Each Action Equal
Level ARI, Brisbane. March 2011
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Each Action Equal gathers humorous and/ or
absurd performative gestures that communicate a
variety of deeper concerns:
the role of the gendered body in art, feminine relation to
Modernism, the gendering of
gestures and concern for how one should perform in film and art
making. Featuring works by
female artists utilising a combination of humour, the body and
performative aspects through
a variety of gestures from sitting on a power sander to quite
literally inserting oneself
into Modernism. These works share the desire to look at the impulse to
communicate, what these
awkward gestures may mean, the potential of humour as an artistic
and feminist strategy, and
how the gendered body is used in a creative context.
Artist, Artist with Comedic Prop
2011, Digital Video, 3 x 3 minutes
Digital Video Stills
Install shot with Kel Glaister's Sitting on a Power Sander
Whatever Works
|
Making up with Annie Hall at 10%
2011, Digital Video, 3 minutes
HERoes
HERoes
Saturday 5th March from 2pm
Upstairs, The Grace Darling Hotel, 114 Smith Street,
Collingwood
Inspired by the 22 year old Grace Darling who saved a group
of sailors ship-wrecked off the north coast of England in 1838, a series of
panellists will talk about their female heroes. Be inspired and engage with the questions Grace Darling’s
story raises in an informal discusison upstairs at ‘The Grace’. An exhibition of video art will further
tease out the themes.
Lyndal Walker will chair the panels. She is an artist, curator and
writer. She has also worked in
education and fashion and is one of the Hotham Street Ladies.www.lyndalwalker.com
Panelists include
Kate Brady works in bush
fire recovery for the Red Cross.
She was Victorian director of the Create Foundation and has worked in
advocacy and for trade unions.
Laura Castagnini is
a curator currently writing a
thesis about contemporary feminist art. She recently had an internship at the
Elizabeth A. Sackler Feminist Art Centre, at the Brooklyn Museum, New York.
Rachael Cotra is founding owner of Fat
fashion stores and director of the Hello Darkness Film Festival
Virginia Fraser is an
artist, writer, editor and curator.
She has been involved in Feminist activities since the 1970s when she
co-authored A Book About Australian Women with the photographer Carol
Jerrems.
Daniel O'Brien: After
living in NY, Berlin and on the UK music festival circuit for the last five
years, currently works in rock n roll industry as a roadie on the biggest shows
in town, and is kicking his way into the photography scene.
Sean M Whelan writes for
performance, paper and pixels. Recent achievements include winning the Moving
Galleries People’s Choice award and performing three shows with The Interim
Lovers at the Brisbane Arts Festival.
Melanie Schleiger is a Senior Lawyer in the Civil Justice
Program at Victoria Legal Aid. She has appeared as an expert witness in
Parliamentary inquiries into anti-discrimination legislation.
The video installation
curated as part of ‘HERoes ‘ brings together the work of six contemporary
Australian artists. Catherine
Connolly, Rachel Fuller, Dani Hakim, Hannah Raisin, Darren Sylvester, and
Kellie Wells challenge our pre-conceptions of the female hero whilst exploring
her impact on popular culture, history and contemporary art. The
Video program of HERoes is curated by Victoria Bennett.
Untitled (hand to mouth)
2011, Digital Video. One Minute Loop
Neither Beginning nor Ending
Firstdraft Solo Exhibition, Surry Hills. February 2011
Untitled Pair
2011, Video Installation, Mixed Media, 2 x single channel video 1 and 2 minute loops
Exhibition Blurb:
Exhibition Blurb:
Catherine Connolly’s recent video installation
work examines representation in and the language of cinema, and the ways in
which this enforces, subverts or complicates ideas of gender, performativity
and space. Cinematic language encompasses many prevalent concerns in her
practice: the body, desire, the uncanny, spatial interaction as well as the
nature of narrative and its rupture. Her practice also explores both real and
represented spaces, and the way that a body, particularly the gendered body,
moves and relates to them both on screen and in the world.
For this exhibition she extends on previous
filmic investigations by taking from cinematic language and utilising it in
both real and represented space, drawing on a familiarity with the cinematic relationship between space,
the body, horror and the uncanny.
For full exhibition essays by Rebecca Adams and Stephanie Van Schilt please see exhibition texts
Sounds Like Intimacy, Sydney Fringe Festival
SOUNDS LIKE INTIMACY brings together
artists & filmmakers concerned with the
dynamic between music, sound & audience, & the transactions between music &
contemporary art. Works examine the
relationship between performers, their material
& their audience. The shared aesthetic &
conceptual languages of music & art are also
explored. Elements include one-take videos,
sound installation & drawing.
Artists:
Catherine Connolly
Curator:
Catherine Connolly
Artists:
Catherine Connolly
Shoot the Player (Amelia Tovey and Joanthan Wald)
Kirsty Hulm
Stephen Palmer
Catherine Connolly
Plump Gallery, Enmore
Recent Works: Catherine Connolly & Sally Tape
Untitled (Cooper & Doorway)
Untitled (Cooper & Doorway), 2010. Single Channel DVD, 1 minute loop
Install shot, Projection at BUS Projects, Melbourne. 2010
A Kiss before Dying*
TCB Exhibition with Rebecca Adams, July 2009.
Install shot. Rebecca Adams video Pucker Up, 2009. Duration: 26 min 13 sec (Video performance played at 50% speed)
Untitled (Closer), 2009. Single Channel DVD. 1 minute loop
Video Still
Video Still
With Rebecca Adams' 'Vampiric Motives' neon work.
Still from Untitled (Deb and Doorway), 2009. Single Channel DVD. 1 minute loop.
A Kiss Before Dying aimed to create a visual dialectic that utilised stereotypical romance narratives from popular culture to engage with ideas about the romanticisation/eroticisation of death within popular culture through film and music, narcissism, vanity, love, eternity and cycles of consumption.
See Catalogue Texts page Exhibition Text by Tamsin Green
Centre for Contemporary Photography
2009
Digital Video, 1 minute loop
Fatal Attraction (the work)
Shown at Unthemed: Kings ARI Studio Artists, Kings ARI, Melbourne 2009 and Entry, Brunswick Arts, Brunswick 2008
Untitled (Hover Kiss)
In the video work ‘Untitled (Hover Kiss)’ the tense but commonly used film and television trope of the ‘almost kiss’ is isolated, reversed and looped so that the protagonists remain in an endless cycle of hovering attraction and resistance, desire and hesitation. The illusion of this endless but fruitless attraction is broken only by the momentary outwards gaze of the male character, turning the endless flirtation from frustrating and somewhat comical to something more self aware and almost sinister.
Installation shot at
Trepidation
I report a concern
I report a concern
4th- 28th March 2008
"This exhibition originates from external factors of influence that pervade our lives, and inevitably make their way into art practice. These factors are our concerns. Concerns about money, political and social apocalypse, the future of the nation, the possibility of getting laid ever again, employment, death, art and other things.
"This exhibition originates from external factors of influence that pervade our lives, and inevitably make their way into art practice. These factors are our concerns. Concerns about money, political and social apocalypse, the future of the nation, the possibility of getting laid ever again, employment, death, art and other things.
Trepidation – I report a concern is an exhibition that focuses on worries, from the legitimate to the paranoid, that emerge within individual practices. Thoughts and disturbances, our collective anxieties, perceived idiosyncrasies or restrained objections have generated the work in this exhibition."
Artists:
Catherine Connolly
Kel Glaister
Tamsin Green
Yvette King
David Short
Kieran Stewart
Curated by:
Kieran Stewart
Library Arts Space
Fitzroy North VICwww.j-studios.org
Library Arts Space
Fitzroy North VICwww.j-studios.org
See the Exhibition Texts page exhibition essay by Simon Gregg:
As installed for High Views, Northcote Visual Arts Festival at Green Butterfly. June 2009
Wait.
Install shot at Fatal Attraction, Shifted Gallery, Richmond, VIC. September 2008. Photo credit: Victoria Bennett
Detail of text that emerges out of the television snow in gradual succession
*Lyrics from from Yeah Yeah Yeah’s: 'Maps', 2003
As shown in
Fatal Attraction
Artists: CATHERINE CONNOLLY, CANDICE CRANMER, PETER FIFER, CARL SCRASE, SALLY TAPE & FIONA WILLIAMS
Curator:CATHERINE CONNOLLY
Shifted
Level 1, 15 Albert St Richmond.
3 - 20 September.2008
Artwork on invite: Fiona Williams
Fatal Attraction brings together the practices of six Melbourne artists in an exploration of the spaces between desire and destruction. Featuring works that investigate the idea of desire, attraction or intimacy becoming engulfing, dangerous, and even pleasurably terminal. From the attraction to abstraction and the abstraction of attraction, the works explore the emotional, aesthetic and physical risk of encounters that render longing lethal, from the literally fatal habits of cannibalistic lovers in the natural world, to the physical risk of the desire to explore and conquer, from the suffocating thrill of drowning in intimacy (or its loss), to the danger of the image and representation
See the Exhibition Texts page for exhibition essay by Tamsin Green
We've Got a Love Like Electric Sound*
Seventh Gallery, Fitzroy. April 2009
Artists:
Catherine Connolly, Candice Cranmer, Stephen Palmer, Carl Scrase, Sally Tape & Fiona Williams
Curator: Catherine Connolly
Artwork on poster: Sally Tape
*Title of exhibition taken from Suedes' 'Electricity'
I’d never seen or heard anything so clearly made for me*
2008. Timber, Enamel, Screen. Video 1 minute loop.
Installation shot, as presented in 'We've Got a Love like Electric Sound'**, Seventh Gallery, Fitzroy, Melbourne, 2008
Detail
In this short, looped video crowd footage has been selected from an early 80’s The Jam concert, and slowed down to a rhythmic pace focussing on the pulsatory motion of the amorous crowd juxtaposed with the intent, almost shocking stillness of a photographer amongst them. The crowd thrusts together in wave like unity, all intent on an unseen spectacle before them while the photographer remains still, camera posed and almost predatory. As the crowd continues in this manner there are moments in the film where you are unsure if it is adulation or protest manifest in their actions. Throughout their hectic motion, slow enough that the drive and energy is readable but to emphasise the gesture as a collective one, the photographer remains static. There is a desire and a need in his pose to document and possess the occasion, as much to verify the performer’s presence as his own in theirs. There is a contrast felt between the private meaning of such an interaction and the public nature in which it is played out.
* Title of artwork from Peter York on Roxy Music’s first Album, Frieze Magazine, Issue 113, March 2008
**Title of exhibition taken from Suede's
'Electricity'
Nothing matters now, nothing matters, and nothing matters, O yeah!*
Nothing matters now, nothing matters, and nothing matters, O yeah!*
2008. Timber, enamel paint, screen. Digital Video. One minute loop
Installation Shot as seen in
'We've Got a Love like Electric Sound'**
with Sally Tape's vinyl piece:
New, New Artwork (hell, yes!)'Which may be why the best love affairs are electronic, foreign or architectural'***
Detail of video screen
Similarly in this work, footage has been selected from a 1982 The Jam concert, though this time a live studio performance. In this selection a group of adolescent boys fill the screen with in sweeping post-punk and pre-mosh dance motions, slowed down into a mesmerizing mash of colour, energy and movement. The boys move and interact with such intensity and motion, at one moment quite beautiful and at another threatening, that the work is at some times expressive of the joy of such a tumultuous physical expression of musical interpretation and unity of experience, and at others a very masculine space that could as easily be read as a scene of violence as a scene of dance or pleasure. Again ideas of collective actions are explored, in particular the behaviour induced by fans relationships to music, performers and with each other.
*Title from Franz Ferdinand, ‘Michael’
**Title of exhibition taken from Suede's 'Electricity'
*** Irene Cheng, "New, New Museum" frieze issue 111, Nov-Dec 2007
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