over the keys which can be likened to our earliest simple interactions with childhood toys. Bok also has a phonetic quality which recalls a child’s first attempt at speaking: 'Bok!'. This is Oh’s first foray into working digitally and his recent sculptures have also explored the potential of direct interaction. His suite of sculptures entitled Oddooki, for instance, invited the audience to push and wobble large egg forms which through their cartoon-like appearance recall East Asian pop culture references which have greatly influenced Oh’s work to date. Seung Yul Oh was born in 1981 in Seoul, Korea and is currently based in Auckland. He holds a Master of Fine Arts (2005) from Elam School of Fine Arts at The University of Auckland. Oh was the 2010 recipient of the Harriet Friedlander Residency and won the Waikato National Art Award in 2004. His solo exhibitions include Bogle Bogle, The Dowse Art Museum, Wellington (2009) and Oddooki, Te Papa, Wellington (2008 - 09). Oh is currently undertaking a residency in Seoul where he will be producing a solo exhibition at ggooll, an artist run project space founded and managed by the influential Korean artist Choi Jeong Hwa. He is represented by Starkwhite, Auckland. Rain was commissioned by Screens, an online gallery for art interactives founded and managed by Luke Munn and Jeff Nusz which receives substantial support from Creative New Zealand. Rain Online version via www.screens.org.nz. Click the circle image below then use the keyboard to interact with the work BOK 26 January - 27 February 2011 Bok Seung Yul Oh in collaboration with Jeff Nusz The Physics Room, Christchurch Seung Yul Oh’s exhibition Bok features... http://stephencleland.net/GRASS-CIRCLERICHARD-ORJIS http://stephencleland.net/following/stephencleland.net/GRASS-CIRCLERICHARD-ORJIS Sun, 16 Sep 2012 23:09:09 +0000 stephencleland.net 4013448 GRASS CIRCLE<img src="http://payload85.cargocollective.com/1/8/268299/4013448/_MG_6220_905.jpg" width="905" height="603" width_o="1000" height_o="667" src_o="http://payload85.cargocollective.com/1/8/268299/4013448/_MG_6220_o.jpg" data-mid="21008932" border="0" align="left"/> Richard Orjis, Grass Circle 2010-11 (one year in duration), grass, concrete. Courtesy of the artist and Melanie Roger Gallery, Auckland December 2010 - December 2011 Grass Circle Richard Orjis` Te Tuhi Centre for the Arts, Auckland * More information coming <img src="http://payload85.cargocollective.com/1/8/268299/4013448/Richard Orjis_905.jpg" width="905" height="600" width_o="1000" height_o="664" src_o="http://payload85.cargocollective.com/1/8/268299/4013448/Richard Orjis_o.jpg" data-mid="21008923" border="0" align="left"/><img src="http://payload85.cargocollective.com/1/8/268299/4013448/Orjis_longergrass_2_905_905.jpg" width="905" height="603" width_o="905" height_o="603" src_o="http://payload85.cargocollective.com/1/8/268299/4013448/Orjis_longergrass_2_905_o.jpg" data-mid="21470337" border="0" align="left"/> Richard Orjis, Grass Circle 2010-11 (one year in duration), grass, concrete. Courtesy of the artist and Melanie Roger Gallery, Auckland GRASS CIRCLE Richard Orjis, Grass Circle 2010-11 (one year in duration), grass, concrete. Courtesy of the artist and Melanie Roger Gallery, Auckland December 2010... http://stephencleland.net/GREENWICH-DEGREE-ZEROROD-DICKENSON-TOM-McCARTHYTe-Tuhi-Centre-for-the http://stephencleland.net/following/stephencleland.net/GREENWICH-DEGREE-ZEROROD-DICKENSON-TOM-McCARTHYTe-Tuhi-Centre-for-the Fri, 24 Aug 2012 21:42:15 +0000 stephencleland.net 3940202 GREENWICH DEGREE ZERO<img src="http://payload82.cargocollective.com/1/8/268299/3940202/Rod Dickenson_3web_5_905_905.jpg" width="905" height="605" width_o="905" height_o="605" src_o="http://payload82.cargocollective.com/1/8/268299/3940202/Rod Dickenson_3web_5_905_o.jpg" data-mid="28450430" border="0" align="left"/> Rod Dickinson and Tom McCarthy, Greenwich Degree Zero, mixed media. Courtesy of the Artists 07 March - 12 April 2009 Rod Dickinson and Tom McCarthy Greenwich Degree Zero Installed as part of F for Fake, curated by Emma Budgen and Stephen Cleland Te Tuhi Centre for the Arts, Auckland Greenwich Degree Zero is an installation of recreated 19th century media (newspapers, news clippings, pamphlets, early film, photographs and a map) that fictionalise reports of a real attempted bombing of Greenwich Observatory in 1894. On the afternoon of February 15th, 1894, a French anarchist named Martial Bourdin was killed when the bomb he was carrying detonated. The explosion took place on the slope beneath the Royal Observatory in London's Greenwich Park, and it was generally assumed that his intention had been to blow up this building. Lying on the First Meridian, at exactly 0 degrees longitude, the Observatory was a prominent public building, the place from which all time throughout the British Empire and the world was measured and regulated. In Greenwich Degree Zero, Rod Dickinson and Tom McCarthy re-imagine Bourdin's act as a successful attack on the Observatory. They do so by infiltrating and twisting the media of Bourdin's time, reproducing extant newspaper reports re-worked to fit their version of events, presenting a film made with a hand-cranked Victorian cinematic camera capturing the moment of the Observatory's destruction and additional photographic images depicting the building's ruins. These 'artifacts' tie history inextricably to the processes, institutions and technologies through which it is both represented and interpreted. The piece comprises of a video projection, a series of purpose lit, purpose built tables and reading trestles on which the print media is displayed and a video presented on a monitor with headphones. The whole installation is silent (bar the audio on the headphones) and designed to resemble an archive or reading room. Greenwich Degree Zero is a work about mediation and repetition, interrogating the notion of 'event' by retrieving an occurrence which did not quite take place from its event-degree zero while still holding it in the negative space of non-event. Greenwich Degree Zero is a Beaconsfield Commission Artists website <img src="http://payload82.cargocollective.com/1/8/268299/3940202/Rod Dickinson_1_905.jpg" width="905" height="600" width_o="1000" height_o="664" src_o="http://payload82.cargocollective.com/1/8/268299/3940202/Rod Dickinson_1_o.jpg" data-mid="20750962" border="0" align="left"/><img src="http://payload82.cargocollective.com/1/8/268299/3940202/Dickinson_4_905.jpg" width="905" height="406" width_o="999" height_o="449" src_o="http://payload82.cargocollective.com/1/8/268299/3940202/Dickinson_4_o.jpg" data-mid="28451879" border="0" align="left"/><img src="http://payload82.cargocollective.com/1/8/268299/3940202/web_Dickenson- crop_11_905.jpg" width="905" height="905" width_o="1000" height_o="1000" src_o="http://payload82.cargocollective.com/1/8/268299/3940202/web_Dickenson- crop_11_o.jpg" data-mid="28450357" border="0" align="left"/><img src="http://payload82.cargocollective.com/1/8/268299/3940202/Dickinson_2_905.jpg" width="905" height="1406" width_o="1000" height_o="1554" src_o="http://payload82.cargocollective.com/1/8/268299/3940202/Dickinson_2_o.jpg" data-mid="28451274" border="0" align="left"/> Rod Dickinson and Tom McCarthy, Greenwich Degree Zero, mixed media. Courtesy of the Artists GREENWICH DEGREE ZERO Rod Dickinson and Tom McCarthy, Greenwich Degree Zero, mixed media. Courtesy of the Artists 07 March - 12 April 2009 Rod Dickinson and Tom... http://stephencleland.net/BRUCE-BARBERWORK-1970-2008ED-BLAIR-FRENCH-STEPHEN-CLELANDAuckland http://stephencleland.net/following/stephencleland.net/BRUCE-BARBERWORK-1970-2008ED-BLAIR-FRENCH-STEPHEN-CLELANDAuckland Tue, 21 Aug 2012 20:13:10 +0000 stephencleland.net 3952513 BRUCE BARBER  WORK 1970-2008<img src="http://payload82.cargocollective.com/1/8/268299/3952513/Bruce Barber_book_905.jpg" width="905" height="603" width_o="1000" height_o="667" src_o="http://payload82.cargocollective.com/1/8/268299/3952513/Bruce Barber_book_o.jpg" data-mid="20653142" border="0" align="left"/> Reading and Writing Rooms Blair French & Stephen Cleland (editors) Contributors: Bruce Barber, Christina Barton, Brad Buckley, Emma Bugden, Mark A. Cheetham, Alex Gawronski, Marc James Léger and Laura Preston. Published by Artspace Visual Arts Centre and Te Tuhi Centre for the Arts 2010 176 pages ISBN 978 1 920781 44 6 Purchase BRUCE BARBER  WORK 1970-2008 Reading and Writing Rooms Blair French & Stephen Cleland (editors) Contributors: Bruce Barber, Christina Barton, Brad Buckley, Emma... http://stephencleland.net/MEASURE-THE-CITY-WITH-THE-BODYCLAIRE-FONTAINE-DANIEL-MALONE-JUNEBUM http://stephencleland.net/following/stephencleland.net/MEASURE-THE-CITY-WITH-THE-BODYCLAIRE-FONTAINE-DANIEL-MALONE-JUNEBUM Tue, 14 Aug 2012 10:11:56 +0000 stephencleland.net 3911772 MEASURE THE CITY WITH THE BODY<img src="http://payload80.cargocollective.com/1/8/268299/3911772/Installation view_1_905.jpg" width="905" height="601" width_o="1000" height_o="665" src_o="http://payload80.cargocollective.com/1/8/268299/3911772/Installation view_1_o.jpg" data-mid="20457480" border="0" align="left"/> Installation view; background Yuk King Tan, Claire Fontaine, foreground Pak Sheun Cheng 26 August - 23 September 2011 Measure the city with the body; an itinerant Physics Room project Claire Fontaine, Daniel Malone, Junebum Park, Mark Wallinger, Pak Sheung Chuen, William Hsu, Yuk King Tan Curated by Stephen Cleland St Paul St Gallery, Auckland Measure the city with the body was an exhibition curated by Physics Room Director Stephen Cleland following an invitation from ST PAUL St Gallery, Auckland in mid-2011. The show presented a collection of works exploring radical and poetic provocations for activating public space and included New Zealanders Daniel Malone, William Hsu and Yuk King Tan alongside a strong international contingent including Pak Sheung-Chuen, Junebum Park, Claire Fontaine and Mark Wallinger. The offsite project was foregrounded by the postponement of a solo exhibition at St Paul St Gallery by Christchurch-based sculptor Pauline Rhodes due to disruptions caused by the February 22nd Christchurch earthquake. The Physics Room, the Christchurch- based contemporary art project space which itself had been gallery-less since February 22nd, filled the gap with an exhibition exploring the notion of performativity within the urban landscape. The exhibition is the first of a series of itinerant projects that we developed throughout New Zealand and Australasia in the remainder of 2011 and throughout 2012. In lieu of an accessible exhibition venue we returned to the roots of our organisation as the South Island Art Projects, the former incarnation of The Physics Room, that functioned as a site-less art organisation that published books and initiated exhibitions and symposiums throughout New Zealand's South Island. Measure the city with the body grouped a selection of artist’s works characterised by a particularly subjective relationship to public space. Artists such as Claire Fontaine and Pak Sheung Chuen propose a radical blurring of the divisions between public and private space (what would happen if every private door was suddenly open and accessible?) while Junebum Park’s subtle but humorous video works perform shadow plays whereby the artist’s ‘giant’ hands appear to manually construct an enormous cityscape. The term performative here is used in a specific way. While many of the works in the exhibition involve performing, such as Yuk King Tan’s Drummer who in the surrounds of the Hong Kong cityscape belts out a near-silent solo set on her customised cardboard drum kit, the use of the term performative also draws on John Langshaw Austin’s original use of the term in his seminal lecture series How to Do Things with Words, delivered at Harvard University in 1955. In von Hantelmann's similarly titled book, she describes Austin as having introduced 'the notion ‘performative’ into language theory in order to refer to the act- like character of language. In certain cases he argued ... where signs can produce reality; one is said to do things with words.’ Von Hantelmann has recently applied Austin's term performative to approach a group of artists working within the visual arts.As von Hantelmann larger argument seeks to restore Austin’s original use of term performative to approach a set of artists who through formal means seek out political action, this exhibition seeks to occupy a similar space whereby seemingly small performative gestures provoke larger thought around ones ability to enact direct change within urban environments. Despite the clarity and profound nature of these observations of language, It became aware to Austin early that within the philosophy of language it is not so easy to distinguish performative from non-performative phrases. He quickly concluded that all utterances are performative and it is therefore tautological to speak of performative-language. This positioning it seems is a similar place that participatory practices are heading following the rise of relational art practices. The works in this exhibition are characterised by their self-reflexive attitude towards the ability to both enact change through controversial means or by simply quoting past modes of protest and performance. <img src="http://payload80.cargocollective.com/1/8/268299/3911772/Hsu_Fontaine_905.jpg" width="905" height="600" width_o="1000" height_o="664" src_o="http://payload80.cargocollective.com/1/8/268299/3911772/Hsu_Fontaine_o.jpg" data-mid="20457384" border="0" align="left"/> Left: William Hsu, A Story of Paper Block Making from Memory 2008, DVD video. Courtesy of the artist. Right: Claire Fontaine, Some instructions for the sharing of private property, DVD video. Courtesy of Metro Pictures, New York <img src="http://payload80.cargocollective.com/1/8/268299/3911772/William Hsu_1_905.jpg" width="905" height="607" width_o="905" height_o="607" src_o="http://payload80.cargocollective.com/1/8/268299/3911772/William Hsu_1_o.jpg" data-mid="21711581" border="0" align="left"/> Left: William Hsu, A Story of Paper Block Making from Memory 2008, DVD video. Courtesy of the artist. Between the years 1974 and 1977 the industrial waste poured into the Suam and Samseong Rivers (two of the tributaries of Anyang River) by Samduck paper and Samyoung hardboard factories devastated the ecology of the rivers. The devastation changed the way of life of the local residents and out of the impoverished conditions the residents, mostly elderly women, found a way to make extra income by drying waste from the rivers in a manner similar to harvesting salt. The collected paper waste was cut into blocks then either sold back to the factories or used as fire fuel during winter. This act in which industrial wastes in the rivers were collected and made into sellable products by local residents came to speak of the triangular relationship between industry, rivers and residents in the cycle of material and economic flow. A Story of Paper Block Making from Memory was a workshop organized as part of a larger research project Collecting Towards A Paper Museum in Anyang developed from an investigation into the industrial history of Anyang. Through interviews and conversations with past residents, the story of paper block making is highlighted as an example of the complex role Anyang River played during South Korea’s industrial modernisation. The project focused on this very local story that had an apparent lack of records, its history survived mostly through oral accounts. Kim Jae Soon, the only person still alive and living in Anyang who has first hand experience of paper block making was invited to speak at the workshop where paper block making was reenacted on an original site. At the time the project took place in 2008, the site of Samduck factory, was about to reopen as a city park. The owner of Samduck had donated his factory ground to the city as a gesture of compensation to the citizens of Anyang. Of all the suggestions upon his donation as to what to do with the site, one suggestion was to retain the factory buildings and machines for a paper museum to remember its past. Collecting Towards a Paper Museum in Anyang was empathetic to this proposal and aimed to create ways for the story of paper block making to be discussed and passed on. William Hsu, A Story of Paper Block Making from Memory <img src="http://payload80.cargocollective.com/1/8/268299/3911772/Yuk King Tan_2_905.jpg" width="905" height="601" width_o="1000" height_o="665" src_o="http://payload80.cargocollective.com/1/8/268299/3911772/Yuk King Tan_2_o.jpg" data-mid="20457429" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/268299/3911772/Yuk King Tan_1_905.jpg" width="905" height="600" width_o="1000" height_o="664" src_o="http://payload80.cargocollective.com/1/8/268299/3911772/Yuk King Tan_1_o.jpg" data-mid="20457402" border="0" align="left"/> Yuk King Tan, Drummer 2008. laser-cut corrugated cardboard, trolly, DVD video. Courtesy of Sue Crockford Gallery, Auckland <img src="http://payload80.cargocollective.com/1/8/268299/3911772/Yuk King Tan_1_2_905.jpg" width="905" height="614" width_o="905" height_o="614" src_o="http://payload80.cargocollective.com/1/8/268299/3911772/Yuk King Tan_1_2_o.jpg" data-mid="21655081" border="0" align="left"/> Yuk King Tan, Drummer 2008. DVD video. Courtesy of Sue Crockford Gallery, Auckland Located in a space between the Peoples’ Liberation Army building and planned new government buildings in Hong Kong, this performance and its material traces stand for the possibilities and limitations of direct action and protest in the current political system [...] This is a solo performance, exploring the individual’s place within a larger system. Tan asserts art’s politicised role, and the artist’s power as solo performer, working within but enabled to challenge these systems. Tan’s less-than-precious treatment of sculpture as a medium feeds into this interrogation of cultural and economic value. In this collection of work she variously treats sculpture as beautiful object, as readymade, as a mode of performance, as prop for video, as commodity, as trash. In conflating these possibilities, Tan activates the experience of sculpture by opening the object up to the flow of real-world actions and systems. Sculpture returns to the gallery in object form, changed by this encounter. The work itself seems uncertain about where it belongs, whether it should be sitting quietly in a gallery, on the streets being pushed around on a trolley, or being played by a drummer. Aaron Lister, Abby Cunnane, The Obstinate Object, City Galllery Wellington <img src="http://payload80.cargocollective.com/1/8/268299/3911772/Installation view_2_905.jpg" width="905" height="601" width_o="1032" height_o="686" src_o="http://payload80.cargocollective.com/1/8/268299/3911772/Installation view_2_o.jpg" data-mid="20457464" border="0" align="left"/> Installation view <img src="http://payload80.cargocollective.com/1/8/268299/3911772/Malone_1_905.jpg" width="905" height="601" width_o="1000" height_o="665" src_o="http://payload80.cargocollective.com/1/8/268299/3911772/Malone_1_o.jpg" data-mid="20457671" border="0" align="left"/> Daniel Malone, Steal This Smile! :) 2006. Public art project for the Singapore Biennale 2 September, 2006. Courtesy of Hopkinson Cundy, Auckland <img src="http://payload80.cargocollective.com/1/8/268299/3911772/Wallinger_905.jpg" width="905" height="603" width_o="1000" height_o="667" src_o="http://payload80.cargocollective.com/1/8/268299/3911772/Wallinger_o.jpg" data-mid="20457699" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/268299/3911772/Wallinger_2_905.jpg" width="905" height="602" width_o="1000" height_o="666" src_o="http://payload80.cargocollective.com/1/8/268299/3911772/Wallinger_2_o.jpg" data-mid="20461627" border="0" align="left"/> Mark Wallinger, The Sleeper, 154 min DVD projection. Courtesy of Anthony Reynolds Gallery, London Pak Sheun Cheng, Breathing in a house, 6m 14s DVD projection. Courtesy of the Artist Pak Sheung-Chuen’s recent visit to New Zealand was organised by The Dowse Museum Lower Hutt in association with the exhibition Crystal City: Contemporary Asian Artists. The residency received additional support from the Asia:NZ Foundation and the Wellington City Council through the Wellington Artists Residency Exchange Programme. MEASURE THE CITY WITH THE BODY Installation view; background Yuk King Tan, Claire Fontaine, foreground Pak Sheun Cheng 26 August - 23 September 2011 Measure the... http://stephencleland.net/FIONA-GILMORE-WITH-AMELIA-HOLMES-PRESENT-JOHN-WARD-KNOXDSA-GalleryDune http://stephencleland.net/following/stephencleland.net/FIONA-GILMORE-WITH-AMELIA-HOLMES-PRESENT-JOHN-WARD-KNOXDSA-GalleryDune Tue, 14 Aug 2012 00:40:54 +0000 stephencleland.net 3901968 LIGHT WAVE<img src="http://payload80.cargocollective.com/1/8/268299/3901968/Light Wave_1_905.jpg" width="905" height="703" width_o="1000" height_o="777" src_o="http://payload80.cargocollective.com/1/8/268299/3901968/Light Wave_1_o.jpg" data-mid="21467836" border="0" align="left"/> 28 September – 7 October 2011 Fiona Gilmore (with Amelia Holmes) present John Ward Knox Light Wave An itinerant Physics Room project DSA Gallery, Dunedin *More information coming <img src="http://payload80.cargocollective.com/1/8/268299/3901968/Light Wave_5_905.jpg" width="905" height="601" width_o="1000" height_o="665" src_o="http://payload80.cargocollective.com/1/8/268299/3901968/Light Wave_5_o.jpg" data-mid="21467882" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/268299/3901968/Light Wave_10_905.jpg" width="905" height="604" width_o="1000" height_o="668" src_o="http://payload80.cargocollective.com/1/8/268299/3901968/Light Wave_10_o.jpg" data-mid="21468674" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/268299/3901968/Light Wave_11_905.jpg" width="905" height="601" width_o="1000" height_o="665" src_o="http://payload80.cargocollective.com/1/8/268299/3901968/Light Wave_11_o.jpg" data-mid="21469162" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/268299/3901968/Light Wave_7_905.jpg" width="905" height="1360" width_o="1000" height_o="1503" src_o="http://payload80.cargocollective.com/1/8/268299/3901968/Light Wave_7_o.jpg" data-mid="21467886" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/268299/3901968/Light Wave_3_905.jpg" width="905" height="601" width_o="1000" height_o="665" src_o="http://payload80.cargocollective.com/1/8/268299/3901968/Light Wave_3_o.jpg" data-mid="21467842" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/268299/3901968/Light Wave_8_905.jpg" width="905" height="601" width_o="1000" height_o="665" src_o="http://payload80.cargocollective.com/1/8/268299/3901968/Light Wave_8_o.jpg" data-mid="21467889" border="0" align="left"/> Photography by Max Bellamy LIGHT WAVE 28 September – 7 October 2011 Fiona Gilmore (with Amelia Holmes) present John Ward Knox Light Wave An itinerant Physics Room project DSA Gallery,... http://stephencleland.net/SELECTED-ONSITE-PROJECTSWINDOWThe-University-of-Auckland2004-2007 http://stephencleland.net/following/stephencleland.net/SELECTED-ONSITE-PROJECTSWINDOWThe-University-of-Auckland2004-2007 Mon, 13 Aug 2012 23:43:30 +0000 stephencleland.net 3869617 SELECTED WINDOW ONSITE PROJECTS <img src="http://payload78.cargocollective.com/1/8/268299/3869617/Jason Lindsay_web_905.jpg" width="905" height="701" width_o="1000" height_o="775" src_o="http://payload78.cargocollective.com/1/8/268299/3869617/Jason Lindsay_web_o.jpg" data-mid="20769448" border="0" align="left"/> Jason Lindsay, Untitled 2006, mixed media. Courtesy of the artist 2004 - 2007 Selected onsite projects Various artists Window, The University of Auckland Contemporary art and project space, Window, exists in two states: in its physical location in The University of Auckland's General Library Foyer, and in the dedicated Online space which runs a complementary programme. Hosting shows that are both internally curated and generated by our collaborators, Window aims to showcase a diverse range of ambitious and engaging projects, artistic or otherwise. Window is currently run by Henry Babbage, Rebecca Boswell and Alex Davidson. Window was founded by Stephen Cleland, Michelle Menzies, and Luke Duncalfe; three students from Elam School of Fine Arts. The idea for the space arose from the sense that Elam and its attendant art community was isolated from and inaccessible to larger audiences. The project sought to address this introspectiveness by creating a situation where artists, writers, academics, engineers – anyone with a good idea – could display works and interact with audiences. Essay S Cleland, S Brennan, “Onsite and Online”, Aotearoa Digital Arts New Media Reader, Edited by Stella Brennan and Sue Ballard, page 161-170 text PDF Plans <img src="http://payload78.cargocollective.com/1/8/268299/3869617/New Window plan_905.jpg" width="905" height="1280" width_o="1675" height_o="2370" src_o="http://payload78.cargocollective.com/1/8/268299/3869617/New Window plan_o.jpg" data-mid="20517685" border="0" align="left"/> Selected Projects <img src="http://payload78.cargocollective.com/1/8/268299/3869617/WINDOW PROJECT_3_4_905.jpg" width="905" height="1281" width_o="1239" height_o="1754" src_o="http://payload78.cargocollective.com/1/8/268299/3869617/WINDOW PROJECT_3_4_o.jpg" data-mid="20427392" border="0" align="left"/><img src="http://payload78.cargocollective.com/1/8/268299/3869617/WINDOW PROJECT_Billy_6_905.jpg" width="905" height="1281" width_o="1239" height_o="1754" src_o="http://payload78.cargocollective.com/1/8/268299/3869617/WINDOW PROJECT_Billy_6_o.jpg" data-mid="20427377" border="0" align="left"/> Current website SELECTED WINDOW ONSITE PROJECTS Jason Lindsay, Untitled 2006, mixed media. Courtesy of the artist 2004 - 2007 Selected onsite projects Various artists Window,... http://stephencleland.net/WALL-OF-SOUNDRICHARD-FRANCIS-MARCO-FUSINATO-ANN-LISLEGAARD-CLINTON http://stephencleland.net/following/stephencleland.net/WALL-OF-SOUNDRICHARD-FRANCIS-MARCO-FUSINATO-ANN-LISLEGAARD-CLINTON Sat, 11 Aug 2012 04:34:53 +0000 stephencleland.net 3899055 WALL OF SOUND<img src="http://payload79.cargocollective.com/1/8/268299/3899055/Ann_Lislegaard_1_jpg_940x2000_q85_905.jpg" width="905" height="602" width_o="1000" height_o="666" src_o="http://payload79.cargocollective.com/1/8/268299/3899055/Ann_Lislegaard_1_jpg_940x2000_q85_o.jpg" data-mid="20396817" border="0" align="left"/> Ann Lislegaard, Science Fiction_3114 2009, 28 minute sound installation, neon. Courtesy of Galerie Paul Andriesse, Amsterdam and Murray Guy Gallery, New York 25 April - 20 June 2010 Wall of Sound; Richard Francis, Marco Fusinato, Ann Lislegaard, Clinton Watkins Curated by Stephen Cleland Te Tuhi Centre for the Arts, Auckland Wall of Sound groups together four artists who in individual ways explore the properties of sound within their artistic practice. The title Wall of Sound derives from a music production technique developed for pop and rock music in the 1960's in order to generate recordings that played well on early analogue systems. Developed by the controversial American record producer Phil Spector, who engineered key albums by The Beatles, The Beach Boys and The Ramones, this technique required a large amount of layering in the recordings in order to produce dense, reverberant sound on mono AM frequencies. Here, the title seeks to evoke the artists' attraction to layered, analogue sounds and the acoustics of the gallery spaces. The work of the four artists were presented in separate spaces within Te Tuhi's facilities that were specifically sonically contained for the show. Only minimal signage and didactics were presented within the exhibition as a whole with emphasis towards generating immersive sound environments. As Adorno has stated: 'We don't understand music: musics understands us.' --------------- Ann Lislegaard, Science Fiction_3114 2009, 28 minute sound installation, neon. Courtesy of Galerie Paul Andriesse, Amsterdam and Murray Guy Gallery, New York The multilayered sound installation Science Fiction_3114 was produced by manipulating the soundtracks of landmark science fiction films – Jean-Luc Godard’s Alphaville (1965), François Truffaut’s Fahrenheit 451 (1966), Andrei Tarkovsky’s Solaris (1972) and Stalker (1979), and Luc Besson’s The Fifth Element (1997). These films are seen as cultural manifestations of our ideas of the future and the unknown. By rearranging the narratives, I wanted to defamiliarize the scenarios. To make the future “unknown” again and make a vibrational resource for future becomings. - Ann Lislegaard For this installment of Science Fiction 3114 the gallery was completely blacken out, with the leaning wall, only made visible through a hidden light source behind, the only object perceivable in the space. Excerpts courtesy of the artist &#9835; SF_3114_stereomix1_E1.mp3 &nbsp;Play &#9835; SF_3114_stereomix1_E2.mp3 &nbsp;Play &#9835; SF_3114_stereomix1_E3.mp3 &nbsp;Play &#9835; SF_3114_stereomix1_E4.mp3 &nbsp;Play <img src="http://payload79.cargocollective.com/1/8/268299/3899055/Ann_Lislegaard_2_jpg_940x2000_q85_905.jpg" width="905" height="602" width_o="1000" height_o="666" src_o="http://payload79.cargocollective.com/1/8/268299/3899055/Ann_Lislegaard_2_jpg_940x2000_q85_o.jpg" data-mid="20396818" border="0" align="left"/> --------------- Richard Francis, Two Forms of Nothing 2010, eight channel of sound concealed within gallery walls. Courtesy of the artist &#9835; as-2-6-Copy.mp3 &nbsp;Play <img src="http://payload79.cargocollective.com/1/8/268299/3899055/Richard_Francis_room_jpg_940x2000_q85_905.jpg" width="905" height="602" width_o="1000" height_o="666" src_o="http://payload79.cargocollective.com/1/8/268299/3899055/Richard_Francis_room_jpg_940x2000_q85_o.jpg" data-mid="20396819" border="0" align="left"/> --------------- Clinton Watkins, Untitled (Force Field) 2010, stereo sound with sub woofer, dual channel DVD projection, 20 minute loop. Courtesy of Starkwhite, Auckland <img src="http://payload79.cargocollective.com/1/8/268299/3899055/Clinton Watkins_3_905.png" width="905" height="592" width_o="940" height_o="615" src_o="http://payload79.cargocollective.com/1/8/268299/3899055/Clinton Watkins_3_o.png" data-mid="20580280" border="0" align="left"/><img src="http://payload79.cargocollective.com/1/8/268299/3899055/Clinton Watkins_905 copy_905.jpg" width="905" height="583" width_o="905" height_o="583" src_o="http://payload79.cargocollective.com/1/8/268299/3899055/Clinton Watkins_905 copy_o.jpg" data-mid="20770059" border="0" align="left"/><img src="http://payload79.cargocollective.com/1/8/268299/3899055/Clinton_1_905.jpg" width="905" height="600" width_o="1000" height_o="664" src_o="http://payload79.cargocollective.com/1/8/268299/3899055/Clinton_1_o.jpg" data-mid="20769967" border="0" align="left"/> Excerpt courtesy of the artist (image mirrored in dual channel version) --------------- Marco Fusinato, O_King Variations 2004, 100 perspex records. Courtesy of Anna Schwartz Gallery, Melbourne <img src="http://payload79.cargocollective.com/1/8/268299/3899055/Marco F_905.jpg" width="905" height="600" width_o="940" height_o="624" src_o="http://payload79.cargocollective.com/1/8/268299/3899055/Marco F_o.jpg" data-mid="20580289" border="0" align="left"/><img src="http://payload79.cargocollective.com/1/8/268299/3899055/Marco F_2_905.png" width="905" height="602" width_o="939" height_o="625" src_o="http://payload79.cargocollective.com/1/8/268299/3899055/Marco F_2_o.png" data-mid="20580286" border="0" align="left"/> Poster <img src="http://payload79.cargocollective.com/1/8/268299/3899055/Wall of Sound_poster.jpg" width="500" height="671" width_o="500" height_o="671" src_o="http://payload79.cargocollective.com/1/8/268299/3899055/Wall of Sound_poster_o.jpg" data-mid="21090465" border="0" align="left"/> Poster by Richard Munro Photography by Sam Hartnett WALL OF SOUND Ann Lislegaard, Science Fiction_3114 2009, 28 minute sound installation, neon. Courtesy of Galerie Paul Andriesse, Amsterdam and Murray Guy Gallery,...