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Sculpture and the Enemies I

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Sculpture and the Enemies I Exhibition Review: Rafael Lozano-Hemmer: Recorders Where: Museum of Contemporary Art, Sydney When: 16 December 2011- 12 February 2012 SSculptureandtheenemies.com.auc u l p t u r e a n d t h e e n e m i e s . c o m . a u For coverage of events that occur between our issues visit our web site. Don’t miss: The Archibold, The Wynne and the Sulman Prize and Sculpture on the Edge Rafael Lozano- Hemmer’s exhibition, ‘Recorders’ currently exhibited at the MCA, inverts our perspective of the fear evoking ‘big brother’ technology which is used to spy on our every movement and record every aspect of our daily lives. Rafael instead uses this technology Did you know that you can join hundreds of others in purchasing in a positive way to create beautiful interactive works of art which integrate it’s audience’s voice, fi nger prints, heart beat, image- even our eyeballs into the works. Whether the audience actively engages with the works or just passively observes them, their memory is kept, like a momento mori which will be observed later by other visitors. In one instance I was moved to hear the artist tell us that his now Sculpture + the enemies as an electronic copy to read from your deceased mother’s voice is recorded as part of his work, ‘Microphones’ and will potentially play back at some point during the exhibition. The recorded voices on the microphones play back at random so that the audience can hear their recorded voice, plus the voices of other people recorded in the past. computer or IPAD and save $$$$$$$$$$$$$$ See Page 2 or our Lozano-Hemmer moved from Mexico, his birth place to Canada where he received a B.Sc. in Physical Chemistry from Concordia web site for details. University in Montreal. His background has clearly informed his art and he defi nes himself as an ‘electronic artist’. He is world renowned and his unique work has earned him a string of awards including two BAFTA British Academy Awards for Interactive Art in London, a Golden Nica at the Prix Ars Electronica in Austria, among many others. He has also exhibited in museums in four dozen countries around the world; and he was the fi rst artist to offi cially represent Mexico in the Venice Biennale. (Image above: Close-Up Shadow Box 3 2010, installation view, Recorders, Manchester Art Gallery, UK 2010 - 11, high resolution interactive display with built-in computerised surveillance system. Image courtesy the artist and Manchester Art Gallery © the artist Photo: Peter Mallet.) Did you also know that you can purchase past issues of Sculpture + the enemies. Visit our web site at - sculptureandtheenemies.com.au to purchase past issues. 1 SCULLPPTURE + tthehe eenemiesnemies ISSUE 10 January - March 2012 Quarterly No. 1 AUS $12.00 incl. GST To subscribe, complete and post this form to Sculpture + the enemies, PO Box 381, Turramurra 2074 Make your cheque payable to Stage Craft Consulting P/L Interview with Articles Name: Patricia Piccinini 4 Life-like barbie Dolls Delivery Address: Page 14 8 The Venice Biennale 10 Jan Ireland, founder and Suburb: State: Post Code: Event Manager of Sculpture on Telephone: Email: the Edge talks about how this symposium came about. Subscription: First Issue: January - March 2012 April - June 2012 Number of issues: 1 issue $12 + $2 Post & Pack = $14 or 4 issues $42 + $8 Post & Pack = $50 or would you prefer an on-line pdf emailed to your computer or IPAD? 1 issue for $7 Always 4 issues for $21 2 Subscription form 6 What’s on The prices above are in Australian dollars and postage for delivery in Australia. Alternatively, place your order at www.sculptureandtheenemies.com.au. This site offers payment by credit card and has costs for overseas delivery. 8 News 33 Auction Results Don’t want to photocopy or tear this page out..........just email us a message at [email protected] and you will receive a subscription form in the mail Interview with Emma Hack 2 Page 24 3 B/W Something of What We Look Like by Zoe Harrington Katherine Harrington, BA Life like Barbie dolls UNSW, Publisher and Joint Editor The human body has become the plastic of culture. Plastic surgeons are a new breed of artist in our era as they no longer always on the phone even purely ‘correct’ imperfections but instead transform people, rendering them unrecognisable. It is the new tool for our image while on vacation obsessed society; as well as for artists such Orlan. In this article, I will discuss the new beauty ideal; the possible causes and effects of the plastic surgery revolution on our bodies; Female identity; and the natural body as a kind of spectacle of society. Upon viewing the countless magazines, YouTube channels and television shows devoted to female grooming, we can instantly ascertain two things: fi rstly, feminine beauty is artifi cial; and secondly that it is redefi ned daily. However, linking those two points is the idea that female identity is bound to the body. Grooming of the body denotes a woman’s identity and Zoe Harrington, BFA Hons extends beyond clothes and even the appearance of the body, to controlling and manipulating the way the body naturally National Art School behaves in order to improve its functioning in the contexts of sex and beauty. Ironically, the more the body is manipulated Joint Editor ready for the enemy to affect an illusion of femininity, the further apart the link between biology and gender become. What does it take to be Clara Hali, MFA advisor, sculptor female? & lecturer at the National Art School ‘For Judith Butler, gender roles are performative enactments that ensure the materialisation of female bodies through the reiteration and citation of the discursive codes of feminine ideals. Interpreting gender as something that is enacted serves as a strategy to counter the notion of femininity as an essential and inherent quality. Indeed, Barbie’s hyperfeminine qualities imply that gender itself is a simulation; an artifi ce that is reproducible, rather than a natural characteristic.’ 1 The idea of femininity being performative is certainly evident in the case of convincing transsexuals who adorn women’s clothing and attributes such as breasts, long hair, makeup etc. They assert their femininity through their physical appearance suggesting that the notion of gender is an artifi ce and not bound to our biology. Are they more ‘female’ than the woman who wears men’s fashion and appears androgynous? Steve Menteith, Photographer Steven Menteith, BFA The artist Cindy Sherman is famous for her fi lm stills and her works are in agreement with Butler’s assertions. Her diverse (Photography) National range of depictions of women suggest that superfi cially, the female identity is versatile, easily molded according to the Art School; ; Diploma of fashion of the time. The woman’s role, or personality is refl ected in the dress, suggesting that there are many forms Photography – Sydney Institute that women come in- but that they all come from a mold. Sherman’s work, ‘Untitled Film Still (1977) ‘...denies the fi xity of Technology and City and of women’s identity, instead opting for an indeterminate and often ominous critique of how femininity is constructed by Guilds photography, Lambeth Hollywood fi lm making.’2 Sherman is representing ‘woman’ as an illusion. What is this illusion in aide of? Why was it College – London. www. constructed? (Continued on page 12) extramission.com Sculpture + the enemies is designed and published in Australia by Big Owl Publishing a division of Stage Craft Consulting Pty Ltd ACN 084184878 John Hollaway, BDM Photographer and Copyright Sculpture+the enemies 2010 Graphic Artist All rights reserved Distribution enquiries to [email protected] or phone 0412 283 718 Advertising: enquiries to Sculpture + the enemies PO Box 381, Turramurra 2074 or Email: [email protected] Note: although all editorial material is checked thoroughly for accuracy, neither the editor, nor the publisher can accept responsibility for information in this publication that may be ambiguous or incorrect. ISSN:1837 - 2457 Justin Cooper, BFA Hons Ist Front cover design by Cam Ralph Class (National Art School) Front Cover: Patricia Piccinini. The Comforter, 2010 Sculptor, Drawer and Silicone, fi breglass, steel, fox fur, human hair, clothing 60 h x 80 x 80 cm Contributor Photograph by Graham Baring Courtesy of Art Gallery of NSW Back Cover: Emma Hack Native Mandala Collection 2009, Goanna in Sturt Desert Rose, 120x120cm / 80x80cm Photography courtesy of the artist Copyright 2010. 5 4 What’s On What’s On Yayoi Kusama Above: Damien Hirst Above: Constantin Brancusi The Clouds 1984 1984 The Physical Impossibility of Death in the Mind of (French, born Romania. 1876-1957) Courtesy of Victoria Miro Gallery / Ota Fine Arts, Tokyo / Yayoi Someone Living 1991 Endless Column, version I, 1918 Oak Kusama Studio Inc. © Copyright of Yayoi Kusama, (c) ANZAI . Photo: © Damien Hirst and Science Ltd. All rights reserved. 6’ 8” x 9 7/8” x 9 5/8” (203.2 x 25.1 x 24.5 cm) Photograph courtesy of: Mr. Shigeo Anzai DACS 2011. .Photo: Photographed by Prudence The Museum of Modern Art, New York Exhibited at the Tate Modern Cuming Associates Exhibited at the Tate Modern Gift of Mary Sisler © 2011 Artists Rights Society (ARS), New York / ADAGP, Paris Exhibited at the Art Gallery of Western Australia Tate Modern, Britain UK. Hirst is widely regarded as one of the most The Art Gallery of NSW re-form through time. From a fl oating island video and installations. Kusama’s work is tradition and resonance with modernism.
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