http://hdl.handle.net/10453/19961 2013-05-25T12:42:45Z 2013-05-25T12:42:45Z Muller, Lizzie http://hdl.handle.net/10453/19972 2012-12-15T03:24:24Z 2010-11-09T00:00:00Z

X: Natalie Jeremijenko and the Remnant/ Emergency ArtLab Muller, Lizzie This exhibition is both “X” for experimental design, and “X”, for cross-fertilisation, cross-species collaboration and crossdisciplinary exploration. It presents an array of Jeremijenko’s inventions, prescriptions, actions and stunts that seek connectivity with nature at both an empathetic and a consequential level. Jeremijenko enters the ecological fray at a moment when scientists concur on the question of causality (yes, human action currently degrades the environment unsustainably), but we are still far from a consensus of action. Our own lifestyles and dependencies (multiplied through our exponentially growing populations) are the engines of our own destruction. Our resistance to change is propped up by our astonishing willingness to ignore consequences – even as they get closer and closer to home. Jeremijenko’s work seeks to burst the anthropocentric bubble of consumption and convenience that will eventually carry us to oblivion. Exhibition catalogue for 'X: Natalie Jeremijenko and the Remnant/Emergency ArtLab', curated by Lizzie Muller, Lian Loke, Tania Creighton, Holly Williams and Jacqueline Shilkoff, held at UTS Gallery from 9 November 2010 - 10 December 2010

2010-11-09T00:00:00Z Sivanesen, Haema http://hdl.handle.net/10453/19971 2012-12-15T03:24:23Z 2010-09-14T00:00:00Z

(the heart that has no love/pain/generosity is not a heart) Sivanesen, Haema The grids of portraits in Salloum and Alis’ installation intrigue me, as they represent encounters – however fleeting – that are not unlike my encounter with Mohammed. Encounters with strangers who disarm you. Strangers whose life stories haunt you. The portraits in Salloum and Alis’ installation strike me as pictures of hope. They exhibit a strength of character, a tenacity, even an optimism, that is quite different from the impression of Afghanistan generated by mainstream media. Exhibition catalogue for 'the heart that has no love/pain/generosity is not a heart' (translated title), curated by Haema Sivanesen, held at the UTS Gallery from 14 September 2010 - 22 October 2010.

2010-09-14T00:00:00Z Seymour, Aaron http://hdl.handle.net/10453/19970 2012-12-15T03:24:23Z 2010-08-03T00:00:00Z

Graphic Material Seymour, Aaron Design disciplines are often thought of in terms of their material output: architects make buildings, industrial designers products, fashion designers clothes. For visual communicators this pairing is seen to be with two-dimensional print and screen. New directions in practice, motivated in part by new production technologies, are challenging this assumption. Exhibition catalogue, curated by Aaron Seymour for the 'Graphic Material' exhibition, held at UTS Gallery from 3 August 2010 to 3 September 2010

2010-08-03T00:00:00Z Davies, Alex Jasper, Adam http://hdl.handle.net/10453/19967 2012-12-15T03:24:23Z 2011-05-31T00:00:00Z

The black box sessions Davies, Alex; Jasper, Adam The Black Box Sessions dispenses with the prop of the fourth wall, and literally places the performer and the viewer together into a single intimate and enclosed space. What happens there is experienced through CCTV, through the surveillance system that defines the unsleeping power of an anonymous state. Mutually digitally digested, the performer and the viewer are trapped in a proximity that plays upon the voyeurism and vulnerability of the audience member who only wants to watch, but finds themselves suddenly outnumbered. Within the relative safety of performance, the uncanny force of a partially deconstructed reality exposes itself. Pressed up against a peephole, the skull of the viewer becomes itself a black box. Exhibition catalogue for 'The Black Box Sessions' exhibition, held at UTS Gallery from 31 May 2011 to 15 July 2011.

2011-05-31T00:00:00Z