Synoptic 06 MIR 11
CURATED BY KIRSTEN RANN
SELECTED COLLABORATIVE PROJECTS
2006 Synoptic 06 with Natasha Johns-Messenger, Mir 11, Melb, 2005 Formless, commissioned by Experimenta art Inc for Vanishing Point, Melb, 2004 Pointform, with Natasha Johns-Messenger, Conical Gallery, Melb, 1998 Cube, with Andy Thomson and Daniel von Sturmer in Strangely Familiar, curated by Claire Williams, ACCA, Melb, 1997 General Review of Gain and Loss, with Andy Thomson and Daniel von Sturmer, Westspace, Melb 1996 The Art of Listening, with Brenda Ludeman, Nicole Tomlinson and Georgina Konstandakopoulos, Linden Gallery, Melb.
SELECTED SOLO EXHIBITIONS
2006 Apartment, at Apartment, 2002 Several Contingent Provisionalities, Penthouse and Pavement, Melb. Eraserhead, RMIT Project Space, 1998 Untitled, Grey Area Art Space Inc, Melb, In the Light of the Other 1st Floor Artist and Writers Space Melb.,1997 Scan, Studio 12, 200 Gertrude St, Melb, Flux, Stripp Gallery, Melb,1996 In Time 1st Floor Artist and Writers Space, Melb.
SELECTED GROUP EXHIBITIONS
2007 An answer for the parts only itinerant sighs can fathom, curated by Storm Gold, Victoria Park Gallery, Stranger Geography curated by Kit Wise, Palazzo Vaj Prato Italy, 2005 Australian New Media Art, Museum Of Contemporary Art, Skopje, November, Australian Video Art 5uper, Museumsqartier, Vienna, 2004 The Visible and the Invisible commissioned for Swoon, ACCA, Melb, 2003 Video Projekt, Kings Space Gallery, Melbourne, VCA Projects, curated by John Neeson, VCA Gallery , Melbourne, 2002 Gating curated by Michael Graeve, Westspace, Melb, 1998 Lux, Curated by Julian Savage, 1st Floor, Melb, 1997 Flat, curated by Michael Goldsmith, RMIT Project Space, Melbourne, Adjacent, curated by Susie Atiwell, 200 Gertrude St, Melbourne, 1996 Dermartology, curated by Stephen O’Connell, 200 Gertude St, Melb.
This installation builds on previous collaborations with Natasha Johns-Messenger and comprises two parts. The first acts as an ‘intervention’ with the architectural, material and spatial construction of the MIR11 Gallery space via an architectural/sculptural installation. The second entails the audience – or in this case ‘participant viewers’ – who wear video glasses and a surveilance camera on their head which feeds live-video of the space into the glasses as they move through the space.
The viewer thus experiences a collision between virtual space and real space. Viewers move through and view both virtual and real elements integral to the structure of the space and adjust to the terms of the inversion of virtual and real worlds.
