26 December 2006

New Look for Shaun Wilson Research Blog

Welcome to the new look Shaun Wilson research blog. Over the next few weeks I will present new features including a comprehensive archive of exhibitions, essays, reviews and papers of my work from 1995 onwards. Hope you like it...

Here are some things to expect in 2007:

- memory and place videoart archive
- guestbook and online forum
- RSS calander of upcoming events
- playable video
- new curatorial blog release
- new gallery release
- new archive blog release
- international conference announcements
- international exhibition announcements
- international journal announcements
- new Shaun Wilson website linked to this blogsite with over 200 downloadable videos

New Curatorial projects planned for 2007

I am planning x4 curatorial projects in 2007 that investigate issues of video art in contemporary art. A catalogue documenting the four projects will be released in December 2007.

Australian Gothic: video art now


Image: Tammy Honey

Project Space/Spare Room, Melbourne
Directors Lounge, Berlin
Feb 2007
weblink

Far Away Land


Image: Alex Avtzoglou

site specific public locations in Melbourne and London
Proposed at the Melbourne International Arts Festival 2006
Proposed at the Athens Video Art Festival 2007
November 2007
weblink

De memoria
follow up from Ars memoria (2006)
online at Rhizome
August 2007

Post-Cinema


Image: Martin Koeppl

As part of the '2nd International Conference on Film and Memorialisation', Melbourne
Project Space/Spare Room, Melbourne
Proposed at Ssamzie Space, Seoul
October 2007
weblink

New Video Series 'Gothic memoria' planned for 2007

As a responce to the current Uber memoria II series (2006-07), new video works will be filmed in various sites including Melbourne, Hobart and London throughout 2007 - as per a large proportion of footage filmed in Berlin and Stuttgart in 2006 not used both the Uber I & II series - to make up a total of six groupings with a total of 1000 video paintings. Production will start in May 2007 with a release date of December 2007. Exhibition of these works will be anounced later in the year.

Locations used are sites of significance in terms of memory and place. For example, Soho Gardens contains WW2 yet to be restored Blitz air raid shelters beneath it's parkland; the RMIT University is home to sites of the original (and notorious) Old Melbourne Gaol and 1860s public hanging grounds cnr Swanston and LaTrobe Street; and the site of the Berlin Wall near Checkpoint Charlie, aka the 'topography of terror' presinct, contains the orginal sites of the State Police, the Reich Security main office, the SS, and the Reichsfuhrer. These builidngs were home to the Wannsee Conference and planning of the 'Germinisation' and 'Extermination' policies implimented by the Nazi government between 1942-1945.

Places used in Gothic memoria are:

Melbourne: Sherbrook Forrest, Old Melbourne Gaol site at RMIT University, Wreck of the Cerberus, Glenrowan
Victoria: Howqua Valley,
Hobart: Battery Point fortification tunnels, Lower Sandy Bay foreshore
Stuttgart: Castle Solitude
Berlin: Berlin Wall at the Topography of Terror site
London: Soho Square Gardens
Schwaebisch Hall: Schaebisch Hall prison
New Zealand: Kepler Track

Production images will be released throughout the year

25 December 2006

New Video Art Exhibition in Melbourne


AUSTRALIAN GOTHIC
Curated by Shaun Wilson
Project Space/Spare Room, Melbourne: 05.02.07-23.02.07.
Directors Lounge, Berlin: 08.02.07-18.02.07
weblink

Brendan Lee
Marsha Berry
Tammy Honey
Robert Hecimovic
Alex Avtzoglou
Larissa Hjorth
Brie Trenerry
Shaun Wilson

I will be curating the touring exhibition Australian Gothic to be exhibited at Project Space/Spare Room, Melbourne and Directors Lounge, Berlin in Feb 2007. The exhibition will be a survey show of current emerging and established Australian video artists. Evidenced work will reflect a 'Gothic' mode, as further discussed by Gerry Turcotte in his essay 'Australian Gothic' (Turcotte, 1995), including Brendan Lee's Two Birds with One Stone, Brie Trenerry's fly infested Sleep Paralysis and Tammy Honey's pop-desire Threesome. Future exhibition venues in the UK and USA will be added later in the year.

A colour catalogue will be available closer to the exhibition opening or via email me: shaun.wilson @ rmit.edu.au.

Image: Tammy Honey (2006) video still from 'Threesome', single channel DV, colour, sound, 5 mins.

24 December 2006

Filmic Memorials (PICA)


Shaun Wilson, Wonderlandic (2005), DV as single channel DVD, colour, sound, 60 mins

01.09.2005 - 09.10.2005
Perth Institute of Contemporary Art
Perth , Australia
website

Small Worlds


Shaun Wilson, The Memory Palace (2003), DV as single channel DVD, colour, sound, 5 mins.

Curated by Sean Kelly
March 2003
Contemporary Art Services Tasmania (CAST)
Hobart, Tasmania

Mnemonica Series 1


Shaun Wilson, Wonderlica (2003), DV as single channel DVD, colour, sound, 5 mins


Shaun Wilson, 1986 (2003), DV as single channel DVD, colour, sound, 5 mins


Shaun Wilson, November (2003), DV as single channel DVD, colour, sound, 5 mins


Shaun Wilson, Place (2003), DV as single channel DVD, colour, sound, 5 mins


Shaun Wilson, Easter (2003), DV as single channel DVD, colour, sound, 5 mins


Shaun Wilson, Portal (2003), DV as single channel DVD, colour, sound, 5 mins


Shaun Wilson, Through my Father's Place (2003), DV as single channel DVD, colour, sound, 5 mins


Shaun Wilson, 1985 (2003), DV as single channel DVD, colour, sound, 5 mins

Video $5,000 AUD each.

23 December 2006

Research 2


Shaun Wilson, Place Diorama ii (2003), DV as single channel DVD, colour, sound, 3 mins.

Curated by Vincent McGrath
05.09.2003 - 03.10.2003
Academy Gallery
University of Tasmania
Launceston, Tasmania

Ali Aedy
Edna Broad
Deborah Edwards
Tim Edwards
Niels Ellmoos
Robyn Glade-Wright
Graham King
Stone Lee
John Parish
Anthony White
Shaun Wilson

White Line Fever/Footballism


Shaun Wilson, Barry's Gig Game (2004), DV as single channel DVD, colour, sound, 3 mins.


White Line Fever
Curated by Malcom Bywaters
05.07.2004 - 06.08.2004
Academy Gallery
University of Tasmania
Launceston, Tasmania

Various artists




Footballism
14.09.2005 - 23.09.2005
PITSpace Gallery
RMIT University
Bundoora, Victoria

Hidden Worlds


Hobart - Shaun Wilson, The Hidden Worlds detail of diorama attached to gallery ceiling (2002), digital print, 70mm x 95mm

Entrepot Gallery
01.09.2002 - 14.09.2002
Centre for the Arts
University of Tasmania
Hobart, Tasmania

Artwork exploring the relationship between the miniature and spatial narratives.

Celebrating the Exquisite Corpse

Curated by Anonda Bell
Bendigo Art Gallery: 10.06.2000 - 23.07.2000
Monash Gallery of Art:
10.05.2001 - 24.06.2001
Swan Hill Regional Art Gallery: 25.09.2001 - 16.11.2001
Ararat Gallery: 14.12.2001 - 25.01.2002

120 emerging and established artists.


Celebrating the Exquisite Corpse

In Andre Breton's Dictionaire Abrege du Surrealisme of 1938 he describes the 'Exquisite Corpse' as: a game of folded paper which consists in having several people compose a phrase or drawing collectively, none of the participants having any idea of the nature of the preceding contribution. In Andre Breton's Dictionaire Abrege du Surrealisme of 1938 he describes the 'Exquisite Corpse' as: a game of folded paper which consists in having several people compose a phrase or drawing collectively, none of the participants having any idea of the nature of the preceding contribution.

The now classic example, which gave its name to the game, is the first phrase obtained in this manner: The Exquisite-Corpse-shall-drink-the-new-wine. The Exquisite Corpse was for Surrealists a way to access and generate concrete manifestations of the subconscious mind with a fevered and uncensored abandon not possible by any other means. Breton, referred to by some as the Pope of Surrealism, has been described as shouting with joy when he recognised the creative potential afforded by this unorthodox modus operandi. The Exquisite Corpse was the most popular of all automatic techniques, and was directly in keeping with the Surrealists aim of creating via 'the dictation of thought, in the absence of all control exercised by reason, and outside all aesthetic or moral preoccupations'.

Since the time of the Surrealists, many well known artists have played the Exquisite Corpse game. In 1995 I viewed an exhibition of contemporary Exquisite Corpse's as it was on tour in the United States which provided me with the inspiration to organise a version involving 120 Victorian artists. In keeping with Surrealists intentions I was at the outset determined, as much as feasibly possible, to allow the mechanisms of chance dictate the process. The artists were selected at random and came from a variety of backgrounds, from painters and printmakers through to digital artists. This included people fresh out of art school, all the way through to very well known artists. Most of the groupings (three artists contributed to each drawing) were anonymous, and people were often working with geographically disparate collaborators. Paper was provided but this was to be viewed only as a starting point, all else was left to the artists. The resulting works included many traditional mediums as well as hair, wire, insects, felt and leaves.

The main joy of organising this exhibition was the overwhelmingly positive response to the concept. Arts Victoria provided funding through the Regional Arts Fund, and as the Curator I was pleased by the tremendous support received from artists who dedicated their expertise and time. The Exquisite Corpse's exceeded my expectations. The works were intricate and blatant, dynamic and ambiguous, precious and haphazard. They embodied the spirit of Surrealism - a democratic, liberated and fun way to create art. They were the results of a game which embraced everyone and encouraged anything.

- Anonda Bell 2000 (from Arts Victoria website: June 2001 archive, Vol. 2, No. 2
weblink )

DIY: do it yourself

Curated by Malcom Bywaters
Switchback Gallery:
07.09.1999 - 30.09.1999
Faculty Gallery: 04.2000
Monash University
Victoria, Australia
catalogue ISBN:
0-73262-096-1

Bret Jones & Sarah Stubbs (Westspace)
Richard Holt and Andrew Seward (Platform)
Maggie McCormick (City Art Public Space)
Monica Adams & Shaun Wilson (Indigo Studios)

Artline 1995

Curated by Malcom Bywaters
Presented by the Whitt Artists group
10.10.1995 - 04.10.1995
Foy & Gibson Gallery
Melbourne, Australia

42 emerging and established artists.

The Artline curatorial series was first established by Malcom Bywaters as a 30-year survey exhibition of Australian contemporary art. In this inaugral group exhibition held by the Whitt Artists (founded by Malcom Bywaters in the early 1990s) several artists have since gone on to achieve international aclaim incluing Domic Redfern and William Eicholtz (winner of the 2005 Helen Lumprere Sculpture Prize ($100,000 AUD).

There have since been follow-up Artline exhibitions including Artline 1997 (Linden Gallery 1997) and Artline 2002: the Contemporary Portrait (Academy Gallery 2002). The next installment will be staged in 2007.

Work: Cut, Paste, Paint, Create, Burn

Curated by Malcom Bywaters
09.11.2001 - 15.02.2002
Faculty Gallery
Monash University Caulfield
Melbourne, Australia

Various artists

EIM Project

Environment
Curated by Shaun Wilson
18.04.2000 - 05.05.2000
Switchback Gallery
Monash University Churchill
Victoria, Australia

Marco Corsini
Kirsty Rogers
Kyan Sutherland
Philomena Carrol
Joe Angwin
Maria Quaremba
Stefanie Carnevale
Paul Gilmartin

The first installment of the EIM project exploring the relationship between the idea of 'environment' and contemporary art. This was addressed through explorations of place, locational identity and loss. Sculpture, installation, photography, painting and video were represented by emerging and established Melbourne-based artists.

Invention
Curated by Shaun Wilson
09.05.2000 - 26.05.2000
Switchback Gallery
Monash University Churchill
Victoria, Australia

Jason Haufe
Glynn De Williams
Hiedi Titshall
Joe Machin

The second installment of the EIM project exploring the relationship between the idea of 'invention' and contemporary art. Sculpture, photography, and painting were represented by emerging and established Melbourne-based artists.

Memory
Curated by Shaun Wilson
30.05.2000 - 16.06.2000
Switchback Gallery
Monash University Churchill
Victoria, Australia

Monica Adams
Louise Jennison
Nadine Sawyer
Maggie McCormack
Deborah De Williams
Fiona Halse
Shaun Wilson

The third installment of the EIM project exploring the relationship between the idea of 'memory' and contemporary art. Drawing, photography, photography, and painting were represented by emerging and established Melbourne-based artists.

New Art from Melbourne

Curated by Shaun Wilson
24.08.2000 - 10.09.2000
Jackman Gallery
Melbourne, Australia

Marco Corsini
Jason Haufe
Paul Gilmartin
Susan O'Doherty
Glynn de Williams
Deborah de Williams
Heidi Titshall
Philomena Carrol
Shaun Wilson

Little Things Count


Shaun Wilson, September (2002), photograph, 1200mm x 870mm. (ed.2 of 4)

December 2002
Centre on Contemporary Art (COCA)
Seattle, USA

Various artists

An Architecture of Hope


Shaun Wilson, Emerge (2004), photograph, 1200mm x 860mm (ed. 1 of 4).

Curated by Martina Copley
August 2006
Gallery 101
Melbourne, Australia

Various artists

22 December 2006

Curatorial Symposium 2002

Project coordinated by Shaun Wilson
Entrepot Gallery: 02.12.2002 - 20.12.2002
Centre for the Arts, University of Tasmania
Hobart, Tasmania

Interlopen
Curated by Kyra Pybus
02.12.2002 - 04.12.2002

Peter Adams
Michaela Gleave
Anthony Johnson
Tristan Stowards
Kyra Pybus

Distance: the Space Between
Curated by Carolyn Rose
05.12.2002 - 09.12.2002

Brian Stapenell
Carolyn Rose

The Moving Line
Curated by Emma Redfearn
10.12.2002 - 12.12.2002

Rowan Reynolds

Transcribe
Curated by Alicia King
13.12.2002 - 17.12.2002

Kylie Stillman
Rye Barry
Sophie Codrington
Shaun Wilson

Interaction
Curated by Nicole Maguire
18.12.2002 - 20.12.2002

Phil Edwards
Cassandra Laing
Rebecca Guest
Bec Robinson

Shaun Wilson
Curatorial Symposium 2002 catalogue essay
ISBN:1-86295-069-5

(Apologies for the notoriously bad writing from my student days ;p)

Historically speaking, the 'curator' referred to a museum custodian from a collection representing a specific theme or category within an institution. The curator knew specific, minute, painstaking details regarding their collection and every object, artwork or artefact receiving individual listings, classifications, sub-categories and numbered indexing.

The curator was educated, often resided inside cluttered museum storerooms and musty underground catacombs. The curator was the organiser, the display coordinator yet rarely the public face. The curator was a specialist in their field and often highly regarded within society circles entrenched within intellectualism. These images of the curator still exist within numerous institutions but placed within a contemporary setting the curator has, more or less, escaped from timeless museum storerooms of the rarely seen collection and found the freedom of D.I.Y.

In 1988, Damien Hirst, a then 3rd year Fine Arts student from London's Goldsmiths College managed to captivate a tired and stale British art world, arguably changing perceptions of the role of the artist-curator. Exhibiting a three-part exhibition in a disused dock warehouse, Freeze became a benchmark of new British art. From the cultural wasteland of the Thatcher government's policy of art school closures and arts funding 'economic accountability' emerged an outspoken, rebellious new breed of artists who made valid and renowned contributions to curatorial practice led by 'bad-boy' Damien Hirst.

The 'artist curator was a term that moulded the next decade of visual arts worldwide. The 1990s became the 'curated 90s'. Artist run initiatives (ARIs) emerged from derelict, disused buildings in shabby areas while artist collectives and communities emerged distrustful of contemporary standards in museology and visual arts politics. Curating was effectively delivered from the bastions of high art to lowbrow, 'in your face' exhibitions that sprang up throughout Europe in the late 1980s and early 1990s.

From then on, younger artists on a global level were 'fundamentally dissatisfied with existing visual art models' (Bywaters, 2). The need for the artist curator is now crucial for artistic freedom within the confines of entrepreneurial professionalism.

Once a taboo term, the DIY artist curator is now capable of staging any kind of exhibition they choose without the pre-existing support of a gallery or institution. The curator no longer needs an M.A in classics; an artist merely needs the opinion of 'becoming' a curator without the traditional right of passage. Curatorial freedom of this unrestrained, bureaucratic free zone nurtures the artist and delivers exhibitions worldwide that give rise to the revamped, modified perception and practice of the curator. 'Art is not just about making a vision; it is also about imposing that vision on others' (Sensation, 9).

Building on the next generation of DIY artist-curators, the Curatorial Symposium 2002 visits a fresh nesting ground of vibrant freedom showcasing the vision, and style of newcomers to curatorial practice. 'Do anything' was the brief given to this inaugural exhibition; established from the need to provide Hobart artists an opportunity to curate without limitations. Each invited curator was given three days to set up, install, open and then close his or her exhibition.

These participating curators are a collection of undergraduate Fine Art students from the Tasmanian School of Art. The artist they have selected vary in style and experience. Emerging and established artists are represented within the exhibition platform from local and national arenas. I wish all of those involved in this project great success in their future careers and look forward to the big question of 'what’s next?'

References

Malcom Bywaters, forward,
DIY: do it yourself, Monash University, Melbourne, 1999.
Sensation, exhibition catalogue, Royal Academy of the Arts, Thames and Hudson, London, 1999.

Artwork Sales

Primary Market Value: $2,000 - $95,000 AUD

$5,000-$45,000 AUD (miniatures)
$3,500-$95,000 AUD (painting)
$15,000-$45,000 AUD (installation)
$2,000-$72,000 AUD (video)


Single Edition Videoart

$72,000.00 AUD: ed 1 of 1 (singe feature length)

Small Edition Videoart (1-4)

$2000.00 AUD: ed 1 of 4
$3000.00 AUD: ed 2 of 4
$6000.00 AUD: ed 3 of 4
$8000.00 AUD: ed 4 of 4

Medium Edition Videoart (1-30)

$ 500 AUD: ed 1-5
$1500 AUD: ed 6-10
$2500 AUD: ed 11-15
$3500 AUD: ed 16-20
$4500 AUD: ed 21-25
$5500 AUD: ed 26-29
$6500 AUD: ed 30

Large Edition Videoart (1-500)

$29.95 AUD: ed 1-100
$39.95 AUD: ed 101-200
$49.95 AUD: ed 201-300
$59.95 AUD: ed 301-400
$69.95 AUD: ed 401-499
$99.95 AUD: ed 500

For curency conversion click here

Please contact me for sales enquires: shaun.wilson @ rmit.edu.au

19 December 2006

Nextworlds (Part 3)

Switchback Gallery
30.04.2003 - 22.05.2006
Monash University Churchill
Victoria, Australia


Shaun Wilson, Nextworlds 3 detail (2006), mixed media, dimensions variable.


Shaun Wilson, Nextworlds 3 detail (2006), mixed media, dimensions variable.


Shaun Wilson, Nextworlds 3 detail (2006), mixed media, dimensions variable.

Installation price: $25,000 AUD (includes monitor and video camera)

Nextworlds (Part 2)


Shaun Wilson, The Wanderers, detail (2002) mixed media, dimensions variable.

16.11.2002 - 14.12.2002
Canberra Contemporary Art Space Cube
Gorman House, Canberra
ACT, Australia

Nextworlds (Part 1)


Shaun Wilson, The Displaced (2002), digital photograph from video still, 1200mm x 870mm

08.10.2002 - 18.10.2002
The George Paton Gallery
University of Melbourne
Victoria, Australia

Compendium


Shaun Wilson, Mr Wigglie survey's his lawn, acrylic paint, plastic, paper, glue, metal, found object, copper.
Collection: Deakin University Art Collection.


Curated by Martina Copley
Platform II: 10.2003
Icon Museum of Art: 18.02.2004 - 27.03.2004
Melbourne, Australia

In this artwork, curator Martina Copley sent me an old medallion box with the intent of converting it into an art object. I chose to address its sculptural form as a type diorama where the flipped outwards case held a direct visual relationship with the main hinged container.

The image itself was based on my next-door neighbour's (
who was a leading Tasmanian politician at the time) garden gazing abilities when I lived in Sandy Bay, Hobart (Tasmania) . He would often spend time looking over his front yard with a sense of commandment, as if a Navy admiral which at times appeared quite comical. In response Mr Wigglie came to be in 1/76th scale.

The exhibition was staged in 2003 at Platform, Melbourne and then in 2004 at the Icon Museum of Art, Deakin University. Mr Wigglie now lives in the his new home at the Deakin University Art Collection.

Modern Topographies




















24hrArt: NT Centre for Contemporary Art
09.07.04 - 07.08.04
Darwin, Australia
website


There has been much dialogue in recent times concerning the issue of boarder protection. Whether it is terms such as ‘queue jumper’, 'illegal immigrant’ or ‘boat people’, the plight of the refugee is by its very nature a sensitive and complex topic. Moreover, the philosophical issues that arrise from the detainment of refugees in Australia raise important questions about nationalism, place, identity and memory.

On the one hand, the refugee is fleeing their native environment – their native place – due to a number of reasons that may include war, religious or political persecution. In doing so, a new place is sought to inhabit. However, the unsolicited entry into Australia is often met with hostiliy and suspicion resulting in the forceful detainment of these individuals into a foreign and unfamiliar place.

On the other hand, memories of these native places are often mapped onto the localities that are experienced within the places of detainment. For example, if someone inhabited a village for most of their life, the memories of such a place would become part of their identity. Moveover, the design of architecture, family traditions and cultural practice, in particular, would be unique to their specific surroundings. However, when the same person leaves their native environment for the aforementioned reasons the manner in which that person interacts with their new surroundings is characterised by the comparisons made between what they perceive in the present with the memories of experiences located in the past. If the mapping of such perspectives involves the places of both the past and the present, what is to become of a person identity? Can the places of internment define a new identity or is it a corruption of an old one? Perhaps these memories of the past are traumatic and triggered by objects in the places of internment – razor wire might prompt a memory of war just as uniformed staff might prompt memories of military or terrorist action.

One might argue that memory and place have such impact on the identity of the refugee that internment places open up another kind of space – a modern topography. These are the philosophical spaces developed by those who experience and move through internment places that are characterised by the memories of another.

Responding to this idea I have developed a series of miniature landscapes that depict internment places from both interior and exterior views – those who look in and those who look out. By videographing these artworks a secondary artwork emerges that reflect other places, namely the extracts from topographical views documented through standard 8mm home movies. By doing so, the viewer witnesses a morphing of scenes that combine the idyllic with the traumatic. Here, we see the modern topography come to life through a kaleidoscope of memory and narrative that seeks to question and discover.

Video price: $5,000

Dorkbot: People Doing Strange Things with Elecricity Too


Shaun Wilson, Statica (2004), video still, DV, from the cover of 'Statica', Comfortstand Records (USA).

Centre on Contemporary Art Seattle, USA
CD launch: People Doing Strange Things with Electricity II
project website
Comfortstand Records profile of Shaun Wilson

The philosopher P.F. Strawson who described, in The Individuals, a universe called 'no space world', influences this artwork. He created the hypothetical world based on the idea it had no form except sound, whereby living creatures were audio signatures, coexisting through a series of bips, noises and distortions. I created the artwork using a series of manipulated recordings of static electricity from t-shirts in my clothes dryer and blended it with other noises to produce a universe not unlike Strawson's description. The main part of my sound universe comes from slowed down static noises that created a sense of spatiality, defining up and down, here and there, too and fro. The title of the artwork, Statica, is derived from the words 'static' and 'galactica' (as in galaxy).

The artwork was represented in the CD launch at COCA Seattle and has been released by Comfortstand Records (US) in Volume Two of People Doing Strange Things with Electricity.

Memory, Place and Identity

Curated by Alexandra Brouch
12.03.2005 - 16.04.2005
HERA Gallery
Rhode Island, USA
website

Luke Buffenmyer
Susan E. Evans
Adam Eckstrom
Penelope Manzella
Olivia McCullogh
Shaun Wilson

The works by the seven artists in this exhibition explore the complex relationships between memory, identity and place. Place holds memory and defines who we are. Memory is malleable, part invention, part interpretation. We each have memories that relate to or are invoked by a certain place. These stories are our own and help make us who we are. We also share memories of a common social history that connects us to community. The connection we feel to place, changes to that place, or its loss, affect us in profound ways.

Both photography and painting have been used to depict idealized, utopian, or exotic places -- fictionalized images that reflect or influence the collective imagination of the times. The artists in this exhibition examine these cultural notions of place by deconstructing and re-contextualizing traditional photographic and painterly modes of portraying the landscape, family, and community.
This program is sponsored in part by The Rhode Island State Council On The Arts, The Friends of Hera, and The Hera Educational Foundation. (from the exhibition website).

Video $5,000 AUD

Art Tech Media 06

The image “http://www.pica.org.au/art05/05-img/WilsonShaun-img/Wilson-5.jpg” cannot be displayed, because it contains errors.
Shaun Wilson, the Bridge (2005), DV as single channel DVD, colour, sound, 60 mins

ARCO: 09.02.2006
Presidential Government of the Canary Islands, Tenerife: 13.03.2006 - 18.03.2006
Museum of Contemporary Art Fenosa Union, Coruna: 23.03.2006 - 30.03.2006
Museum Centre of Conetmporary Art (atrium), Vitoria: 03.04.2006 - 09.03.2006
Da2 Museum (Domus Atrum 2002), Salamanca: 25.04.2006 - 30.04.2006
Parraga Centre, Murcia: 08.05.2006 - 21.05.2006
Casa Asia, Barcelona:
08.05.2006 - 21.05.2006
Centre of Contemporary Culture Barcelona (CCCB), Barcelona: 24.07.2006 - 27.07.2006
Museum of Modern and Contemporary Art, Mallorca: 03.10.2006 - 07.10.2006
National Museum Centre of Art Reina Sofia, Madrid: 23.10.2006 - 28.10.2006
project website

The Spanish touring symposium and exhibitions were held at various musems and contemporary art centres throughout Spain in 2006 focusing on the philosophical and theoretical issues of digital media. My video work The Bridge was selected in the screening program and also as one of eight artists representing the entire project in a forthcoming book documenting the project.

Video $15,000 AUD

Filmic Memorials series 4


Shaun Wilson, Onlook (2006), DV as single channel DVD, colour, sound, 5 mins.


Shaun Wilson, Man with a Face (2006), DV as single channel DVD, colour, sound, 5 mins.


Shaun Wilson, Girl Lost (2006), DV as single channel DVD, colour, sound, 5 mins.


Shaun Wilson, Girl with a Face (2006), DV as single channel DVD, colour, sound, 5 mins.


Shaun Wilson, Man with a Bicycle (2006), DV as single channel DVD, colour, sound, 5 mins.


Shaun Wilson, Man with Flowers (2006), DV as single channel DVD, colour, sound, 5 mins.

Video $5,000 AUD each

Filmic Memorials series 3


Shaun Wilson, Drive (2005), DV as single channel DVD, colour, sound, 60 mins.


Shaun Wilson, Airbase 2 (2005), DV as single channel DVD, colour, sound, 60 mins.


Shaun Wilson, Picnic (2005), DV as single channel DVD, colour, sound, 60 mins.


Shaun Wilson, Tilt (2005), DV as single channel DVD, colour, sound, 60 mins.


Shaun Wilson, Berlin (2005), DV as single channel DVD, colour, sound, 60 mins.


Shaun Wilson, 1975: version 1 (2005), DV as single channel DVD, colour, sound, 5mins.


Shaun Wilson, Stationary (2005), DV as single channel DVD, colour, sound, 5mins.


Shaun Wilson, Pool (2005), DV as single channel DVD, colour, sound, 60 mins.

Video $15,000 AUD each

Reference 8mm film copyright Tony Barbone: all rights reserved.

Filmic Memorials series 2


Shaun Wilson, Church (2005), DV as single channel DVD, colour, sound, 60 mins.


Shaun Wilson, Through my Mother's eyes (2005), DV as single channel DVD, colour, sound, 60 mins.


Shaun Wilson, Kindergarden (2005), DV as single channel DVD, colour, sound, 60 mins.


Shaun Wilson, Pillar (2005), DV as single channel DVD, colour, sound, 60 mins.

Video $15,000 AUD each


Filmic Memorials series 1


Shaun Wilson, The Memory Palace: original (2003), DV as single channel DVD, colour, sound, 8 mins.


Shaun Wilson, Dwelling (2003), DV as single channel DVD, colour, sound, 5 mins.


Shaun Wilson, The Memory Palace: A (2003), DV as single channel DVD, colour, sound, 3 mins.


Shaun Wilson, Place Diorama ii (2003), DV as single channel DVD, colour, sound, 3 mins.

Video $5,000 AUD each