December 1, 3, 7 : State Film Centre, Melbourne, VIC.
As it is a recent medium video does not have the advantage (as does film) of having established a viewing etiquette. There is no dark silent cinema with seats and attention focussed on a large screen; video makers face quite different criteria. They have to compose for a small screen and compete for the viewer's attention.
Television, as the largest user of video, constantly presents us with reduced large-screen images that detract from the overall composition of the piece. The works in this season employ both the technological and creative processes by which a unique small-screen look is achieved.
The works take the viewer through a range of emotions - the short sharp works rivet the audience, get their point across with no uncertainty - a centre hit in a fast moving world.
The underlying aim of the season is to present a cross section of video works produced in Australia and to screen more works in a way that is compatible to them both physically and in atmosphere. Hopefully this will set a standard for presentation of future video showings.Jack White, Eva Schramm, Patrick Gillespie in association with The Australian Film Institute.1
PROGRAMME NOTES
Warren Burt: "IN MEMORIAM TO BILL EVANS" 26 mins.
Six video synthesis meditations accompanied by fragmented and treated performances by the late composer/pianist Bill Evans. A sense of general memory and loss pervades the work with its subtle and slowly changing abstract images.
Warren Burt: LIVE PERFORMANCE IN THE CINEMA Tuesday 7 December.
The sound track is made by a Serge synthesiser tuned to a series of ancient Greek modes.
Among these is the great grandfather of our familiar major scale. The visuals use a number of electronic processes not normally associated with video effects such as processing a camera signal through a sound reverb unit or a filter specially designed for sound.
Peter Callas:'*OUR POTENTIAL ALLIES" Dual monitor installation. 1980. 13 mins.
In "Our Potential Allies" two separate monitors present two different sets of imagery. One is a more or less continuous shot of a caucasian (the artist) dressed as a pseudo-primitive whilst the other is of an on-going stream of imagery derived from and with the same pacing as, television imagery. The eye naturally gravitates towards the quicker paced monitor whilst occasionally cross referencing to the other monitor to check that not too much has changed since the last time it was observed. Although the voice track which emanates from the left monitor belongs to the past (it is in fact a war time briefing issued from the office of General MacArthur during the New Guinea Campaign in 1943) what is seen is obviously not a documentary, nor is it 'about' the past. The viewer has difficulty placing him or herself anywhere but in the present: in a room with yourself watching two television screens at once. The tapes present a paradox but it is the viewer, and not myself, who both expects and provides a 'solution' on this side of the screen.
David Chesworth: INDEFINITE OBJECTS 1982. 20 mins.
This final video synthesis piece is rather like our extended video game. It's strategy is to deny the image any intended meaning which is of course impossible, in fact the opposite occurs. Cross video synthesis, T.V. Sci-Fi, and music combine to form a series of scenes. The resulting images by their very nature toy with notions of narrative and representation.
Lisa Dethridge: "T.V. TABU" 1982. 30 mins.
Documentary survey of current Australian video artists including excerpts of their work.
Hugh Drake: "MANDURAMA" 14mins. (approx.) Colour.
Images: Hugh Drake
Music: Michael Garrick and Peter Thin
The kinetic of light on water has been a fascination of mine for many years and this tape takes its name from an aboriginal word for 'water hole' from whence came much of the original inspiration for this piece. Having captured on film, using techniques of double exposure and camera filtration, the subtlety of these patterns, I generated other colour and form into them through video techniques until the right feeling was achieved. the music was then mixed to suit the imagery from original compositions by the above musicians.
Patrick Gillespie: "SHAMAW" 1982. 7 mins.
"What if" images over a cup of coffee.
John Gillies: "MOUNTAIN MAN" 1982. 3 mins.
Colorized image of original footage to create a single JErame cowboy cartoon with Roy Rogers effects.
John Hansen: "ONE NIGHT IN MY LIFE" 1982. 15mins.
This piece is an embryonic view of the current computer graphics video system that I have been developing for the last decade with the latest technology currently available.
It should be likened in maturity to a Fairlight synthesizer (2 of which were used for the sound playing Three Blind Mice)
The development and, therefore, possibilities have no end in sight and form my lifetime pursuit.
Music composed by: Stephen Dunstan and Duncan Maguire.
John Hansen: "INSTALLATIOW' 1982.
The Installation is the first micro-computer video system that I designed and built when micro processors first became available. By today's system it is rather quaint, yet it was really the first micro computerized video graphic system in Australia (if not the world). As such it opened a pandoras box to me and I regard it as a significant phase of video, computer, and my own evolution.
John Hughes, Andrew Scollo, Peter Kennedy: NOVEMBER ELEVEN. 1979.
John Hughes, Peter Kennedy, Caroline Howard, Andrew Scollo, Paul Davies, Lisa Dethridge: NOVEMBER ELEVEN - WORK IN PROGRESS. 1981.
These two tapes are part of a long term installation project produced by Peter Kennedy involving the production of 6 painted banners (305 X 274cm) and a sixty minute film/video.
The first tape was originally screened at the Sydney Biennale in 1978 and was awarded a Penguin (Australian Television Society) Award in 1979. The second tape was initially produced for the Prospector exhibition in 1981. Both tapes have been widely shown, here and overseas in gallery, performances and community contexts.
In 1978-9 our primary concern in the video aspect of the project was with sound and image previously broadcast, relocated (“de-constructed”) in order to develop certain critical reflexivity within 'sound' images. (Sound work: John Scott/ Robert Moore). In 1981, we were interested in locating the events of 1975 in relation to media representation of particular political histories, i.e. 1890/s, 1968, 1975, 1981.
Ref.. "Eureka - Artists From Australia" catalogue, Institute of Contemporary Art ~ London, 1982.
Lippard L. "Australia Art - Out of Control" Village Voice, November 1982.
INFOMATICS: LIVE PERFORMANCE. 22 mins.
Live music performance in conjunction with the use of both audio and video tapes specially composed for this exhibition.
The piece is concerned with the different aspects of information and disinformation on personal, political and propaganda levels.
The Infomatics are: Valek Sadov, Michael Trudgeon, Stephen Adams, Phillip McKellar, Ramesh Ayaar
Stephen Jones: SEVERED HEADS. 1982. 24 mins.
Through a synthesiser constructed by Stephen Jones, music and image recorded live at the METRO studio in Sydney is treated. Musicians are TOM ELLARD, GARY BRADBURY and SIMON INSECTOCUTOR.
Dianne E. Lloyd: "ALTERNATIVELY" 1980. 5 mins.
This work deals with the paradoxical relationship between the glass screen of the monitor and another sheet of painted glass, behind which my face and hands can be seen... Alternatively explores the relationship between the watcher and the watched.
Dianne Lloyd and Peter Callas: "MASSAGE" 1982. 6 mins.
Combination of two of Australia's best known video artists. Expansive use of chroma-key.
Valek Sadov: "WHAT A WORLD" 3 mins.
Electronic music video clip using computer for composing sound track, EMS Spectre synthesiser for visual effects: An Ode to Modern Life.
Eva Schramm and Gary Willis in association with Randelli Productions: "HOLY WORD" 8 mins.
Music by Warren Burt.
Andrew Scott: "THE HALLWAY" 1982. 8 mins.
The door opens into the video, into the hallway, and into the artist. Andrew Scott is a 4th year Media student at Melbourne State College.
->|-> Asphixiation: "AURAL ORAL RISK" 1982. 3 mins.
From the album; WHAT IS THIS THING CALLED DISCO?
->|-> “ADS” September 1982.
Six short pieces inserted over the evenings program:
| 1. THE INDUSTRY OF HANDS | 2. THE LUXURY OF SPEED |
| 3. THE NATURE OF SEDUCTION | 4. THE IMAGE OF PEOPLE |
| 5. THE OBJECT OF SEX | 6. THE POWER OF FOOD |
Jack White: "ONE MANS' MONOCHROME" 1982. 5 mins.
A clean-cut advertisement for the possibilities of choice. In high contrast B & W.
Gary Willis and Eva Schramm: "STRATEGIES FOR GOODBYE" 1981. 8 mins.
High powered treated image lunging out at the viewer. Your constant attention is required.
Gary Willis, Eva Schramm and Christine Mearing:"TE VE VU DT, 1982
Seven short pieces inserted over the evenings program. Intimate moments captured.
Gary Willis: AND THE LEOPARD LOOKED LIKE ME!" 1979-81 30min.
A psychedelic agro-expressionist, heavy metal, video comic strip abstract of the artists' experience in New York.
1Australian Film Institute – Projections (movie guide) December 1982
