In the darker months of winter, light rejuvenates spaces offering warmth. In 2022, in partnership with Verity Lane Market, Centre for Projection Art will present a collection of four artworks as our first public activation outside of our home in Naarm (Melbourne). Combining spectacular indoor and outdoor experiential artworks each artist tells a different story focally, around the themes of water and futurity. These practices deeply consider and respond to their urgent concerns around nature, labour and identity. This exhibition will offer an immersive experience that engages the senses to be curious for discovery and reflection. Centre for Projection Art are proud to activate the architecture of the Verity Lane Market with much-loved works of artists Tina Stefanou, Yandell Walton, Peachey & Mosig, Chalk River Labs and Liang Luscombe.
Tuesday 21 - Saturday 25 June
Tina Stefanou, Horse Power, 2019.
Three elderly equines are bedecked in woven networks of bells and keys, trotting, grazing, jingling, and shaking in the Victorian bush. Horse Power is a gentle call to arms, against age’s invisibility and the slipping into silence of all species. It disrupts the art world's obsession with the fetishised horse and brings us back to Earth. Back to labour and real ageing bodies, away from the classical forms of the bourgeoisie.
Horses: Buster Rhythm, Breeze and Duke.
Cinematography: Andrew Kaineder.
Sound: Joseph Franklin.
Pattern Maker: Rioko Tega.
Equine Specialist: Sacajawea.
Liang Luscombe, Itchy IOUs, 2020.
Shot entirely within brightly-coloured constructed sets, Liang Luscombe’s new surreal comedy, Itchy IOUs follows two women, Fran and Sol, as they struggle with the twisted world of personal debt. Set in a parallel universe featuring puppets and giant mouths, Sol can’t stop her giant palms itching—no matter how many money-saving life-hacks she swears by or 3 am budgets she draws up. Fran’s bank balance begins to drop at $4.95 every two minutes and she can’t figure out why; it her website, her HULU subscription, or that Greenpeace donation she made when she was a little drunk at the mall? As her bank balance plummets due to student loans, she contemplates extreme actions: bitcoin mining, looting, participating in medical trials and even selling her teeth to her pal Cermit the Frog. All of a sudden, a television salesman appears with a rather unusual pitch. He advertises a new and unlikely product, BLDR (an acronym for Bitcoin Leeching Debt Reliever). BLDR is essentially a giant boulder worn by the debtor that will ensure gradual debt relief, with every step taken by the wearer transformed into power for bitcoin mining. Could this be Fran’s way out of this mess? Amber Esseiva writes: But Fran’s still broke, broke, broke. But broke is just a momentary condition, isn’t it? Unlike being poor, being broke suggests that there is a solution to your current condition—out there, somewhere. So she scrolls, scrolls, scrolls, turning up more lifestyle envy and more dead ends. Luscombe’s Itchy IOUs presents skewed environments and absurd characters in highly plausible predicaments. She seems to be having fun with a reality that is not funny at all. In doing so, Luscombe provides a commentary on the primacy of debt in our conscious lives—the way it invades our emotional, professional, and creative worlds. Similar to a pantomime, the video production was conceived with both musicians and actors performing live alongside one another during filming, to see if this produced a more humorous collective atmosphere. Chicago-based artist and musician Chris Wood composed and performed the music and many ‘Ka-Ching!’ sounds live on set. Itchy IOUs brings together a rich ensemble of performers including a former Power Ranger (Li-Ming Hu); a life hack wizard (Harmony Zhang); a puppeteer of puppets of all shapes and sizes (Kyle Bellucci Johanson); and a voice-over expert (Dominique James) to ensure a comedic madness that is necessary to survive the financial and psychic turmoil that has led up to this cultural moment.
Yandell Walton, UPRISE, 2021.
In UPRISE we see every drop, every swell, and watch the peaks crashing and colliding with the walls of the gallery. The water subsumes everything with an intensity that is frightening and makes clear that our current way of life is unsustainable. While we cannot stop the oceans from going where they will, we can choose to plan and design our cities and our resource consumption to adapt to the rising seas. By immersing us in this speculative deluge, UPRISE makes palpable the urgent need for action and insists we pay heed before our window of opportunity is washed away.
-Emma McRae 2019 Shifting Surrounds, Speculative Futures Catalogue
Peachey & Mosig, Weathering, 2018.
This work was filmed on a distant part of the south coast of Iceland amidst gale-force winds and rain. During their time in this area, Peachey & Mosig felt a strong sense of connection to geological time. During a relatively short period in the eighteenth century, geologists changed the basic premise of existence when they theorised that the Earth’s lifetime did not consist of some six thousand years and instead existed on timescales that are so immense they resist the imagination. This was not a new idea, many ancient traditions have always asserted that the universe is not only much larger than what we see but also much older.