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National Gallery of Victoria, Clemenger Auditorium

180 St Kilda Road

Melbourne, VIC 3006

Australia

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Event description
A one-day program of historic video art screenings, lecture performances and panel discussions.

About this Event

Longitudes, Latitudes and Legacies is a one-day program of video art screenings, lecture performances and discussions.

This event will showcase a program of historically significant works by Australian, European and North and South American artists, which focus on the relationship between video, performance and sociopolitical critique.

The program looks back at early experiments in video art to examine the conceptual and methodological characteristics of work from 1967–81.

By interweaving a series of screenings with lecture performances and discussions, the program aims to facilitate an inter-generational dialogue between artists working with video in that period and those working in a similar mode today, to highlight relationships between those historical legacies and contemporary practice.

Locating Australian video art and performance practice within a global context, screenings will include a selection of works from the NGV’s collection, as well as other public and private archives from Australia, The Netherlands, USA and Brazil.

(18+ event)

SCHEDULE

Longitudes, Latitudes and Legacies

 

Registration from 9:30

Doors open 10:00am

Long-form screening as audience enters 10:00 – 10:30am

Ken Unsworth, Five secular settings for sculpture as ritual and Burial piece, a different drummer,

1975-6, 30 min

SESSION ONE 10:30 – 11:44am

 

Welcome

Pip Wallis, Curator, NGV

Kelli Alred, Channels Festival Artistic Director

Introduction, Dianna Baker Smith (Barbara Cleveland)

Lecture Performance

Diana Baker Smith (Barbara Cleveland)

Referencing the work of dance artist Philippa Cullen (1950–75), Baker Smith conjures processes of speculation and fictionalisation to work through the politics of valuing and historicising performative and participatory art practices.

Short Works Screening One

Joan Jonas, Left Side Right Side, 1972, 7 min

Lynda Benglis, Now, 1973, 12 min 30 sec

Leticia Parente, Preparation I (Preparação I), 1975, 6 min

Jill Scott, Taped (Stick a Round), 1975, 2 min

Stuart Marshall, Go Through The Motions, 1975, 8 min

SHORT BREAK 7 min

SESSION TWO 11:51am – 12:55pm

Introduction, Lyndal Jones

In Conversation - Lyndal Jones and Kelli Alred

With reference to various strategies employed by the artist, including the use of video in performance, video as performance and video documentation, Jones discusses the still current lack of visibility of women within art historical discourse and how the labor of women is depicted and valued more broadly. Excerpts from Fair Weather, 1978, The Prediction Pieces 1, 1981 and Deep Water / Aqua Profunda, 2001 will be screened as reference points for the discussion.

Short Works Screening Two

Peter Campus, East ended tape, 1974, 8 min 30 sec

Jill Orr, The Girl With the Long Golden Hair, 1980, 6 min 45 sec

Regina Vater, ARTropophagy, 1978, 1 min 5 sec

Marina Abramovic, Art must be Beautiful, Artist must be Beautiful, 1975, 14 min 19 sec

LUNCH BREAK 12:55 - 1:55pm

SESSION THREE 1:55 – 3:02pm

Short Works Screening Three

Bruce Nauman, Pinchneck, 1969, 1 min 43 sec

VALIE EXPORT, Cutting, 1967-8, 1 min 41 sec

Mike Parr, Hold your breath, Hold your finger, 1972, 3 min 28 sec

Richard Serra (with Joan Jonas and Phillip Glass), Anxious Automation, 1971, 4 min 30 sec

Introduction, Mike Parr

Lecture Performance and Discussion - Mike Parr

Artist and activist Mike Parr discusses the relationship between art and sociopolitical critique, with reference to his performance and video practice spanning five decades. The lecture will include a screening of Daydream Island, which was originally presented as a live event at The Performance Space, 2013, as well as photographic documentation from Ned Kelly thinking of Manus Island (with apologies to Ben Vautier) and Give your fee to the refugees, presented at Artspace as part of 52

ARTISTS/52 ACTIONS, 2018-19.

SHORT BREAK 7 min

SESSION FOUR 3:09 – 4:30pm

Long-form Screening

Peter Kennedy, Other Than Art’s Sake, 1973-74, 36 min 40 sec

Peter Kennedy looks at the work and ideas of New York, Los Angeles and London based artists

Adrian Piper, Hans Haacke, Charles Simonds, David Medalla, Ian Breakwell, Stephen Willats, Judy Chicago and art historian Ariene Raven. Specific to the cultural moment of the late 1960s and early 1970s, the film examines the ways in which these artists responded to liberal, democratic and humanist ideas.

Raconteur Summary and Panel Introduction Matthew Perkins

Panel Discussion

Speakers: Jill Orr, Archie Barry and Camila Galaz

Chair: Matthew Perkins

Reflecting on the presentations and screenings shown throughout the day, the artists will discuss notions of immediacy, authenticity and truth; the evolving nature of embodiment, representation and media; notions of visibility, action and agency; as well as the sociopolitical context of their video and performance practices.

Closing Statement

Curated by Kelli Alred.

Presented in partnership with the National Gallery of Victoria.

Image; Barbara Cleveland, The History of Performance, 20th Biennale of Sydney, 2016. Photo: Jessica Maurer. Image courtesy of the artists.

Date and Time

Location

National Gallery of Victoria, Clemenger Auditorium

180 St Kilda Road

Melbourne, VIC 3006

Australia

View Map

Refund Policy

Contact the organiser to request a refund.

Eventbrite's fee is nonrefundable.

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