The Gothic memoria script is now complete and work on the film's production has started. All 21 scenes are approximately 5 minutes each and a casting call will be made over the next two weeks. Funding for the project has been successful so the initial location shots will be filmed shortly and the miniatures unit/cgi/greenscreen shots will begin in August.
More info and soon to come production stills will be released later in the month so stay tuned...
5 June 2007
28 May 2007
Final Production for extended Uber memoria series
The last Uber memoria series (9-21) will be filmed in late June/early July as a conclusion to the seven trilogy installation. This mammoth undertaking of x130 works is due to be filmed in various locations throughout Cairns, Melbourne and Hobart. Release of the complete works on DVD is due on October 18th, 2007; exactly one year since the first Uber film shoot in Germany.
Funding permitting, a back-to-back shoot will also happen at the same time - thank you Peter Jackson - with the yet to be named feature-length film using a selection of locations appearing in the final Uber works. The advantages of such are using the same crew, sets and actors amassed for the seven cam production (Uber series is shot on HDV, the new film shot on DVCProHD). More updates will be available soon.
Funding permitting, a back-to-back shoot will also happen at the same time - thank you Peter Jackson - with the yet to be named feature-length film using a selection of locations appearing in the final Uber works. The advantages of such are using the same crew, sets and actors amassed for the seven cam production (Uber series is shot on HDV, the new film shot on DVCProHD). More updates will be available soon.
23 May 2007
Update on L.A exhibition
curated by Larissa Hjorth, Kate Shaw & Roger Dickes
Glendale College Art Gallery, Los Angeles, USA: 01.09.07 - 15.10.07
LAXART, Los Angeles, USA: 01.09.07
New dates and venues have been released for the U-Turn exhibition in September this year. I will be screening works from the Uber series along with 17 other artists including Stephen Haley, Laresa Kosloff, Nadine Christensen, Kate Shaw, Larissa Hjorth, Natasha-Johns Messenger, Paul Quinn, Iam Haig and Martine Corompt.
29 April 2007
New Screening in Russia
curated by Helene Black
National Centre of Contemporary Art,
I will be screening a selection of the Uber memoria works in the forthcoming curated exhibition In Transition at two locations of the National Centre for Contemporary Art in Russia during late 2008. This also accompanies a 3-day international conference (exploring themes raised by the exhibition) to be staged at
Updates on the exhibition and conference will be made available soon.
17 April 2007
New Screening in Melbourne
Voyeur One
69 Smith Street, Melbourne: 16.04.07 - 06.05.07
Zurich, Switzerland 25.07.07
Helsinki, Finland: 01.08.07
Amsterdam, Holland: 07.07
Weblink: http://www.voyeurcollective.com/index.html
I am participating in the group exhibition/project by the Voyeur International Video Collective opening Tuesday 6:00pm-8:00pm April 17th at 69 Smith Street Gallery in Melbourne. A total of 28 artists are screening their works who are based in Australia and elsewhere. My work features the first public screening of the Uber Memoria (short version) to be later displayed as a larger and more substantial edition.
The exhibition will tour to various venues in Zurich, Helsinki and Amsterdam later this year.
Image: copyright Voyeur Video Art Collective, 2007.
17 March 2007
Uber memoria paintings
Shaun Wilson, Pool, oil on canvas, 25cm x 38cm
12 March 2007
Uber memoria series 4-7
Here are some new images from the Uber memoria series 4-7 filmed in Melbourne during February 2007. Once the first Uber DVD was released there semed to be a significant interest in the initial series from a few curator friends of mine who are placing these works in various shows from next year onwards who then asked for more. As I originally planned for a total of x20 Uber series but stopped because of production delays I've gone back to create forty new works (x10 each series) over the last month. The second Uber DVD should be ready for sale around July/August funding permitting.
Series 8-12 are due for filming around late April/May featuring the expanded Friedrich painting re-appropriations.
Also, as some of you may have heard me talk recently about the 'mystery' feature-length film inspired from the Uber works (in pre-production), I can't say too much now except that it will be filmed in Pro HD and should be ready in time for Christmas, so stoping asking me!
With many thanks to Phil, Tam, Krystal, Tess and others who participated in filming and phone banter encouragement from Mr Lee.
Shaun Wilson, video still from Uber memoria series 4 (2007), HDV as multi channel DVD, colour, sound, 25 mins.
Shaun Wilson, video still from Uber memoria series 5 (2007), HDV as multi channel DVD, colour, sound, 25 mins.
Shaun Wilson, video still from Uber memoria series 6 (2007), HDV as multi channel DVD, colour, sound, 25 mins.
Shaun Wilson, video still from Uber memoria series 4 (2007), HDV as multi channel DVD, colour, sound, 25 mins.
Series 8-12 are due for filming around late April/May featuring the expanded Friedrich painting re-appropriations.
Also, as some of you may have heard me talk recently about the 'mystery' feature-length film inspired from the Uber works (in pre-production), I can't say too much now except that it will be filmed in Pro HD and should be ready in time for Christmas, so stoping asking me!
With many thanks to Phil, Tam, Krystal, Tess and others who participated in filming and phone banter encouragement from Mr Lee.
Shaun Wilson, video still from Uber memoria series 4 (2007), HDV as multi channel DVD, colour, sound, 25 mins.
Shaun Wilson, video still from Uber memoria series 5 (2007), HDV as multi channel DVD, colour, sound, 25 mins.
Shaun Wilson, video still from Uber memoria series 6 (2007), HDV as multi channel DVD, colour, sound, 25 mins.
Shaun Wilson, video still from Uber memoria series 4 (2007), HDV as multi channel DVD, colour, sound, 25 mins.
15 January 2007
Uber memoria proto
Shaun Wilson, video still from Uber memoria proto (2007), HDV as multi channel DVD, colour, sound, 25 mins.
Shaun Wilson, video still from Uber memoria proto (2007), HDV as multi channel DVD, colour, sound, 25 mins.
*Shaun Wilson, video still from Uber memoria proto (2007), HDV as multi channel DVD, colour, sound, 25 mins.
Shaun Wilson, video still from Uber memoria proto (2007), HDV as multi channel DVD, colour, sound, 25 mins.
The new bridging works between the Uber 1 & 2 and Gothic memoria series is now called Uber memoria proto re-addressing German Romantic seascape paintings in context to memory and place. Filming occured yesturday in coastal areas of Melbourne (Black Rock, Brighton Beach foreshore and surrounding area) where the scuttled 19th century battleship 'Cerberus' is located. Also note the bushfire smoke coming from Eastern Victoria and over Melbourne on the starred picture credit. More stills will be posted as editing continues...
9 January 2007
Final cut for Uber memoria 2
Shaun Wilson, video still from Uber memoria 2 (2006), HDV as multi channel DVD, colour, sound, 25 mins.
The last edit for Uber memoria 2 is underway. These first release video stills are from the London film shoot in December 2006. With many thanks to Jenna and Ian (featured).
This version (1 of 3) will be screened in Australian Gothic at the Directors Lounge, Berlin in Feb. 2007.
8 January 2007
Sneak Look at Gothic Memoria
This is the first released still from the initial Gothic memoria series 1 works titled 2% Berlin, recently filmed in November 2006 at the Berlin Wall and the 'Topography of Terror' site. The film speed is slowed down to 2%, hence the title. The audio score features a composed piano quartet (performed by me) taken from the larger Memoria Sonic series (or "M-Sonic" for short) written especially for the Gothic memoria videoworks (approx. 1000).
The M-Sonic tracks were recorded in December 2006 and January 2007 and will be released as a double CD in November 2007.
Screening of 2% Berlin and related works will be in late 2007/early 2008.
3 January 2007
New curated exhibition in LA (2007)
![[uber_5.jpg]](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc12hSL8DMptzib7FXhNQ1DPOJHHYeHJG48a0O1TYgQx58KQcWVREnZmLhpgNm8jxcvRLE4qi9V7PGbfNKADmOz-Ne7xUDJhRzNAitjAPM5cg7l2o5K3bsfYXonn5v9vQx0Hbq/s1600/uber_5.jpg)
Shaun Wilson, video still from Uber memoria II (2006), HDV as multi-channel projection, colour, sound, 25 mins.
I am participating in a group exhibition curated by Larissa Hjorth and Kate Shaw to be staged at the Glendale Art Gallery in Los Angeles in late 2007.
Works from Uber Memoria I & II have been selected.
Shaun on the Wikipedia
please go to:
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
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
Australian Gothic: video art now
Image: Tammy Honey
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
follow up from Ars memoria (2006)
online at Rhizome
August 2007
Post-Cinema
Image: Martin Koeppl
Project Space/Spare Room, Melbourne
weblink
New Video Series 'Gothic memoria' planned for 2007
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
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
Video $5,000 AUD each.
23 December 2006
Research 2
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
Academy Gallery
University of Tasmania
Launceston, Tasmania
Various artists
Footballism
14.09.2005 - 23.09.2005
Bundoora, Victoria
Hidden Worlds
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
Bendigo Art Gallery: 10.06.2000 - 23.07.2000
Monash Gallery of Art:
Ararat Gallery: 14.12.2001 - 25.01.2002
120 emerging and established artists.
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
Switchback Gallery:
Victoria, Australia
catalogue ISBN:
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
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
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.
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
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)
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).
August 2006
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.
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
$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
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)
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
Gorman House, Canberra
ACT, Australia
Nextworlds (Part 1)
Shaun Wilson, The Displaced (2002), digital photograph from video still, 1200mm x 870mm
The George Paton Gallery
University of Melbourne
Victoria, Australia
Compendium
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 (
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
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 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.
12.03.2005 - 16.04.2005
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
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
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