The Cube
Consisting of glass walls and a wooden top, The Cube is defined as the area immediately below the stairs at the entrance separating the two main rooms.
The Cube is essentially known as the ‘Heart’ of the OAF. Its totally unique space provides a platform for all manner of art – all the way through to visual presentations using one of five data projectors available to you at the OAF.
This 10×10 space has housed static installations, live performance artists, a live radio broadcast by Triple J – even a tattooist making his mark on the (bravest) attendees.
Amidst OAF’s nightly environment of music, dancing, drinking and revelrous socialising, zin will transform The Cube into the most mundane and banal office space imaginable. Two performers will work in the office throughout the night, answering phone calls (business cards with contact details will be placed at the bar), typing and printing documents, filing, shredding (so much shredding), making trips to the water cooler, and all those normal office jobs normal office people do, with the utmost level of seriousness and dedication. But as the stress mounts, zin will take that seriousness and dedication to a level not even a NODOZ overdose could achieve. Let’s just say, shit gonna go cray.
When & Where:
The Glass Cube, Oxford Art Factory
January 11 – 12 & January 18-19, 10pm-12am. Entry is free via the Gallery Bar.
About zin:
zin is an ARI that creates idea-based work. Founded and directed by Harriet Gillies and Roslyn Helper, zin’s work focuses on the power of experience combining immersive, visceral and hybrid-art elements. zin’s work is a party where imagination, trust, adrenalin and fun interact and collide. zin believes the audience is paramount in the conception and creation of all work.
More information:
http://www.zinari.org
http://www.facebook.com/pages/zin/105607752929343
For Free Fall Ella Barclay will explore the immersive and distracting appeal of new technologies in her new installation of water, mist and light.
An ongoing experiment in radical banquet aesthetics and survivalist pedagogy. Learn how to skin, cook and eat a wild rabbit!
Key words for Free Fall: Umbilical cord. Leash. Deformation. Limbs. Phantom limb. Connection. Restriction. Fluidity. Movement. Being with another. Physical presence. Directions. Negotiation.
For Free Fall Sari will present Mining Doughnuts (the chapter about the red rug). Mining Doughnuts is a long term project that involves exploring ways to develop narrative via public interactions and performance actions. Combining text, performative actions and installation Mining Doughnuts, as part of Free Fall, will actively seek interaction with audience participants
whilst presenting fragmented pieces of a narrative Sari is authoring.
Outlet is a durational performance and aims to test the patience of the artist by inviting audience members to vent their political beliefs, concerns and aspirations on him. The audience will have the opportunity to educate Harvey about all things political to them, in terms of notions like power, governmentality, being top dog, the things unsaid between him and them, and anything else that comes to mind. This is part of a series of works being developed by Harvey where he explores his relationship with his audience.
Yiorgos Zafiriou’s performance explores the fluidity of identity and the relationship his body has to material objects. Yiorgos lectures in Performance Art at the University of New South Wales, College of Fine Arts. He is currently researching how to perform without performing through exploring the subtle characteristics of existence.
Concept 1 – Drown my Sorrows
I remain in the glass box for 2 hours dressed in a Chador in the company of a backpack.
Concept 2 – Bondage Craft
I dress as a skin head and make a knitting of bondage rope using oversized knitting needles.
Inspired by George Bataille’s Histoire de l’oeil, Marlena Rosenthal demonstrates a metaphor and metonymy of vitality through eggs, testes, milk, and blood in Eggs Quarantined. All but blood is white, and each is an object pertaining to the external and internal. Life contained in the egg, the testes, encased by white walls. Milk leaves the mammalian body only to be ingested back in. Blood— internal life force— becomes abject and macabre once external. In Eggs Quarantine, helium balloons are eggs and testes encased in a glass box dressed in soft whiteness. Throughout the performance Marlena reveals the life encapsulated in the objects through their entering and exiting her body and making the white box bleed red.
Marlena Rosenthal has performed and showcased films in galleries, theaters, and venues throughout Los Angeles and Sydney, including a residency at The Hive Gallery (LA). She was recently featured in the short film Toxic Tropical (dir. Turk Lees) at Sydney Underground Film Festival. She has an MSA in Sculpture, Installation and Performance from Sydney College of the Arts and a BA in Film Production from Loyola Marymount University (LA).
