Exhibition: Eavesdropping
Jul
25
to Oct 21

Exhibition: Eavesdropping

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Eavesdropping
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
Apr
21
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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