to Nov 17

Exhibition: Eavesdropping, City Gallery, Aotearoa/NZ

17 August - 17 November
Curated by Joel Stern and James Parker

The earliest references to eavesdropping are found in law books. According to William Blackstone's Commentaries on the Laws of England (1769), ‘eavesdroppers, or such as listen under walls or windows, or the eaves of a house, to hearken after discourse, and thereupon to frame slanderous and mischievous tales, are a common nuisance and presentable at the court-leet’. Today, however, eavesdropping is not only legal, it’s ubiquitous—unavoidable. What was once a minor public-order offence has become one of the key political and legal problems of our time, as the Snowden revelations made clear.

Eavesdropping addresses the capture and control of our sonic world by state and corporate interests, alongside strategies of resistance. For the curators, James Parker (Melbourne Law School) and Joel Stern (Liquid Architecture), eavesdropping isn’t necessarily malicious. We cannot help but hear too much, more than we mean to. Eavesdropping is a condition of social life. And the question is not whether to eavesdrop, therefore, but how.

Much of the work is expressly political. Lawrence Abu Hamdan, based in London and Beirut, considers the oppressive regime of silence enforced in a Syrian prison, the use of accent tests to deny Somalians refugee status, and the analysis of audio-ballistic evidence that led to an Israeli soldier being tried for manslaughter. Works also engage activist practices of ‘listening back’. The Manus Recording Project Collective—a group of men detained by Australia on Manus Island, Papua New Guinea—made recordings daily for the show, offering a sonic window into their situation and prompting us to consider our place as earwitnesses.

The show addresses what can and can’t be heard. Susan Schuppli, from the London group Forensic Architecture, considers a notorious gap in Oval Office audio-tape records during the Nixon presidency, suggesting that lack of evidence could be evidence of something. Sydney-based Wiradjuri artist Joel Spring presents recordings of conversations with his mother—a health worker, activist and academic—about a disease that causes hearing loss in Aboriginal children. For his video, Hong Kong artist Samson Young has singers suppress their vocals, so we only hear the incidental sounds their bodies produce, their breathing, the rattling of their scores.

Technology reigns. Melbourne artist Sean Dockray stages a philosophical dialogue between an Amazon Echo, a Google Home Assistant, and an Apple Homepod on the moral and political implications of networked machine listening. Meanwhile, Fayen d’Evie and Jen Bervin, with Bryan Phillips and Andy Slater, research cosmic eavesdropping. Their installation—a dissipated poem to an interstellar dustcloud, which mingles field recordings with the stories of individuals and collectives dedicated to listening to extraterrestrial signals—is an artistic outcome emanating from Bervin’s participation in the Search for Extra-Terrestrial Intelligence (SETI) artist-in-residence programme.

Eavesdropping is an ongoing collaboration by Liquid Architecture and Melbourne Law School. It was first presented at the University of Melbourne’s Ian Potter Museum of Art, last year.

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to Dec 1

Incinerator Award for Social Change, Melbourne, AU

Exhibition opening night and awards ceremony: Friday, 11 October, 6pm–8pm
Exhibition dates: 12 October – 1 December

Finalists: Corinna Berndt, Aidan Calabria, Aaron Claringbold and Rebecca McCauley, Stuart Cook, Fayen d’Evie, Anna Seymour & Pippa Samaya, Leslie Eastman, Will Foster, Amala Groom, Lee Harrop, Victoria Hempstead, Fiona Hiscock, Department of Homo Affairs, A Published Event, Kenneth Lambert, Jordan Marani, pvi collective, Ashley Perry, Drew Pettifer, Louis Pratt, Ralph Rogers, Yul Scarf, Aemmon Sheehan, Jacqui Shelton, Damien Shen & Robert Hague, Julie Shiels, Slippage, Bobby Minh Tran, Lilli Waters

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to Nov 17

Residency: Te Whare Hera - Eavesdropping, Aotearoa/NZ

  • Te Whare Hera International Artist Residency (map)
  • Google Calendar ICS

The International Artist Residency Te Whare Hēra is an invitation-based visiting artist programme that supports international artists to research, develop and produce a new and innovative contemporary art project. The residency provides artists with the time and space to complete such a body of work and to examine, map out, experiment, make connections, exchange ideas, and collaborate. Visiting artists contribute to Te Whanganui a Tara/Wellington’s art communities and to the wider cultural life of the city. Artists also contribute vitally to the academic programmes of Whiti o Rehua School of Art.

During their residency, Bryan Phillips and Fayen d’Evie will collaborate with Kenny Smith, experimenting with spatial and sensorial translation of choreographies of movement, oriented through disability-led navigation.

Bryan Phillips will be in residence 28 October - 17 November 2019.
Fayen d’Evie will be in residence 11 - 17 Novemebr 2019.

Details of public events during the residency will be updated as confirmed.

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10:30 AM10:30

Lecture Performance: How to ##### an Alien, Buxton Contemporary, Melbourne


The lecture, by its very nature, is performative. At first glance it would seem that Lecture Performance is a tautology: an over qualification of an established mode of knowledge delivery that has been employed within the Academy for centuries. Yet Performance in this context is not simply a reiteration, it is in fact an expansion that challenges the lecture form. It demands that the lecture question its performativity through an experimentation with its delivery. By opening up the lecture format to a broad range of speculative modes of information dissemination, the Lecture Performance format can provide new ways of thinking about how knowledge is produced and exchanged within, and even beyond, the university.

Performance is at the core of the visual arts. Performance both structures experience and produces artefacts as a register of the creative act. All creative expression – from painting to musical expression to writing – is in some way a register of the performance of its generation. Being a hybrid of artistic research culture, visual art and performative narrative techniques, the Lecture Performance format can address the status and potential of knowledge production through art.

This one-day symposium event will bring a diverse range of artists and scholars together to explore the lecture as an artistic medium.

Convened by Dr Tessa Laird, Dr Sean Lowry, Dr Kim Donaldson and Dr Mark Shorter of the Victorian College of the Arts, University of Melbourne.

Program 10.30 - 5.00pm

10.30 Introduction: Tessa Laird, Sean Lowry, Kim Donaldson and Mark Shorter

11am - 1pm

1. Lucreccia Quintanilla

2. Irina Danilova

3. Steven Rhall

4. Luke King and Fayen d’Evie, ‘How to ######## an Alien’ 2019. Building from Fayen d’Evie and Luke King’s shared interest in language, gestural poetics, and politics of access, this lecture will share lessons of encounters with Aliens: how to approach an Alien, how to establish shared grounds for conversation, how to relate difficult histories, how to make love not war.

5. Lauren Gower

1 - 2pm Lunch (not provided)

2pm - 4.30pm

1. Jane Polkinghorne

2. Damien Melchiori

3. Katie Sfetkidis

4. Lou Hubbard

5. Diego Ramirez

6. Draf Draffin

7. Sam Peterson

4.30pm Closing remarks: Tessa Laird, Sean Lowry, Kim Donaldson and Mark Shorter

5pm – 6:30pm Drinks reception for seminar attendees and participants

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to Jul 20

Exhibition: The National 2019

The National 2019: New Australian Art presents the latest ideas and forms in contemporary Australian art, curated across the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Curators for the 2019 edition are: Isobel Parker Philip, Curator of Photographs, Art Gallery of NSW; Daniel Mudie Cunningham, Curator of Visual Arts, Carriageworks; Clothilde Bullen, Curator of Aboriginal and Torres Strait Islander exhibitions and collections; and Anna Davis, Curator, Museum of Contemporary Art Australia.

For The National 2019, Fayen d’Evie will present a new commission at the Art Gallery of NSW: a performative, sculptural installation, Essays in Vibrational Poetics, comprising four new works, including collaborations with Benjamin Hancock and Bryan Phillips, that experiments with writing and publishing for a post-human future.

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Exhibition: Eavesdropping
to Oct 21

Exhibition: Eavesdropping

  • Ian Potter Museum of Art (map)
  • Google Calendar ICS

July 24 - October 20 2018
Curated by Joel Stern (Liquid Architecture) and James Parker (Melbourne Law School)

Eavesdropping is a unique collaboration between Liquid Architecture and Melbourne Law School, comprising an exhibition at the Ian Potter Museum of Art, a public program, series of working groups and touring event which explores the politics of listening through work by leading artists, researchers, writers and activists from Australia and around the world. This project pursues an expanded definition of eavesdropping, one that includes contemporary mechanisms for listening-in but also activist practices of listening back, that is concerned with malicious listenings but also the responsibilities of the earwitness.

The exhibition includes new work by Fayen d'Evie and Jen Bervin, in collaboration with Bryan Phillips and Andy Slater.  The installation is the inaugural artistic outcome emanating from d'Evie and Bervin's conversations in the context of Bervin’s participation in the Search for Extra-Terrestrial Intelligence (SETI) artist-in-residence programme. The installation will experiment with the dynamics of dissipated and concentrated listening, through sculptural assemblage and ultrasonic projection of stories of individuals and collectives dedicated to listening to extraterrestrial signals.

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Artist Talk: With Seeing Hands
2:00 PM14:00

Artist Talk: With Seeing Hands

An afternoon of artist talks, associated with the exhibition With Seeing Hands.

With Seeing Hands presents a range of multisensory works made by artists with and without disabilities. Participating artists: Fayen d’Evie and Bryan Phillips, Carolyn Eskdale, Heather Lawson, Carmen Papalia and Nathan Liow, and Sam Petersen. 

With Seeing Hands includes two new works by Fayen d'Evie and Bryan Phillips:
  - Wayfinding ‘Sequence’ / Vibrational Re-call 2018. Hypersonic audio projection.
  - Reading ‘Sequence’ / Tactile Re-call 2018. Granite, contact microphones, audio feed.

The new works extend the artists’ collaborative experiments in sensing, describing, and recalling encounters with artworks. In Wayfinding ‘Sequence’ / Vibrational Re-call 2018, we hear a collage of vibrational recordings and conversational fragments as Georgina Kleege and Shelley Lasica navigate their way around ‘Sequence’, a monumental sculpture by Richard Serra. Georgina Kleege is a Professor of Literature at UC Berkeley who has written widely on blindness and art, while Shelley Lasica is a choreographer interested in the qualities of sensory movement, including blindness. Reading ‘Sequence’ / Tactile Re-call 2018 is a series of three tactile rock paintings that describe perspectival memories of walking within ‘Sequence’. The series continues the artists’ interests in painting as a trans-sensory medium, and in affirming the vibrations of audience encounters as part of the acoustic ecology of the gallery.

Image: Fayen d'Evie, Bryan Phillips, Georgina Kleege, Shelley Lasica, and Hillary Goidell, Wayfinding Sequence: Vibrational Recordings, SFMOMA, 2018. Photograph: Hillary Goidell.

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