Octopus 19: Ventriloquy || Gertrude Contemporary

bLOGOS/HA HA has long been interested in ventriloquism. In the Mystery of God's Voice projected ] without movement of lips ( through 

us, Imago Dei, His Creature Screens. 

    

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GERTRUDE CONTEMPORARY
Octopus 19 : Ventriloquy
Curated by Joel Stern

Initiated in 2001, the Octopus series of exhibitions supports ambitious curatorial practice, through engaging an invited curator annually to develop a project that draws upon their research interests and provides a platform for new forms of exhibition making. In 2019 Gertrude is delighted to be working with Joel Stern. 

Opening : Friday 31 May, 6pm - 8pm 

Gertrude Contemporary || 21-31 High Street, Preston South 

Exhibition Dates : 1 June - 20 July 

Exhibiting Artists : Ceri Hann | Danielle Freakley | Eric Demetriou | Gabriella D'Costa | Jacqui Shelton (with Alice Heyward and Megan Payne)  |  Jake Moore | Makiko Yamamoto | Mel Deerson and Briony Galligan | MP Hopkins | Simon Zoric | Steven Rhall 

Performances by : Ash Kilmartin | James Rushford and Rachel Yezbick | Jacqui Shelton, Alice Heyward and Megan Payne | Jake Moore, Kate Brown | Mel Deerson and Briony Galligan | Melody Paloma | MP Hopkins | Sonia Leber and David Chesworth | more TBA

Anarchronism Effects : Opening weekend performance program

Performance Dates : Saturday 1 June, 2-4pm

Gertrude Contemporary || 21-31 High Street, Preston South

This performance program, Anarchronism Effects, explores the way ventriloquy performs a dislocation of body from voice in time and in space. The program borrows its title from scholar Sarah Kessler's research into 'ventriloquial materiality' and ventriloquism's "enduring anachronism—its at once anticipatory and antiquated appearance." Anarchronism Effects features new performances created for Octopus 19: Ventriloquy by Ash Kilmartin | Mel Deerson and Briony Galligan | Melody Paloma | MP Hopkins.

Ash Kilmartin will perform You, as a paragraph, a monologue for mediated voice, engaging the ventriloquial tropes of possession, dislocation, and the excessive physicality of (the at times seemingly autonomous and absurd) speaking voice.

Melody Paloma will de- and re-code a suite of Code Poems by Hannah Weiner, master ventriloquist and psychic host to corporeal and non-corporeal bodies alike, in collaboration with retired seafarers Neil Butt and Leigh Webster.

Mel Deerson and Briony Galligan will traverse the theater curtain separating heaven from hell.

MP Hopkins will read through himself some texts about speaking/voice/language and hear himself doing this reading to himself.

    

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ventriLOGOS/HA HA 

plus a few things from the Puppet Culture heap

Theatre of the Actors of Regard  

 cast member (early1960s)        

Theatre of the Actors of Regard  

 rehearsal studio with Untitled Puppet Paintings (-1976-)

Theatre of the Actors of Regard  

 De Profundis or Ubu Casts His Voice
 
 detail

 A Person Looks At A Work Of Art/

 someone looks at something... 

         

 LOGOS/HA HA

   

The Art of Camouflage | Move on, please. Nothing to be seen here.

 etymoLOGOS/HA HA 

Borrowed from French camouflage, from camoufler (“to veil, disguise”), alteration (due to camouflet "smoke blown in one's face") of Italian camuffare (“to muffle the head”), from ca- (from Italian capo (“head”)) + muffare (“to muffle”), from Medieval Latin muffula, muffla (“muff”), from Frankish *molfell (“soft garment made of hide”) from *mol (“softened, forworn”) (akin to Old High German molawēn (“to soften”), Middle High German molwic (“soft”)) + *fell (“hide, skin”), from Proto-Germanic *fellą (“skin, film, fleece”), from Proto-Indo-European *pel(e)(w)-, *plē(w)- (“skin, hide”). Akin to Old High Germanfel (“fell, skin, hide”), Old English fell (“fell, skin, hide”). Alternate etymology traces the Italian and Medieval Latin words to Middle High German mouwe, mōwe (“sleeve”) (German Muff (“muff”), Dutch mouw (“sleeve”)) from Proto-Germanic *mawwō (“sleeve”) + fell (“skin”). More at mulch, fell.

 Theatre of the Army of Regard  

  detail 

  A Person Looks At A Work Of Art/ 

  someone looks at something... 

  LOGOS/HA HA 

   

Labellion!

AI: More than Human
the Barbican

16 May—26 Aug 2019

 Totem

 Chris Salter

 courtesy of the artist

 photography Agustina Isadori

Theatre of the Actors of Regard  

 detail

 A Person Looks At A Work Of Art/

 someone looks at something... 

         

 LOGOS/HA HA

  

Intrigues of the Void

After a campaign of critical co-option ] Resistance Is Futile ( come auction night, Christie's realised a record price for a Work Of Art by a Living Artist : $US91,075,000 for a Jeff Koons 'Rabbit' (1986), number 2 from an edition of 3 plus 1 artist's proof. 

 A full-page ad in the New York Times to promote the auction
 of Jeff Koons’ 'Rabbit'.

 A woman looks at Jeff Koons' "Rabbit" from the Masterpieces 
 from The Collection of S.I. Newhouse at Christie's New York
 press preview on May 3, 2019 as part of Christie's Post-War
 and Contemporary Art evening sale. (Photo by TIMOTHY A. 
 CLARY /AFP) / RESTRICTED TO EDITORIAL USE - MANDATORY 
 MENTION OF THE ARTIST UPON PUBLICATION - TO ILLUSTRATE 
 THE EVENT AS SPECIFIED IN THE CAPTION ( Photo credit 
 should read TIMOTHY A. CLARY/AFP/Getty Images)

Theatre of the Actors of Regard   

 detail

 A Person Looks At A Work Of Art/

 someone looks at something... 

         

 LOGOS/HA HA

  

Label Bird | Title Feather | detail

Theatre of Avian Regard  

 detail

 A Person Looks At A Work Of Art/

 someone looks at something... 

         

 LOGOS/HA HA

  

LOGOS/HA HA : Common Sense v The Rules

Australian rules football, officially known as Australian football,^[2] or simply called Aussie rules, football or footy, is a contact sport played between two teams of eighteen players on an oval-shaped field, often a modified cricket ground. Points are scored by kicking the oval-shaped ball between goal posts (worth six points) or between behind posts (worth one point). (Wikipedia)

*PRESS RELEASE* (Sunday 12 May 2019)
Following Friday night's 'Swan Up A Goal Post' incident 
at the SCG, and the endorsement by the AFL CEO of the umpires' decision to preference "common sense" over the Rules of the Code, Australian RULES Football is 
to be rebranded Australian Common Sense Football.


Sidney Nolan, Footballer (1946)                            collection NGV

In the mid-1940s, when Nolan was painting boyhood recollections of St Kilda and "heroic" figures such as bushranger Ned Kelly, he decided to paint Footballer, an "emblematic portrait of the sports-warrior".^[5] The work was painted in the dining room at Heide, the Templestowe home of art patrons John and Sunday Reed, on 24 August 1946. In his journal, Nolan writes: "Finished my painting of a footballer this morning and called Jim [the gardener at Heide] to have a look at it. He said it looked quite real, almost as if you were there, so it at least passed the critical eye of a specialist."^[5] Its completion date falls in the middle of Nolan's iconic first series of 27 Ned Kelly works, all but one painted in the Heide dining room. Together with the Kelly series, Footballer has been interpreted as a "veiled self-portrait"—both men, like the artist, stand outside society in a "space no longer governed by everyday rules."^[6][7]  (Wikipedia)


After the siren, Dane Rampe (Sydney Swans) climbs a goal post
as David Myers (Bombers) prepares to kick for the win.     

AFL boss Gillon McLachlan has praised the "practical" umpiring decision to warn but not penalise Sydney’s Dane Rampe for his bizarre move to scurry up the goal post as an Essendon player lined up for an after-the-siren shot at goal.

The Sydney co-captain risked giving away a free kick – almost certainly resulting in a winning goal for Essendon – by deciding to climb the goal post as Bomber David Myers prepared to kick for goal from about 60 metres out.

‘‘People want, I think, common sense in the umpiring and some practicality. I hear that all the time. I think that’s what was exhibited last night. That’s what happens in our game – people cut it both ways.’’- Gil McLachlan 

Rampe's goal-post climb: AFL backs 'practical umpiring'
Scott Spits | The Age

11 May 2019

Theatre of Aussie Rulelessness  

 detail

 A Person Looks At A Work Of Art/

 someone looks at something... 

         

 LOGOS/HA HA

   

TITULUM AVES VOLANTES

Watch birds in flight 
some are noisy
some are quiet

Label Birds 
distinctive formation
crier's incantation

Titulum Aves flight pattern   

Theatre of Avian Regard   

 detail

 A Person Looks At A Work Of Art/
 someone looks at something... 

         

 LOGOS/HA HA

   

The Loaded Mind

The Loaded Dog (written by Henry Lawson, published 1901)

Plot summary from Wikipedia :

Three gold miners named Dave Regan, Jim Bently, and Andy Page are sinking a shaft at Stony Creek. The trio own a young retriever dog named Tommy, described as "an overgrown pup... a big foolish, four-footed mate." Andy and Dave, fishing enthusiasts, devise a unique method of catching fish using explosives. The dog picks up an explosive cartridge in its mouth, and runs the fuse through the campfire, prompting the three men to flee. Tommy, thinking it a game, playfully chases down his "two-legged mates," who try everything in their power to escape the cartridge. Jim tries to climb a tree and then drops down a mine shaft, meanwhile Andy has hidden behind a log. When Dave seeks refuge in the local pub, the dog bounds in after him, causing the Bushmen inside to scatter. Tommy comes across a "vicious yellow mongrel cattle-dog sulking and nursing his nastiness under [the kitchen]," who takes the cartridge for himself. A crowd of dogs, curious about this unusual object, gather around the cartridge. The subsequent explosion blows apart the yellow cattle-dog and maims numerous others. For half an hour, the Bushmen who witnessed the spectacle are laughing hysterically. Tommy the retriever trots home after Dave, "smiling his broadest, longest, and reddest smile of amiability, and apparently satisfied for one afternoon with the fun he’d had.".

We were reminded of Henry Lawson's danger dog and the after-laughter of his Bushmen of TAR when we first saw and mis-read/double-read this scroll-carrier scroll scene by Kano Tsunenobu.

Kanō Tsunenobu (狩野常信) (1636–1713) was a Japanese painter of the Kanō school. He first studied under his father, Kanō Naonobu, and then his uncle, Kanō Tan'yū, after his father's death. He became a master painter and succeed his uncle Tan'yū as head of the Kanō school in 1674. (Wikipedia)

Theatre of the Actors of Regard  

 After Kano Tsunenobu
 after Henry Lawson
 after...

FIAPCE  

  detail

  A Person Looks At A Work Of Art/

  someone looks at something... 

         

  LOGOS/HA HA

   

Scriptus and Schemata

  documentation of schemata   

Theatre of the Actors of Regard    

  detail

  A Person Looks At A Work Of Art/

  someone looks at something... 

         

  LOGOS/HA HA

   

Trans Reader

 Yosa Buson reading by Yosa Buson brushing

Theatre of the Actors of Reading  

 detail

 A Person Looks At A Work Of Art/

 someone looks at something... 

         

 LOGOS/HA HA

   

Card Reader

[pro]master
All in 1 
Card Reader

Theatre of the Actors of Reading  

 detail

 A Person Looks At A Work Of Art/

 someone looks at something... 

         

 LOGOS/HA HA

   

Image Reader

 

Image Reader considers how do we visually read, internalise, process or decode the images that circulate around us? Engaging with four artists who destabilise a linear reading of the image—Guy Grabowsky, Nina Gilbert, Ry Haskings and Eliza Hutchison—Image Reader explores the power photography has to visually communicate, and subconsciously influence our reading of the world.

Acutely attuned to this subliminal process of visually reading, the artists in Image Reader obscure the lines between the legible and the indecipherable, moving between digital, analogue and sculptural photographic practices. By highlighting the non-linearity of memory, the architectural and site-specific contexts images inhabit, or through drawing our attention to the overlooked in beguiling ways, Image Reader points towards a visual language that is simultaneously perplexing, deeply idiosyncratic and constantly present, whether we can read it or not.

Curated by Madé Spencer-Castle

EXHIBITION
06 April – 02 June 2019

ARTIST TALKS
Thursday, 16th May 2019, 6—7.30pm

CONTACT
Centre for Contemporary Photography
404 George St, Fitzroy Victoria 3065, Australia

info@ccp.org.au
+61 39417 1549
FB / TW / IG

 Image Reader at CCP opening night.                Photo: J Forsyth

Theatre of the Actors of Reading  

 detail

 A Person Looks At A Work Of Art/

 someone looks at something... 

         

 LOGOS/HA HA