bLOGOS/HA HA

15 April 2019

Waiting For Yves

Harry Shunk and János Kender (photography)

and TARpists

Theatre of the Actors of Regard

detail

A Person Looks At A Work Of Art/

someone looks at something...

LOGOS/HA HA

13 April 2019

thoughts arise...

This sequence ends with the image that sparked it, or rather, with the caption published under it,
A crowd...

A crowd at TEFAF Maastricht, 2018. Photo: Natascha Libbert.

1. Yves Klein leaps into the Void

2. Yves Klein surfs into a crowd (hand-stretched canvas TARp)

3. A crowd surfs the void

4. Elation (Aldous Harding)

The beauty is so close to me
The beauty is so close to me

A crowd at TEFAF Maastricht, 2018. Photo: Natascha Libbert.

Theatre of the Actors of Regard

detail

A Person Looks At A Work Of Art/

someone looks at something...

LOGOS/HA HA

10 April 2019

55 PHASES OF LOOKING

Long Play is a boutique Cinema & Bar
in Melbourne that has a bar up the front,
and a small dedicated cinema at the back

INFO FOR ALL SCREENINGS

As seats are limited, please book by emailing

Bill Mousoulis at bill@innersense.com.au
The venue is at 318 St. Georges Rd, Nth. Fitzroy.

Do not go to St. Georges Rd, Northcote.
All sessions start at 7:30 pm. If booked out, there may

be (no guarantee) another session at 9:30 pm.

There is a small entry charge of $5 per person.

Cash only, and try to have the right amount on you.

Unknown Pleasures: Australian independent cinema is a series of semi-regular screenings curated and presented by Chris Luscri & Bill Mousoulis, featuring the best of Australian indie cinema, both new and old, narrative and non-narrative, with discussions with most of the filmmakers, presented at Long Play Cinema.
read more

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Thursday, April 11, 2019, 7:30 p.m.
$5 entry. To book a seat, email bill@innersense.com.au

55 PHASES OF LOOKING
(2018, 53 mins, James Clayden)

Intro & Q&A with James Clayden

Recently, James Clayden has been experimenting with web-based video forms, consciously refining his practice through a unique methodology that makes extensive use of prior film and video works. The culmination of this is 55 PHASES OF LOOKING– comprised of re-filmed and digitally altered fragments (some originally shot on Super 8) from almost a half-century of film-making, “chopped and screwed” to profoundly personal effect, tremulous with anxiety and deep melancholy.
(Chris Luscri)

Apart from 55 PHASES OF LOOKING, the short film GLASLOUGH 64 (2018, 3 mins) will also screen.

The project began about eight years ago with the working title LOOKING FOR CÉZANNE (Perception & Illusion). After shooting material in France, I thought I knew what I was doing but I struggled to find my way to put it together.

Then by chance, I read a book – THE ENTANGLED EYE by James Krasner – which inspired me to abandon my original idea, out of which came 55 PHASES OF LOOKING. My approach was to treat the everyday things that took my fancy in the same manner that I treated my dreams and memories in my previous works, more or less like an improvisational visual essay, with Darwin’s “entangled bank” in the back of my mind, as if making improvised music, where the way it feels is everything.

The idea of making the piece for a small screen appealed to me a lot, as it does to have no protagonist or victim nor obvious narrative, as in painting the mystery is an essential thing.

-- James Clayden

This presentation of 55 PHASES OF LOOKING is something of an experiment – borne of curiosity but innately animated by something more mysterious. A way of testing the limits, both audience and artist? Of parsing over, imbibing, 'turning' the object, glint by glint against the light? Of plumbing hidden depths, of image blown all out of proportion? All of these things, for sure – but this list is not exhaustive. No other Australian artist works with texture quite like James, so definitive and violent are his interventions. To suggest a canonical presentation gestures toward an inert deadness, a sense of composure and containment that I suspect James would instinctively react against: tools in hand dissolved, awash in the interstitial sensations that arise from the practice of looking, perceiving and reacting. For all the dizzying and rhizomatic formal complexities at play, the motivation is as simple as this – an Impressionism borne of deep personal truths (as in the inaugurably canonical GHOST PAINTINGS series) and passionate devotion to his vocation, complete with its own iconography of wonders, terrors and trancendents. James Clayden is an extraordinary human being.

-- Chris Luscri (curator)

Theatre of the Actors of Regard

detail

A Person Looks At A Work Of Art/

someone looks at something...

LOGOS/HA HA

09 April 2019

Installation view.

Theatre of the Actors of Regard

detail

A Person Looks At A Work Of Art/

someone looks at something...

LOGOS/HA HA

08 April 2019

White Line Fever | Paint It Black

SPECIAL "MIDDLE-OF-THE-ROAD" ISSUE

collection FIAPCE

detail

A Person Looks At A Work Of Art/

someone looks at something...

LOGOS/HA HA

07 April 2019

TARkado | Théâtre d' Antho-Rangement | Middle Way Flowers

FRENCH
rangement

ENGLISH
arrangement

noun

arrangement, classification

Ikebana (生け花, 活け花, "arranging flowers" or "making flowers alive") is the Japanese art of flower arrangement. It is also known as Kadō (華道, "way of flowers").

Kadō is counted as one of the three classical Japanese arts of refinement, along with kōdō for incense appreciation and chadō for tea and the tea ceremony.

Artists of the Kanō school such as Sesshū Tōyō (1420–1506), Sesson, Kanō Masanobu, Kanō Motonobu (1476–1559), and Shugetsu of the 16th century were lovers of nature, so that ikebana advanced in this period a step further than temple and room decoration and commenced in a rudimentary way to consider natural beauty in floral arrangement. At this time ikebana was known as rikka.

This same age conceived another form called nageirebana. Rikka and nageirebana are the two branches into which ikebana has been divided. Popularity of the two styles vacillated between these two for centuries. In the beginning, rikka was stiff, formal, and more decorative while nageirebana was simpler and more natural...

- Wikepedia

TARkado is a more recent development, a confluence of Kadō and Theatre of the Actors of Regard. Nature ranged in the painted world. It originates from country Victoria.