shaun wilson research: 23 Dec 2006

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.

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