Longitudes, Latitudes and Legacies is a one-day program of video art screenings, interwoven with lecture performances by Mike Parr and Diana Baker Smith (Barbara Cleveland), an in conversation with Lyndal Jones and a panel discussion with Jill Orr, Camila Galaz and Archie Barry.
This event will showcase a program of historically significant works by Australian, European and North and South American artists, which focus on the relationship between video, performance and sociopolitical critique.
The program looks back at early experiments in video art to examine the conceptual and methodological characteristics of work from 1967–81.
By interweaving a series of screenings with lecture performances and discussions, the program aims to facilitate an inter-generational dialogue between artists working with video in that period and those working in a similar mode today, to highlight relationships between those historical legacies and contemporary practice.
Locating Australian video art and performance practice within a global context, screenings will include a selection of works from the National Gallery of Victoria’s collection, as well as other public and private archives from Australia, The Netherlands, USA and Brazil.
Registration from 9.30am
Doors open 10am
Long-form Screening as Audiences Enter 10 - 10.30am
Ken Unsworth, Five secular settings for sculpture as ritual and Burial piece, a different drummer, 1975–6, video, colour sound, 30 min. NGV Collection, purchased, 1978.
SESSION ONE 10.30 - 11.44AM
Kelli Alred, Artistic Director, Channels Festival, and
Pip Wallis, Curator, NGV
Diana Baker Smith (Barbara Cleveland)
Referencing the work of dance artist Philippa Cullen (1950–75), Baker Smith conjures processes of speculation and fictionalisation to work through the politics of valuing and historicising performative and participatory art practices.
Short Works Screening One
Joan Jonas, Left Side Right Side, 1972, 7 min. NGV Collection, purchased, 1975.
Lynda Benglis, Now, 1973, 12 min 30 sec. NGV Collection, purchased, 1975.
Letícia Parente, Preparation I (Preparação I), 1975, 6 min. Courtesy of Letícia Parente State and Galeria Jaqueline Martins.
Jill Scott, Taped (Stick a Round), 1975, 2 min. Courtesy of the artist.
Stuart Marshall, Go Through The Motions, 1975, 8 min. Distributed by LIMA [www.li-ma.nl].
SESSION TWO 11.51AM - 12.55PM
Lyndal Jones and Kelli Alred
With reference to various strategies employed by the artist, including the use of video in performance, video as performance and video documentation, Jones discusses the still current lack of visibility of women within art historical discourse and how the labor of women is depicted and valued more broadly.
Excerpts from Fair Weather, 1978, The Prediction Pieces 1, 1981 and Deep Water / Aqua Profunda, 2001 will be screened as reference points for the discussion. Courtesy of the artist.
Short Works Screening Two
Peter Campus, East ended tape, 1974, 8 min 30 sec. NGV Collection, purchased, 1975.
Jill Orr, The Girl With the Long Golden Hair, 1980, 6 min 45 sec. Courtesy of the artist.
Regina Vater, ARTropophagy, 1978, 1 min 5 sec. Courtesy of Galeria Jaqueline Martins.
Marina Abramovic, Art must be Beautiful, Artist must be Beautiful, 1975, 14 min 19 sec. Distributed by LIMA [www.li-ma.nl].
LUNCH BREAK 12.55 - 1.55PM
SESSION THREE 1.55 - 3.02PM
Short Works Screening Three
Nan Hoover, Movements in Light, 1975–6, 16 min 37 sec. Distributed by LIMA [www.li-ma.nl].
Bruce Nauman, Pinchneck, 1969, 1 min 43 sec. Distributed by Electronic Arts Intermix [eai.org].
VALIE EXPORT, Cutting, 1967-8, 1 min 41 sec. Distributed by Electronic Arts Intermix [eai.org].
Mike Parr, Hold your breath, Hold your finger, 1972, 3 min 28 sec. Courtesy of the artist and Anna Schwartz Gallery.
Richard Serra (with Joan Jonas and Phillip Glass), Anxious Automation, 1971, 4 min 30 sec. NGV Collection, purchased, 1975.
Performance Lecture and Discussion
Artist and activist Mike Parr discusses the relationship between art and sociopolitical critique, with reference to his performance and video practice spanning five decades.
The lecture will include a screening of Parr’s work Daydream Island, which was originally presented as a live event at The Performance Space, 2013, as well as photographic documentation from Ned Kelly thinking of Manus Island (with apologies to Ben Vautier) and Give your fee to the refugees presented at Artspace as part of 52 ARTISTS/52 ACTIONS, 2018-19.
SESSION FOUR 3.09 - 4.30PM
Peter Kennedy, Other Than Art’s Sake, 1973-74, 36 min 40 sec. Courtesy of the artist and Milani Gallery.
Peter Kennedy looks at the work and ideas of New York, Los Angeles and London based artists Adrian Piper, Hans Haacke, Charles Simonds, David Medalla, Ian Breakwell, Stephen Willats, Judy Chicago and art historian Ariene Raven. Specific to the cultural moment of the late 1960s and early 1970s, the film examines the ways in which these artists responded to liberal, democratic and humanist ideas.
Speakers include Jill Orr, Archie Barry and Camila Galaz
Chaired by Matthew Perkins
Reflecting on the presentations and screenings shown throughout the day, the artists will discuss notions of immediacy, authenticity and truth; the evolving nature of embodiment, representation and media; notions of visibility, action and agency; as well as the sociopolitical context of their video and performance practices.
Curated by Kelli Alred.
Presented in partnership with the National Gallery of Victoria.
Program concludes 4:30pm
Ken Unsworth is one of Australia’s leading contemporary artists. During his long artistic career, he has created a large body of work that includes not only sculpture, installation art and performance, but also drawing, painting, relief and maquettes.
He has been represented in Biennales in Paris, Venice, Istanbul and Sydney, and participated in major international exhibitions including ‘Magiciens de la Terre’, curated by Jean-Hubert Martin at The Pompidou Centre, 1989. In Australia, he participated in The Mildura Sculpture Triennial; the Australian Sculpture Triennial, Melbourne; Australian Perspecta, Sydney; and the Biennale of Sydney.
He is also represented in collections such as the National Gallery of Victoria, Melbourne; the Art Gallery of New South Wales, Sydney; and the sculpture collection at Kroeller-Moeller, Otterlo, The Netherlands. Unsworth was a recipient of various awards and scholarships over his six-decade career. In 1989, he was made a Member of the Order of Australia (MOA) in recognition of his artistic achievements.
Diana Baker Smith
Diana Baker Smith is an artist and writer based in Sydney. Her projects are research-driven, involving practices of performance and collaboration.
She works collaboratively with Frances Barrett, Kate Blackmore and Kelly Doley under the name of Barbara Cleveland. Their works have been shown in Australia and abroad, including the 20th Biennale of Sydney; the Hayward Gallery, London; and the National Museum of Modern and Contemporary Art, Seoul.
Barbara Cleveland’s works are held in the collections of the Museum of Contemporary Art, Sydney; Monash University Museum of Art, Melbourne; Queensland Art Gallery | Gallery of Modern Art, Brisbane; and the Art Gallery of New South Wales, Sydney.
Lyndal Jones is a multi-disciplinary artist based in Melbourne whose career spans more than thirty years. Interested in the politics of context, place and gender, her practice predominantly evolves from sustained research-based projects. Through video, performance or installation, Jones often implicates the audience in her works.
In 2001, she represented Australia at the Venice Biennale. Throughout her career, Jones has been shown in major exhibitions in Australia, Europe, Asia and the USA. Her work is held in public collections such as the Australian Centre for the Moving Image, Melbourne; the Museum of Contemporary Art, Sydney; the Queensland Art Gallery | Gallery of Modern Art, Brisbane; in addition to private collections in Australia and Europe.
Interrogating formal and cultural orthodoxies, the vast and uncompromising practice of Mike Parr assumes multiple forms through a conflation of drawing, printmaking, sculpture and performance. Exploring the limits of his physical and mental capacity, Parr’s highly influential performance practice employs his own body as a means to examine identity and political conventions of the twentieth century. His decade-long ‘Self Portrait Project’ also draws upon his own subjectivity, unfolding as a cathartic reflection on selfhood and the proliferation of perspective.
His works have been exhibited in Australia and internationally. He represented Australia at the Venice Biennale in 1980. In 2016, the National Gallery of Australia, Canberra, presented a survey exhibition of Parr’s experimental practice.
His works are held in various public collections including the National Gallery of Victoria, Melbourne; the Museum of Contemporary Art, Sydney; the Art Gallery of New South Wales, Sydney; and the Queensland Art Gallery | Gallery of Modern Art, Brisbane.
Jill Orr creates site-specific performances, video and photographic works. Employing costumes, sets and props to embody fictional characters, Orr examines the psycho-social relationships emerging between specific locations, history and identity.
Orr participated at the inaugural Venice International Performance Art Week in 2012. She has also presented at the Sydney Biennale; the Melaka Art and Performance Festival, Malaysia; the MIP 3 – International Performance Manifestation, Belo Horizonte, Brazil; the Paris Biennale; and the International Performance Arts Festival, Quebec, Canada.
Her work was acquired by the National Gallery of Victoria, Melbourne; the National Gallery of Australia, Canberra; the Monash Gallery of Art, Melbourne, and the Red Gate Gallery, Beijing.
Camila Galaz is a visual artist whose practice uses video, drawing, and installation to explore intimate connections to history and collective memory. Recent exhibitions in Melbourne include C3 Contemporary Art Space, BLINDSIDE, Seventh Gallery and KINGS Artist-Run.
Galaz is the recipient of the 2018 MECCA M-Power Mentoring Scholarship from the National Gallery of Victoria and the 2019-2020 Australia Council EMPAC New York Residency. She is also a founding member of the performance art collective ‘The Band Presents’ (TBP), and co-ran the TBPHQ Art Space in Docklands, Melbourne from 2017-19.
Archie Barry is an interdisciplinary artist, whose work converges language and bodily gestures within a self-portraiture practice. By curating ontological spaces between what is and what can be, Barry envisages alternate possibilities for the ever-evolving architectures of personhood.
Barry has exhibited work at the Australian Centre for Contemporary Art, Melbourne; Buxton Contemporary, Melbourne; Centre for Contemporary Photography, Melbourne; State Library of Victoria, Melbourne; Contemporary Art Tasmania, Hobart; Artspace, Sydney; and ALASKA Projects, Sydney. Barry's solo performance projects have also been staged in Melbourne at the Meat Market and Neon Parc. In 2019, Barry was the recipient of The Keith and Elisabeth Murdoch Travelling Scholarship.
Matthew Perkins is an Australian curator, writer, and artist with a specialized interest in advancing the awareness of historical Australian video art. He has curated, among others, Parallel Universes: International Cross Currents in Early Australian Video Art (Queensland University of Technology, 2012) and Video Void (Centre for Contemporary Photography, Melbourne, 2010).
He is the author of Video Void: Australian Video Art (Australian Scholarly Publishing, 2014). Perkins has co-founded, with Anne Marsh, the Australian Video Art Archive. More recently, he founded the Australian Curatorial Projects which develops, tours, and supports curatorial projects.
Regina Vater works across video, photography, drawing and installation. Inspired by philosophical and anthropological readings, she tackles pressing social issues through the lens of feminism and the social position of women. Straddling the line between political action and art, her work delves into the effects of colonialism, immigration and exile.
Vater represented Brazil at the Venice Biennale in 1976. Recently, her works were exhibited at the Brooklyn Museum, New York; Hammer Museum, Los Angeles; and São Paulo Museum of Art, São Paulo. Her work is held in collections such as The Nelson A. Rockefeller Center for Latin American Art, San Antonio; Bibliothèque Nationale, Paris; and National Museum of Fine Arts, Rio de Janeiro.
Stuart Marshall was a composer, video artist, teacher, filmmaker and activist. His works challenged the media misrepresentation of LGBT people during the AIDS epidemic in the 1980s, and discussed ideas around gay identity and desire. He was one of the founders of London Video Arts in 1976 (now London Electronic Arts).
Marshall works were shown at Tate Gallery, London; Institute of Contemporary Arts, London; Serpentine Gallery, London; New Museum, New York; and The Kitchen, New York. His works are in collections such as the Museum of Modern Art, New York, and the Museum of the Moving Image, London.
Lynda Benglis is a pioneer of post-minimalism and is widely known for her pour paintings and sculptures. She has also produced seminal video works exploring feminism, female sexuality and identity, which influenced the underground feminist punk movement in the 1990s.
Benglis’s work has been widely shown. In 2011, the Irish Museum of Modern Art, Dublin, organised a retrospective of her work which travelled to various institutions including the New Museum, New York, and The Museum of Contemporary Art, Los Angeles. Her works are in collections such as Solomon R. Guggenheim Museum, New York; Museum of Modern Art, New York, Whitney Museum of American Art, New York; Australian National Gallery, Canberra; and National Art Gallery of Victoria, Melbourne.
Letícia Parente created paintings, engravings, photographs, Xerox and Mail Art, videos and installations. Parente’s video works document politically charged actions that emphasise interactions between the artist’s body, the artist’s body, the domestic environment, and the Brazilian socio-historical context. Her works can be seen as manifestos against oppression, torture and discrimination based on gender, race and class prejudices.
Her work has been shown at Brooklyn Museum, New York; Hammer Museum, Los Angeles; The J. Paul Getty Museum, Los Angeles; Centre Georges Pompidou, Paris; São Paulo Museum of Art, São Paulo; and the São Paulo Biennial. Parente’s work has been collected by the Museum of Modern Art, New York; Museo Nacional Centro de Arte Reina Sofía, Madrid; and Tate, London.
Joan Jonas is a pioneer of video, installation and performance art. Her early works draw on the connection between live-action and the video monitor, using time-based media to explore the dislocation of mythical female archetypes, the collapse physical space and as a means to materialise the artist's psyche.
In 2015, she represented the United States at the Venice Biennale. She has also exhibited at Documenta 11, Kassel; Whitney Biennial, New York; Performa, New York; Kunstmuseum Bern, Bern; and The Kitchen, New York. Jonas's work has been acquired by institutions such as the Solomon R. Guggenheim Museum, New York; Museum of Modern Art, New York; Tate, London; and Museo Nacional Centro de Arte Reina Sofía, Madrid.
Peter Campus is a pioneer of new media and video art, known for his interactive video installations, single-channel video works, and photography. Campus’s early works consisted of single-channel videos and interactive closed-circuit television installations that explore issues of identity construction, perception and the subversion of relationships between the viewer and the work.
Campus has exhibited at the Kunsthalle Bremen, Bremen; Centre Georges Pompidou, Paris; Jeu de Paume, Paris; and Museo Nacional de Arte Reina Sofia Madrid. His works are held in the collections of the Museum of Modern Art, New York; Whitney Museum of American Art New York; Solomon R. Guggenheim Museum, New York; Walker Art Centre, Minneapolis; and Philadelphia Museum of Art, Philadelphia.
Nan Hoover was a pioneer of video art, in addition to her artistic practice in painting, sculpture, photography, and film. By using her own body as the primary device of her works, she challenged dominant Western codes of representation in which women are the object and not the subject of the gaze.
Hoover performed and exhibited extensively throughout Europe, including at Documentas 6 and 8, Kassel. She has also shown at Musée d'Art Contemporain, Montreal; Osaka Contemporary Art Center, Osaka, and Sydney Video Festival, Sydney.
Her work has been collected by the Museum of Modern Art, New York; Stedelijk Museum, Amsterdam; and Castle of Rivoli, Turin; and ZKM - Center for Art and Media Karlsruhe.
Bruce Nauman creates Post-Minimalist and Conceptual work embracing performance, video, holography, installation, sculpture, and drawing. He is known for the use of the body as a material, as well as for playing with the relationship between object and viewer, language and image, positive and negative spaces.
Recent exhibitions of his work include Fondation Cartier pour l’art contemporain, Paris; Institute of Contemporary Arts, London; Philadelphia Museum of Art, Philadelphia; The Museum of Modern Art, New York. In 2009, he represented the US at the Venice Biennale. Nauman’s works are in the collection of the Solomon R. Guggenheim Museum, New York; Dia Art Foundation, New York; Tate, London; Centre Georges Pompidou, Paris; and National Gallery of Australia, Canberra.
Marina Abramović uses the body as her subject and medium. Both in performance and video, she explores her own physical and mental limits, including situations of extreme pain and exhaustion. The audience is always at the core of her practice, which often compels for participation.
In 1997, Abramović won the Golden Lion for Best Artist at the Venice Biennale. Recently, she was the subject of a major retrospective at the Museum of Modern Art, New York, 2010, and the Garage Center for Contemporary Culture, Moscow, 2011. Her work is in collections such as Solomon R. Guggenheim Museum, New York; Cisneros Fontanals Art Foundation, Miami; Museum of Contemporary Art, Sydney; and Art Gallery of New South Wales.
VALIE EXPORT creates performances, video and photographic works that invite discourse regarding the male gaze, while examining the ways in which the power relations inherent in media representations inscribe women's bodies. In early works, she often subjected her body to pain and danger in actions designed to confront the growing complacency and conformism of post-war Austrian culture.
She has been shown at MoMA PS1, New York; Museu d'Art Contemporani de Barcelona, Barcelona; Neue Nationalgalerie, Berlin; and Institute of Contemporary Art, London. EXPORT's works are held in the collections of the Museum of Modern Art, New York; Tate, London; and Centre Georges Pompidou, Paris.
Jill Scott creates sculpture, performative installation and media art. Her research explores neuroscience, electronics, ecology, and sociology to interrogate the impact of technology on human bodies and nature.
Scott has exhibited at Siggraph, Las Vegas; Transmediale, Berlin; WRO Media Art Biennale, Warsaw; VIPER New Media Festival, Basel; Contemporary Art Biennial Sesc_Videobrasil, São Paulo; ZKM - Center for Art and Media, Karlsruhe; FACT, Liverpool; Museum of Modern Art, Monash University, Melbourne; and Australian Center for Contemporary Art, Melbourne. In 1993, she won an Award of Distinction at Ars Electronica for Interactive Art.
Peter Kennedy has been acknowledged as an exceptional, influential experimenter of art forms since early 1970. He co-founded the artist-run Inhibodress Gallery (late 1970 to late 1972) where his experimentation with diverse media produced some of the earliest exhibitions in Australia of works using sound, video, film, performance and conceptualism as primary expressive elements that have continued to move through his practice over the years. By the late 1970s Kennedy had added photography, drawing and sculpture, and later, architectural interventions.
In his current project-driven art-making – both commissioned and self- initiated – he takes on personal trajectories and socio-political concerns – often set against large-scale narratives from history or geography. Alternatively, he writes quirky, personal stories. These are essentially text-based works – the stories entering into an expressive synthesis when combined with moving or still visual imagery (video and photography).
Kennedy’s work has been collected by numerous museums – including, in Australia, the National Gallery of Australia, the National Gallery of Victoria, Queensland Art Gallery, Museum of Contemporary Art, Sydney, and the Art Gallery of NSW; and elsewhere the Centre Georges Pompidou, the Tate Gallery, ICA London, and the National Gallery of Canada. Major surveys of Peter Kennedy’s art have been held at the Ian Potter Museum of Art, University of Melbourne (2002), and Brisbane’s Institute of Modern Art (2011).
Richard Serra has long been acclaimed for his challenging and innovative work, which emphasizes materiality and engagement between the viewer, the site, and the work. While he is appreciated primarily as a sculptor, Richard Serra also made several films and videos in the 1960s and 1970s which have a pivotal role in both the history of avant-garde film and the development of early video art.
Serra’s sculptures and drawings have been celebrated with two retrospectives at the Museum of Modern Art, New York, twenty years apart: Richard Serra/Sculpture (1986) and Richard Serra Sculpture: Forty Years (2007).
He has had solo exhibitions at the Stedelijk Museum, Amsterdam (1977–78); Centre Pompidou, Paris (1983–84); Louisiana Museum, Humlebæk, Denmark (1986); Stedelijk Van Abbemuseum, Eindhoven, Netherlands (1988); Bonnefantenmuseum, Maastricht, Netherlands (1990); Kunsthaus Zürich (1990); CAPC Musée d’Art Contemporain, Bordeaux, France (1990); Museo Nacional Centro de Arte Reina Sofía, Madrid (1992); Dia Center for the Arts, New York (1997); Centro de Arte Hélio Oiticica, Rio de Janeiro (1997–98); Trajan’s Market, Rome (1999–2000); Pulitzer Arts Foundation, St. Louis (2003); and Museo Archeologico Nazionale di Napoli, Naples, Italy (2004); among others.
Mike Parr, Daydream Island, 2014, video still from live performance “Daydream Island”, Performance Space, Sydney 2013. Co-performer: Felizitas Parr; cinematography: Gotaro Uematsu; make-up artist: Linda Jefferyes; 2nd camera: Giovanni Lorusso; assistant 7 compere: Lisa Corsi; Final audio mix: Shane Fahey. Performance stills were by Zan Wimberley.
Lyndal Jones, Deep Water / Aqua Profunda (video still compiled), 2001. Image courtesy of the artist.
Diana Baker Smith, image from research undertaken in preparation for the performance lecture Backwards Turning, 2019. Image courtesy of the artist.
Barbara Cleveland, The History of Performance, 20th Biennale of Sydney, 2016. Photo: Jessica Maurer. Image courtesy of the artists.