Latest Maling project.
The League of Resonance seeks out the intangible and barely perceptible. We detect vibrations that form the backdrop to the mythical narrative of daily life. We situate ourselves in places of intrigue, we listen, we talk, we connect and we hum. In collecting and combining the resonance of individuals: their stories, perceptions and rituals, we unravel the backdrop to this myth. Together we create a new sound. This sound is The League of Resonance.
I first met Luke in 2008 after being introduced to his apparently now dormant musical project Dizzygiggles by a mutual friend. I gave him a copy of The Mishukis’ Everyone’s Too Stupid and he reciprocated by sending me a double-sided CD of his songs ingeniously fashioned from two CDs hand-glued together, with a personalised sleeve written on what appeared to be toilet paper. Since my old toploader died I can’t play it anymore, but it’s still a treasured possession.
Back then he was, like me, working in a market research callcentre; these days he’s studying Sound Art at RMIT. Last year he produced an audio collage intended to convey the ambiance of a football match which was played over the loudspeakers at the MCG as part of Sports Club 2: The Arena for Next Wave.
More recent projects include calculating the metrics of a bag of chips, painstakingly re-rendering page one of the September 12, 2001 edition of the New York Times at 8x life-size in colour pencil, producing an album of original sound pieces based on The Telegraph’s laughably pretentious track-by-track review of the new Radiohead album, etc, etc, etc, etc. His phone seems to be a fairly significant tool of his practice, which of course we like.
by Paul Knight (via RH).
“Would you have sex with a stranger?
This is the Proposition:
Proposition is looking for two brave adults with a sense of adventure. You can be any age, gender or sexual preference.
We encourage your involvement and input.
The date has been set. Two people is all it takes!
Sunday the 17th of October, 2010.
Sound intruiging? Would you simply like to know more?
(Previously.)
His recent projects, Triangulation (in collaboration with Torie Nimervoll) and The Vorticist warrant an entry of their own.
Age article about The Vorticist.
Blog entries of mine about Triangulation, as mounted at the Abbotsford Convent in February 2010 and Melbourne Central shopping centre in August 2010.
Presented as part of of Punctum‘s In-Habit, a slate of live art projects mounted at the Abbotsford Convent in February (which also included Jason Maling & Torie Nimmervoll’s Triangulation):
We encounter strangers every day through chance. What happens when two strangers respond to an invitation and choose to meet? You are invited to encounter a stranger for 10 minutes, in silence, and then respond to that encounter. Record your impressions via written word, or voice recording.
From RealTime Arts:
There is a strange, aberrant tension in the convent’s Bishop’s Parlour. The age and restraint of the space and its imagined histories (vows of silence, ‘audiences’ with the Bishop) creep into the experience. I am seated by an usher at a small table with a lamp in the centre of the room. Left alone for a long moment, the tension is interrupted by the entrance of another. A woman sits and establishes direct eye contact. The lamp is flicked on by the usher. The shadows in the room retreat and harden. Silence.
Fast mind. Rapid passage of thoughts and images. Discomfort manifests in smiles and corsetted laughs. We look at each other and away to the edges of the spongy darkness. Our gaze returns to the stranger opposite—often, more often. Time slows. Somehow we begin a conversation in writing. Are we breaking the rules? What is forbidden? What is allowed? We relax into a playful meditation on the nature and quality of silence. An usher enters…the stranger is gone.
Subsequently, sharing experience with the usher is also charged—it too has its intimacies. Like the first stranger, the usher becomes the human face of an unknowable structure that refuses revelation—of intent, meaning and significance. Here, the work of the piece continues and takes the form of a kind of ‘confession’ of experience and of unusually open avowal.
The silence, the site and the two meetings form and frame the ‘work’ of the piece and its artifice, the pretext of its enquiry. Beyond this, the piece works ‘in’ the participants. Each stranger becomes the site at which a kind of alchemical fusion of projection and introspection lifts itself into consciousness. The work functions as a hiatus, a pause by means of which to see and experience another, to feel habitual avoidance, looking and being looked at, to sense movement towards and away from each other and all of the electricity, e-motion, ethics and responsibility of that…just once.
YES.
Melbourne-based sculptor; DF’s former housemate.
I remember the first time I went to their house on Johnston St in early 2007, the studio was full of weapons he was making from found objects, which I thought were frikken awesome.
Also especially liked: Lost Dog and Your Best Friend.
Whatever his shortcomings as a human being, he’s undeniably an amazing artist. And his sociopathy and his genius kind of go hand in hand.
“As an artist, I have a big problem,” he said to me once. “I don’t really like art. I just love fucking with peoples’ heads.”
Yeah.
“Interventionist performance art”, he’s calling it now. Previously known as “interactive public theatre”. I still like “reality art”. Whatever it is, it’s something else.
Interesting review of “Sherrie“. Origin of the spycam. Missing Person –> Who Is Robert Henley?. Oh, and then there’s this. Changed my life, y’know.
I miss the evil bastard. He’s never dull.
(Previously.)
Whilst on the subject of interactional installations involving post-its mounted in windows as part of Next Wave ’08, there’s this.
(Sidenote: Another term for ‘telepathy’ is ‘thought transference’. Both refer to a ‘paranormal’ phenomenon. But even the most hardened materialist skeptic with half a brain would concede that we all ‘transfer thoughts’ all the time, in all kinds of ways. Some very obvious and direct; some extremely subtle and amorphous.)
(Via DF.)
Absence was a performance installation mounted in the Degraves St Subway as part of last year’s Next Wave.
Japanese born, Brisbane based artist Hiromi Tango is inhabiting Vitrine at Platform in the Campbell Arcade subway throughout the 2008 Festival. During her time there her objective is to hand-stitch collected ‘feelings and voices’ and develop a collaborative sculpture with the theme of ‘absence’. Her personal engagement with the site, situation and the community that passes will determine the final outcome of the artwork.
In 2006 and 2007, Hiromi undertook 18 months of research in Hong Kong, New Zealand, the USA, Japan and Australia, which involved meeting people, listening to their stories and recording her interactions. Hiromi also received photos, personal letters, writings, drawings, diaries and personal items from the people she met. For the past six months Hiromi has been hand-stitching these stories and objects, while considering the authors’ absence.
Absence will contribute to a more critical understanding of how artist and public engagement is defined, and how the artist can intervene into a particular space, potentially generating unexpected moments of intimacy and tension.
How much of the exchange is me and how much of it is you? Is it possible to understand each other?
Age article. Time magazine article (!). Flickr set of Craig’s work.
It soon emerged that Craig is actually a ripoff of Chris, aka New Yorker Todd Lamb.
But I still like Craig better (and not just because he’s local).