Category Archives: Writing by others

Daoshan Dude

English Translation of lyrics from Daoshan Dude, by Wu Tiao Ren

Daoshan dude, Why are you wearing broken shoes?
Daoshan dude, Why don’t you have your hair cut?
Daoshan dude, Why are you still riding the worn out bike?
Cocky.
You are cocky. You are cocky. You are cocky.

It’s going to rain.
My mum is waiting for me to have supper.
But what can I do?
I’m in a watch house.
My mum said “come home and eat”
It’s all my fault
I am cocky.
You are cocky.

Productive Anonymity

The ability to experiment without much at stake except your own process of discovery… time to think and to not think; to look at art; to waste on dead-end art projects that no one will ever see again and that your best friends may remember better than you will … the ability to do things with just enough attention to make you feel like you are part of a world and can go forward, but not so much that your gesture becomes a trademark and a creative prison.

Artist Mira Schor, from an article on The Brooklyn Rail, Feb 2013.
Quoted in the book The Art of Critical Making, in conversation by Patricia C. Phillips, with Silvia Acosta, Daniel Lefcourt, Andrew Raftery, Kevin Zucker, Cas Holman (all staff at the Rhode Island School of Design (RISD)).

Servile Youth by Lisa Kelly

Way back in September 2002, Lisa Kelly wrote a long, detailed, wide ranging, muckraking essay about artist run galleries, art writing, and careerism…

The essay, entitled “Servile Youth” was originally published in the Elastic printed project, Sydney 2002/2003 in the chapter ‘Points of View’ coordinated by Anne Kay.

I stumbled across a pdf copy recently, and it struck me that it was just as relevant as ever. Lisa tells it like it is.

Read it here [pdf].

Under the Counter: Interview with Ken Bolton

ken bolton at club foote
[Ken Bolton at Club Foote, year unknown…]

Earlier this year, I came across a very enjoyable interview between Ken Bolton and Robert Cook. I have long enjoyed the writing of both gentlemen: Bolton a poet, publisher and the man behind the counter at Adelaide’s Dark Horsey Bookshop, who had just put out a collection of his writing on art; and Cook, a curator whose essays are always a great pleasure to read.

One of the things I liked about this interview is that the interviewer does not attempt to hide behind a curtain of anonymity, trying to absent himself in order to ‘get to the facts’. Rather, he puts himself in the picture. Both authors are self deprecating, amusing and intelligent.

I approached Cook and Bolton after I saw the interview, and asked if they wouldn’t mind me cross-publishing it here, in the hope that it will have a bonus life, augmenting its tenancy as a PDF on the Broadsheet website. Many thanks to both (the below is a slightly tweaked version of the one published in Broadsheet). Thanks to Peter and Alan over at Broadsheet for permission to cross-publish.

For the record, the bibliographic details for the original interview are:

Robert Cook, “Under the Counter: Interview with Ken Bolton”, in Contemporary Visual Art + Culture Broadsheet, 39.1, 2010.

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Art as public forum: the art of blogging by Laura Hindmarsh

Laura Hindmarsh, an artist from Perth, recently wrote an article for UN Magazine entitled Art as public forum: the art of blogging.

Laura and I met just over a year ago when I was visiting Perth and working on the Bon Scott Blog. Together with her colleagues Claire and Anna, she sometimes makes projects under the name Inter Collective. The collective runs a blog parallel to their ephemeral art practices. When we met last year, we shared thoughts about our various motivations for blogging alongside interactions “in real life” (or as Lauren would say, “IRL”).

For one thing, as artists operating within an educational institution (at the time Laura was an honours students at UWA in Perth) blogging gave visibility to her otherwise “blink and you miss it” / “you had to be there” practices – making those practices available for “assessment” by the university system. But of course there’s more to it than that…

You can download Laura’s article in UN Magazine here (but you have to get the whole magazine as a 12MB pdf). For ease of use, I reproduce it below.

Laura also has some interesting ideas about the effects of keeping a blog on the experience of time. In one email she sent me, she used the term “structural intervalling” as a way of thinking about how daily blogging breaks time down into chunks which become manageable… but there wasn’t room for such complexities in this essay. Hopefully we’ll hear more on these ideas from Laura soon…

On with her article–
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Lone Twin interviewed by Christopher Hewitt

the following is a cut and paste from this word document here (or here if you want google’s transformation into html).

-It’s a spiel and interview about Lone Twin, which was put together by the erstwhile Christopher Hewitt for the 2004 Brussels KunstenFESTIVALdesArts. I’m pasting it here because it’s really interesting, and because there’s not much of this depth available on the web about Lone Twin.

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BANALITIES FOR NAPOLEON (by Ruark Lewis)

3. Arbitration makes great sense

9. Mending the parts of holes that leave nothing till the end

10. To send the food to friends

11. A van unbeknown

13. And enter in the swim of things

16. The nature of the rock

19. Film is shot at angles

20. And speaking all the time

21. United let us fly

22. The key is in the trees where books are concerned

25. Dissolves her lips against the glass

27. Nothing higher nothing lower

29. Forms four times exactly what they are

31. They bathe and leave the trees undressed

32. The animal is criminal

35. A broken zodiac

37. To mediate to mediate

39. In time the memory of a child returns

40. The egyptian is a bird

43. The book is nong

46. The sting is kunt

48. Because of greed the worker is condemned

49. Flick flack swings song tools the cause of motion

50. Deep ends of oil smooths out phenomena

51. In comfort and distress

BANALITIES FOR THE PERFECT HOUSE (by Ruark Lewis)

1. Arbitration makes slim pickings

2. The best parts are mostly left to last

3. Stodge belittles starchy foods

4. A van below the motorway wears you down

5. To swim around

6. One, two, three, four, five, six are convincing cracks between the rocks

7. Angular sightings deliver films

8. A female of the species

9. Your letter to bananas

10a. Trees conceal small books

10b. Her extended lips against the glass

11. A pedant nut is formed by fourths

12. Well dressed and bathed he leaves the house

13. Excited like an animal

14a. The wicked smashing of the trees

14b. To mediate against philosophers

14c. Is the source of stories

15a. Nong

15b. Kunt

15c. Without the tools of negotiation the workers are condemned

16. The nature of the swing has caused the motion

17. A phenomena is massaged by oil

18. Is a comfort in distress

19. The principle of universities is formed with money

20. The left hand and the dumb

21. He has nous for rooms

22. She had nous for knitting

23. United in the union of the students

24. A crossing of the floor is no longer possible

BANALITIES for Babel (by Ruark Lewis)

BANALITIES for Babel

1. a still road is littered with the bodies of a hundred

2. was burdened with the weight of down

3. his drunken joy was volatile

4. the winds sift through the grasses on the dunes

5. a foul air penetrates the soul

6. he steers his punt against the lyric poets

7. it sped and jumped the tracks to cross the distance very fast

8. fancy-free he disappeared in thin air

9. across the city's frozen water he could hear the voices

10. where the folded ribbons remain a warning

11. a snake is mostly mis-understood

12. in their music the sound of water is almost audible

13. he was stationed in the army of the senses

14. why gather momentum?

15. the rat has solved the problem of the hole

16. to find a dollar it is sometimes harder than we think

17. perfume is a sense of place

18. S-shaped for an hour from one place to another

19. the brown bird built a temple in the nest

20. a sport of water

21. the waxy substances that form a soap make bubbles

22. the meeting of the battled unions generates more than noise

23. orchestras are not cricket teams

24. when the corpse speaks from his bed the grave is empty

……
…for more Ruark Lewis please visit
http://groups.msn.com/TheSilhouettes/shoebox.msnw?Page=1
http://www.cottier.com.au/justfornothing
http://www.rainerlinz.net/NMA/

SUTURED SOUNDS IN SPACE & TIME

The following is a review of a show that Tim Hilton produced for BlauGrau Gallery (inner Sydney) in 2001. At the time that the review was written, Tim emailed it to me. I am not sure if it has been published elsewhere, and hope that it's ok I post it here. If not, please get in touch! Cheers, Lucas.

 

SUTURED SOUNDS IN SPACE & TIME

by bunny star

31 may 2001

"Artists and creative thinkers will lead the way into
space because they are already writing, painting and
filming space. They are providing us with the only
maps for space travel. We are not setting out to
explore static pre-existing data. We are setting out
to create new worlds, new beings, new modes of
consciousness. … What you experience in dreams and
out of the body trips, what you glimpse in the work of
writers and painters, is the promised land of space."

– Burroughs

Travelling through a world of experimental art, the
explorer discovers a field of music branching inward,
and outward, in a spiralling, centripetal fashion,
revealing the industrial insect sounds of Tim Hilton.
Shadow Matter – his second CD – is a collection that
plays with the combined forces of technology and human
chance. Dinosaur bleating, liger growling,
extraterrestrial humming and hearts beating leaves
listening open to individual interpretation. The idea
is to access pathways through ‘coincidence’ by
locating form in surface using the random functions of
a computer. Hilton describes his process as a way of
‘revealing the hand of god at work’ – artist becomes
conduit to facilitate an interaction between universal
energy, human perception & earthly technology. An
aural mapping, if you will – a stitching together of
space and time in the 21st century.

Through music and art, Hilton investigates what lurks
beneath the surface of sound and sight. He is
interested in the response-ability of himself,
technology, an audience and the space in which we
locate ourselves.

‘I see the process of making these sound pieces as an
unknowing collaboration between person and machine
with the outcome due to guided chance – a personal and
impersonal documentation of existence.’

An alchemical resonance is fused by choosing computer
samples and filters, leaving the technology to shape
shift the selection. Soundscapes form and like ‘making
pictures in clouds’ or ‘throwing grains of rice and
seeing where they land,’ the end result reflects a
surrender of absolute control. Unsolicited imagination
meets multi-media modes of statement. Laptop geek
music comes alive.

Like an apparition of the spiral entrance into a
galaxy seen from afar, Hilton’s music embraces
non-linear consciousness. The journey takes precedence
over arrival. As such, we are offered process-based
productions of anti-narrative, fantastical aural
visions sprayed out in the circularity of musical
loops. Finding form in spurts of crackle, beats &
rhythms looped at different speeds, a mutation takes
place. Bridging the microcosm with the macro- he
points to ways of bringing awareness to inner states
of realisation and magical energy through the
technology of this time.

‘I see the melding as a way of creating phantom-like
sound pieces that I could not have otherwise imagined
– like hypnagogic imagery. Although I produce these
images, I don’t conjure them, they appear in my
consciousness with other forces at play.’

Consider this – a space pulsates with the blueprint
energy of Hilton’s work. Three hand clap samples are
arranged randomly through the use of the software’s
random function pattern. Set to the beats per minute
(bpm) of his heart rate at the time (63bpm), the
composition is humanised, or mortalised, through an
interactive process. When installed, the piece
emanates from two red funnels which are suggestive of
big ears, or maybe eyes, that become a productive
organ, rather than a receptive one. The space is
anthromorphosised as the unit is attached to the body
of the room, endowing it with human qualities.

At the launch of his debut video clip at Squatfest
2001, critic
Heath O’Brien comments on the effect such
sutured sounds had on the audience.

‘Everyone is silent, basking in the hypnotic rhythm
and pulsating response’orial psalm. Now everyone is
intensely aware and there is an electric sense of
expectation and a palpable curiosity in the air
mingled with an uncanny familiarity as if we are
immersed in a primreview collective memory.’

Hilton’s work delves further and invites the audience
to step outside of the subjective experience of human
ego, just for a moment, to stand on a stage of
unidentified experience, if only to broaden the scope
of inner vision or activate latent perception. Barbara
Freedman writes in Staging the Gaze, ‘The
objectification of the self by an alien viewpoint
enables, as it undermines, self-consciousness by
calling into play an unconscious look.’2 With a
Lacanian bent, Hilton encourages a destabilisation of
conditioned response by challenging the limitations of
conscious thought and, in doing so, allows space for
the collective unconscious to mingle with music and
mortal beings.

Is this by chance or specific intent of the composer?
Both – the essence of blueprint energy lies beneath
the surface of Hilton’s sounds, conceived in the
mind’s eye and ear, according to the subjective
experience of the collective unconscious. Working with
an interest in responding critically to the concept of
‘Mektoub’ – the idea that everything is written by the
hand of fate – he points to the significance of human
interaction in an age of art and technology, blazing a
trail of unique talent.

– bhs 2001