detail : my love has no beginning, my love has no end

Theatre of Amorous Regard 

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 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA

   

Vale Stephen Sondheim (1930 - 2021)

"An intellectually rigorous artist who perpetually sought new creative paths, Mr. Sondheim was the theater’s most revered and influential composer-lyricist of the last half of the 20th century, if not its most popular."

- Bruce Weber/New York Times, 26 November 2021

Theatre of the Actors of Regard 

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A Person Looks At A Work Of Art/

someone looks at something...

  

LOGOS/HA HA

  

   

   

Deputy Prime Minister Michael McCormack : "I'm certain that we'll absolutely look at it."

We recently quoted Scott Stephens (ABC.RN) bewailing 

"...the hyperbolisation of language." He mentioned some examples that annoy him. 

Our pet hyperbolisation hate is the widespread use of 'Absolutely!' and 'Absolutely not!' when 'Yes' and 'No' would suffice. 

Are you concerned about polarisation? Absolutely! 

Are you concerned about extremism? Absolutely!

Are you concerned about the loss of the middle way?

Michael McCormack & Janine Hendry. 

ABC News: Luke Stephenson

So, yesterday, when we heard Deputy Prime Minister Michael McCormack's response to March4Justice co-organiser Janine Hendry's demand for him to act on the recommendations of the Sexual Harassment National Inquiry Report ... Grrrrr!!

"I'm certain that we'll absolutely look at it."

"I'm certain that we'll absolutely look at it." 

"I'm certain that we will absolutely look at it." 

"I'm certain that we'll absolutely look at it." 

"I'm certain that we'll absolutely look at it." 

Regulars to this blog will know that we 'look at' look at ... a lot.

  
That's about appreciating the visual arts. Our visual arts. The act of looking. The art of looking. It's about seeing, perceiving, conceiving the world into being. About vision and having a vision; our world view and our consequent views. Image, appearance, illusion, all examined. Being conscious, self-aware and empathetic. Having insight and regard for others.

It's not to provide some sincerity-gutted "we'll absolutely look at it" excuse for ignorance and inaction.

That bloke needs to take a good hard look at himself. 

 

- Ed.

Theatre of the Actors of Regard  

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 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA

     

       

Australia Day/Invasion Day/Survival Day/ Recognition Day/

We, gathered at the 2017 National Constitutional Convention, coming from all points of the southern sky, make this statement from the heart:



Our Aboriginal and Torres Strait Islander tribes were the first sovereign Nations of the Australian continent and its adjacent islands, and possessed it under our own laws and customs. This our ancestors did, according to the reckoning of our culture, from the Creation, according to the common law from ‘time immemorial’, and according to science more than 60,000 years ago. 

This sovereignty is a spiritual notion: the ancestral tie between the land, or ‘mother nature’, and the Aboriginal and Torres Strait Islander peoples who were born therefrom, remain attached thereto, and must one day return thither to be united with our ancestors. This link is the basis of the ownership of the soil, or better, of sovereignty. It has never been ceded or extinguished, and co-exists with the sovereignty of the Crown. 

How could it be otherwise? That peoples possessed a land for sixty millennia and this sacred link disappears from world history in merely the last two hundred years? 

With substantive constitutional change and structural reform, we believe this ancient sovereignty can shine through as a fuller expression of Australia’s nationhood. 

Proportionally, we are the most incarcerated people on the planet. We are not an innately criminal people. Our children are aliened from their families at unprecedented rates. This cannot be because we have no love for them. And our youth languish in detention in obscene numbers. They should be our hope for the future. 

These dimensions of our crisis tell plainly the structural nature of our problem. This is the torment of our powerlessness. 

We seek constitutional reforms to empower our people and take a rightful place in our own country. When we have power over our destiny our children will flourish. They will walk in two worlds and their culture will be a gift to their country. 

We call for the establishment of a First Nations Voice enshrined in the Constitution. 

Makarrata is the culmination of our agenda: the coming together after a struggle. It captures our aspirations for a fair and truthful relationship with the people of Australia and a better future for our children based on justice and self-determination. 

We seek a Makarrata Commission to supervise a process of agreement-making between governments and First Nations and truth-telling about our history. 

In 1967 we were counted, in 2017 we seek to be heard. We leave base camp and start our trek across this vast country. We invite you to walk with us in a movement of the Australian people for a better future.

 2021, Daylesford Town Hall, Dja Dja Wurrung country

"Unfurl your flag definitions. Flagness is the whatness  of allflag." (after James Joyce, Ulysses) 

- For Those Who Think They Need A Flag

Theatre of the Actors of Regard (-1996-) 

 

 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA
     

  

    

One and Free ] Australia In Lockdown ( continues

Yesterday, Australia poet laureate Scott Morrison PM announced that, to recognise the ancient and continuous Aboriginal presence in this land, one word would be changed in the national anthem Advance Australia Fair : young and free changes to one and free. One crumb.

https://www.pm.gov.au/media/australians-one-and-free    

Meanwhile, where it matters most, his government disregards the Uluru Statement From the Heart :

We, gathered at the 2017 National Constitutional Convention, coming from all points of the southern sky, make this statement from the heart:



Our Aboriginal and Torres Strait Islander tribes were the first sovereign Nations of the Australian continent and its adjacent islands, and possessed it under our own laws and customs. This our ancestors did, according to the reckoning of our culture, from the Creation, according to the common law from ‘time immemorial’, and according to science more than 60,000 years ago. 

This sovereignty is a spiritual notion: the ancestral tie between the land, or ‘mother nature’, and the Aboriginal and Torres Strait Islander peoples who were born therefrom, remain attached thereto, and must one day return thither to be united with our ancestors. This link is the basis of the ownership of the soil, or better, of sovereignty. It has never been ceded or extinguished, and co-exists with the sovereignty of the Crown. 

How could it be otherwise? That peoples possessed a land for sixty millennia and this sacred link disappears from world history in merely the last two hundred years? 

With substantive constitutional change and structural reform, we believe this ancient sovereignty can shine through as a fuller expression of Australia’s nationhood. 

Proportionally, we are the most incarcerated people on the planet. We are not an innately criminal people. Our children are aliened from their families at unprecedented rates. This cannot be because we have no love for them. And our youth languish in detention in obscene numbers. They should be our hope for the future. 

These dimensions of our crisis tell plainly the structural nature of our problem. This is the torment of our powerlessness. 

We seek constitutional reforms to empower our people and take a rightful place in our own country. When we have power over our destiny our children will flourish. They will walk in two worlds and their culture will be a gift to their country. 

We call for the establishment of a First Nations Voice enshrined in the Constitution. 

Makarrata is the culmination of our agenda: the coming together after a struggle. It captures our aspirations for a fair and truthful relationship with the people of Australia and a better future for our children based on justice and self-determination. 

We seek a Makarrata Commission to supervise a process of agreement-making between governments and First Nations and truth-telling about our history. 

In 1967 we were counted, in 2017 we seek to be heard. We leave base camp and start our trek across this vast country. We invite you to walk with us in a movement of the Australian people for a better future.

One and Free The Refugees ] Australia In Lockdown ( continues 

members of RARD (Rural Australians for Refugees. Daylesford) continue the vigil to FREE THE REFUGEES

Theatre of the Actors of Regard & Ripolin Bros. 

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 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA
     

  

    

In Other Words podcast #57 : Then and Now : Paula Cooper Gallery

PODCAST EPISODE #57

Then and Now: Paula Cooper Gallery

In Other Words

Apr 2019 (40 minutes)

Episode Description : Paula Cooper Gallery has survived and thrived in a mercurial art world for more than five decades. 

On today’s show, the legendary dealer talks about the history and future of her gallery together with Steven Henry, who has been the gallery director for more than two decades, Allan Schwartzman, co-founder of Art Agency, Partners, and host Charlotte Burns. 

Charlotte Burns: As we round out, I wanted to ask the three of you: from your combined experiences over the years, are there other words of wisdom that you would give either to collectors or artists who are listening to the show?

Paula Cooper: Look. Look more. Just look. And be patient and look.

Steven Henry: Trust your eye and —

Paula Cooper: And relax! Jesus, people get very uptight sometimes and nervous like it’s a test or something.

[Laughter]

TARist with 'Paula', oil on canvas by Rudolf Stingel  

Theatre of the Actors of Regard  

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 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA
     

   

Vale Ania Walwicz

Ania Walwicz (1951-2020) was a contemporary Australian poet, playwright, prose writer and visual artist. - Wikipedia


 1985 Ania Walwicz portrait by Julie Joy Clarke

We first met in 1974 at the Victorian College of the Arts. Ania had the quiet charisma of someone with serious intent. Always interesting to talk with, over tea at her 9 Cremorne Street house, Fitzroy, doubly so with her learned father at the Black Cat.

It is touching, these decades later, to read the many tributes to Ania and her art practice. Here are some of those :

Koraly Dimitraidis has established a Facebook group 

The Ania Walwicz Fan Club : "It’s been ridiculous!" 

to remember Ania.

Hi everyone, this is newly formed group to honour our beloved Ania Walwicz who was taken too early from this planet. 

Please share your experiences, photos, stories of her, or any news about her here, and we will keep you informed of any updates also. If you could include any dates on your photos or events that would be great, and as we are also trying to piece together her final months, please let us know if you did see or talk to her.

She told her trusted friend, Helen, that she would want written on her epitaph "It's been ridiculous" which is why we have chosen this name for the group.

RIP Ania, darling, treasure, inspirer, gentle soul. She was taken too early on September 29th, 2020 age 69. She was born on the 19th of May 1951.

Vale Ania Walwicz: ‘There Are No Rules’
by Koraly Dimitraidis, Meanjin, 13 October 2020

Australian poet Ana Walwicz: the loss of an infinite talent
by Jane Sullivan, THE AGE, 30 October 2020

Vale Ania Walwicz
by George Dunford, ArtsHub, Monday 12 October, 2020

Remembering Ania Walwicz

by Robert Nowak, St. Arnaud Books, October 2020

Spoken Word - Vale Ania Walwicz
3CR, 15 October 2020

Ania Walwick : Public Guestbook : Tributes

THE AGE, 29 September 2020

Ania Walwicz  

Wikipedia

Ania Walwicz 

Ania's own website

From our files, this hand-written invite from December 1979, on the back of an exhibition announcement card from Art Projects gallery.

 Ania Walwicz, The Watcher, 1973

 Ania Walwicz, Doomsday, 1979

By the time of her 1983 exhibition at Art Projects, Ania's imagery was clearer, simplified and more direct, more like those above from her own website. For future reference, the 1983 works would likely be documented in the Art Projects archive.

 Below, from Ania Walwicz Series by Naomi Herzog.

Theatre of the Actors of Regard  

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  A Person Looks At A Work Of Art/

  someone looks at something...

  

  LOGOS/HA HA
     

     

   

Just published, the second of ACCA's 2020 'Defining Moments' series of lectures : 'Recession Art & Other Strategies'

HAND SPACE material (1982) mailed by Robert MacPherson to Peter Tyndall 

Lecture Topic: Recession Art & Other Strategies,
1985, Institute of Modern Art, Brisbane

Speaker: Peter Cripps
Respondent: Channon Goodwin

In response to the social, political and cultural contexts of the 1970’s and 80’s, Peter Cripps curated the exhibition Recession Art & Other Strategies, at the Institute of Modern Art (IMA), Brisbane in 1985. According to Cripps, ‘Recession art refers to art which is made under the pressure of little money and an insignificant market. It tends to be small, easy to produce, store and dispose of. It included the development of new strategies for the sale of works; the possibility of replacing parts as they sell with replicas. It is an art based on the limited means of production, speed of production and small size of constituent units, which, since they can form larger works, do not restrict the artist in the scale of his work. It is an art based on intellect rather than on formal qualities.’

In his lecture, Cripps reviews this exhibition, interrogating its legacy, as well as exploring perceived synergies between historical and contemporary independent art practice. Additionally, he assesses the role and impact of this type of artist thinking and practice on the contemporary context.

Peter Cripps is an artist and a former Director of the Institute of Modern Art (IMA), Brisbane (1984–86). As an artist has exhibited widely in Australia and internationally since the 1970s, with recent major individual survey exhibitions including Peter Cripps: Endless Space at the IMA, Brisbane in 2012, and Peter Cripps: Towards an Elegant Solution, ACCA, Melbourne in 2010. Between 1973 and 1988, Cripps worked as a curator and various other roles within a number of major Australian museums, galleries and alternative art spaces, as well as in a freelance capacity.

 

Permanent Recession: Art Labour & Circumstance – Channon Goodwin and Peter Cripps in conversation :

Channon Goodwin is an artist and arts-worker based in Melbourne. Goodwin is the Director of Bus Projects, founding Convener of the All Conference network, and makes films and podcasts for Fellow Worker.

detail

A Person Looks At A Work Of Art/

someone looks at something...

  

LOGOS/HA HA

  

   

every now and then

we loop a song all day

today, James Blake, My Willing Heart : listen 

and_Eadweard_Muybridge_human_male_walking_animated_

        Theatre of the Actors of Regard  

 detail

 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA

   

   

Musicians of the Matrix

Not so much music of the spheres as resonant matrix, and thereof an orchesTAR of local inflections. A village pick-up band, after Ives and Cage and the Sengai Slave Guitars.

  Score of 'The Universe' as performed by Sengai Slave Guitars


  Musicians of the Matrix                  click HERE to enlarge above

Theatre of the Artists in Resonance  

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 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA

   

   

   

socio-isoLOGOS/HA HA

Chris Mann was the first person I heard talk of language as a virus. That was probably in the early 1980s. I don't know if it was Chris's own thought or if he had encountered it via William Burroughs :

What Burroughs terms the viral function of language is its ongoing ordering of reality toward the limit of total control, the opposite of anarchy. He employs the figure of the virus, a force hovering between evolving being and mere replicator, to problematize conventional definitions of living and non-living.⁹ In Burroughs' cosmos, one must always remember that the words one transmits can never be neutral moves in the universal language-game; even if misfiring, some sort of force is necessarily being transmitted. This is the very problem addressed by Csicsery-Ronay when he cites Jameson's skepticism over sf's linguistic aporia. It is exceptionally difficult for any resistant message to avoid complicity with the dominant communication systems in whose language it is composed. If “a butterfly flapping its wings in Tokyo can cause a tornado in Toledo” (Porush 381), who knows what havoc a few well-chosen words could wreak in the infosphere? As responsible cyborg-writers, we'd best have a good idea how the “techsts” we use are going to function out there before we turn them loose. The trick, argues Burroughs, is to transmit a kind of force that doesn't immediately contribute to the virus-effect but can actually help work against it. The fold-in is the principle textual method of guerilla resistance against the virus (or, as Burroughs puts it in his science-fictional work, against the Nova Conspiracy); one takes a strongly linear form like the typewritten word, cuts it, and reassembles it such that its ordinative powers are deactivated.¹⁰ As apomorphine was Burroughs' antidote to morphine addiction, so silence is the antidote to word-addiction and the fold-in to order-addiction.¹¹ This resistance, in Burroughs' work, is the only option under the circumstances of total occupation by Control.

- from William S. Burroughs and the Language of Cyberpunk

by Brent Wood
Science Fiction Studies : #68, Volume 23, Part 1, March 1996

     

click image to enlarge  

Theatre of Audio Refusal  

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 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA

    

a pedant's lament

So, 
look, 
blah blah 
very unique.

Absolutely!

Theatre of the Absence of Regard  

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 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA

Love in the Time of

"Well, I don't know what will happen now. We've got some difficult days ahead...

Some days after jotting down the drawing below, Dr King's final speech returns to the fore



"Well, I don't know what will happen now. We've got some difficult days ahead. But it really doesn't matter with me now, because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live – a long life; longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the Promised Land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the Promised Land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord.
  - Wikipedia

Theatre of the Actors of Regard  

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 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA

   

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