Week 1: Cigdem Aydemir
Friday July 26 & Saturday July 27
Title: Freedom from Transparency
Cigdem Aydemir is a Sydney based Australian artist of Turkish Muslim heritage. She explores the convergence of gender, religious and cultural identities as well as themes of body politics and consumption. Much of her work interrogates the void between body and dress as well as its social and political implications. Freedom from Transparency continues her exploration of the veiled woman cipher as resistant female Other and as lived experience.
Week 2: Adonis
Friday August 2 & Saturday August 3
Title: Hair Piece
I would like his show to be an endurance performance, so I would like to be in The Cube for as long as I can. The performance style that I am going for will be minimal repetitious and ritualistic. My work is usually based on transforming the body through rituals. Hair Piece will be about the strength I find in hair.
Adonis completed her BA at the University of Western Sydney in 2007. Adonis is a provocative performance, video and photo artist working with themes such as identity, gender, sex and sexuality. She has exhibited her video work at numerous Sydney and regional galleries, and has performed in many iconic queer spaces. She is a member of the band Ghetto Pussy.
Week 3: Renny Kodgers
Friday August 9 & Saturday August 10
Title: Cuddles With Renny
One of Renny’s greatest bugbears over his long and generous career as a multi-skilled entertainer has been the increasing physical distance between fan and man. The Twitter and the Facebook just don’t produce the same kind of Love Child as a shambolic and protracted crowd-surfing encounter. For the duration of The Kodge’s performance at The Oxford Art Factory the barrier between fan and man will be demolished. In its place there will be a public bed of love where no matter how wasted, messy or dangerous you get, you will always be able to cuddle with Renny.
Renny Kodgers is the glamorous southern gent who has been entertaining audiences from Hobart to Tamworth for as long as he can remember. As a performer his extensive oral abilities is the stuff of legend. Best described by American filmmaker John Waters as “the love child of Willie Nelson and Liberace” his ability to connect intimately with audiences of all ages is a talent the lord almighty has bestowed only to a few. The Kodge has been a mainstay on Sydney’s underground cabaret scene, performing at Club 34b, The Oxford Art Factory, The Red Rattler, Carriageworks and on FBi radio with his hit show, The Renny Kodgers Quiz Hour. Those who have been lucky enough to experience Renny live, hold the memory in their hearts and their loins forever!
Week 4: Janet Meaney
Friday August 16 & Saturday August 17
This performance is my response to being the subject of scrutiny. Under scrutiny my instinct is to hide, difficult when one is in a glass-walled room. My next instinct is to build a barrier between the viewer and me, but out of what?
With a background in sculpture and a strong proclivity for clay I have settled on building a coiled clay structure around my body, much like a wasp’s nest. By doing this I systematically deny the audience visual access to my body but only partially on day one. Continuing to build upward on day two I will ultimately enclose myself in the nest. My purpose is to confound the expectation of the audience to be entertained in a traditional sense. Instead, I am challenging them to consider the process of art as entertainment.
In my waspish (White Anglo Saxon Protestant) way, I will secrete myself from the audience deliberately and repetitively stimulating debate about what I am doing and whether it can be achieved.
Graduating in 1979 with a BFA (Sculpture) from the Center for Creative Studies School of Art and Design in Detroit Michigan, Meaney has built a practice that spans across media including installation, video photography and performance always based on personal experience of being in the world and delighting in confounding traditional expectations of the viewer.
Week 5: Leahlani Johnson
Friday August 23 & Saturday August 24
Title: Before it has ended
Before it has ended is a site-specific installation exploring ephemeral materials and gestures within the public space.
Leahlani Johnson’s current practice explores the language of time within the installation environment. Highlighting times contradictory nature through initiating dialogues between ephemeral, still and moving imagery. Based in Sydney, Leahlani is currently undertaking her Master of Fine Arts by Research at the College of Fine Arts, UNSW.
Week 6: Robin Hungerford
Friday August 30 & Saturday August 31
Title: Another Hole in the Head
In the past I have created video works in which I attack myself in the head with a variety of instruments. I see this as a kind of exploratory, experimental, surgical action through which new insights can be gained. Where the surgeon operates within the concrete parameters of human anatomy, seeking solutions to specific problems and answers for specific questions, my own rationale and methodology tends to be a little bit messy… a little more abstract.
Robin Hungerford is an artist based in Sydney who works in the mediums of sculpture, performance and video. Simultaneously hilarious and horrific, strange and seductive, Hungerford’s work attempts to express something of the hallucinatory nature of contemporary globalised human experience. Notions of humanity, spirituality and autobiography combine with technology in an exploration of what the artist refers to as ‘the blurring boundaries between the organic and the synthetic’. Robin’s last solo show ‘The Streaming’ was held at Gallery 9 in December 2012.
Week 7: Giselle Stanborough
Friday September 6 & Saturday September 7
Title: Staying In
Performance Description: The project examines the performative connection between the physical body and digital self. Through a contemporary examination of shadow play and real time net surfing, the audience must establish my persona through an examination of an abstracted body and anonymous browsing history. The project places the logic of data mining within the context of the human viewer. In terms of narrative, I am a friend who chooses to stay home at night instead of going out; I socialise vicariously. This project is an experiment in the ease (or difficulty) of identifying selfhood online.
Giselle Stanborough is an emerging intermedia artist whose practice often addresses online user generated media and the way in which such technologies encourage us to identify and perform notions of self. She graduated from COFA in 2010 with the University Medal and since then has exhibited in galleries around NSW and in Melbourne. Her work has been shown online in The Washington Post’s “Pictures of The Day” and in Hennessy Youngman’s “Art Thoughtz”.
Free Fall returns for 2013 and is ready to break new ground in the glass cube at Oxford Art Factory. Presented to you by Chalk Horse.
Introduced in 2011, Free Fall transformed the glass cube of Oxford Art Factory into a series of live art
installations. These installations, performed between the glass of the multi-roomed live music venue, interacted
with the gig-goers and audience members, incorporating the use of colour, endurance, movement and other experimental processes.
Free Fall’s founding curator and performer John A. Douglas along with James Kerr are now ready to announce the launch of the 2013 program. Commencing Friday June 21, Free Fall 2013 will return with some very talented debut performances. A myriad of themes and concepts will be explored through visual transformation and actions, often demanding unwavering physical endurance. Each performance will be documented on video and uploaded to the Free Fall Youtube channel.
The Free Fall concept is a fresh approach to art making, using spontaneity and imagination to connect with
audiences outside of the generic gallery space and into the bustling night-time environment of the Oxford Art Factory. Get ready to fall.
FRI 21 & SAT 22 JUNE
Oliver Watts is a conceptual artist who works across a variety of media, writing and translation. His conceptualism is a research based, archivism that particularly questions the nexus of art and law. How do images command? What is the socio-legal power of art? How does law respond to the image?
In his work Watts uncovers the strange and wonderful ideological images and performances that underpin our society, from law to religion; from sport to racial violence. His work proposes that art has a subversive part to play within these
frameworks of power. Watts will transform the cube through transporting his
artists studio into the space and inviting Barristers to sit for their portraits.
FRI 28 & SAT 29 JUNE
James Kerr is an emerging artist working in sculpture, performance, collage and installation. His work embodies a complex and contemporary dynamic, between sculpture and collage. Kerr directly references a notion of contemporary beauty whilst also catering to the trans- historical symbolic powers of nature.
His works symbolize an abstracted form of Darwins Natural Selection but in a contemporary world also embody current experimental variations within ‘nature’. As outlined in bataille’s The Language of Flowers, these objects only really come to exist through the power of culture and the way we imbue them with value: the ideal manifestation of love, hate, and other emotions. They become the relics of diverse psychological states.
For his third performance as part of Free fall Kerr will tranform the cube into a ‘free florist’ for two nights. The performance will act as a venue florist and to meet all expectations of a florist other than the charge.
FRI 5 & SAT 6 JULY
Kate Vassallo is an emerging interdisciplinary artist working in photography, video, and live performance. By using and reusing(among other things…) motifs of ‘the artist’s studio’ and ‘the artist’s body’ Vassallo is continuing the historical inquiry surrounding the role of the artist. This questioning of art’s function and production is a part mockery, part homage of its forms. The long‐term goal of her practice is to demystify the process of making, breaking down the mythologies and romanticism often associated with it. This studio log plays an important part in this process, being a place Vassallo can publicly expose the making of her work.
Vassallo’s work for Free Fall will involve looped performance videos paired with a live performance in the glass cube. Playing with the idea of performing in a live music venue, I will edit, loop and remix ‘selfie’ videos to mimic the structures of electronic music. As the night goes on I will re-perform samples of each video, attempting to keep up with a near impossible pace.
FRI 12 & SAT 13 JULY
Jack Gillbanks is a young practitioner living and working from Sydney. His work sits between the fields of architecture art and digital design. He has worked with the Laboratory for Visionary Architecture under director Chris Bosse and teaches part time at UTS: Insearch. He studies architecture at the University of Newcastle.
THE CUBE, a spacial configuration in the modernist tradition; defiant of historical correlation, it exists within the realm of mathematical abstraction. Through psychogeographical processing and historical research of site and context THE CUBE is deployed as a framework for its own spatial subversion.
The performance is conceived as a means to develop an ethereal architecture, one in which proximity devolves into a connection to and understanding of a place rather than an abstract set of signs defining mathematical notation. The anglo-european notion of space as a knowable entity is thus challenged and appropriated with a concept of ritual and place, whereby connection is distinguished by event.
OAFFICE BY ZIN COLLECTIVE
Photos courtesy of Steven Lattuca.
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.
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.
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.