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Rock My World Curated by SuperKaleidoscope for Das Superpaper

Colleen Ahern, Justin Balmain, Heath Franco, Konrad Smolenski, Soda_Jerk, Ken Unsworth

DAS Issue 22 - Preview.pdf

Image: Heath Franco FUN HOUSE, 2010 Multi-channel video installation, surround sound. High Definition Digital Video, 16:9, infinite loop.

PROJECTS

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Spectacle/Obstacle Curated by SuperKaleidoscope

West Space Melbourne, Australia

Greta Alfaro, Justin Balmain, Rebecca Baumann, Tim Bruniges, Michaela Gleave & Pia van Gelder

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

Spectacle/Obstacle Curated by SuperKaleidoscope

Firstdraft Emerging Curators Program

Firstdraft Gallery Sydney, Australia

Greta Alfaro, Justin Balmain, Rebecca Baumann, Michaela Gleave & Pia van Gelder

SuperKaleidoscope Featured Artist Program

Artists include, Rebecca Baumann (AU), Paula Doepfner (GER), Soda_Jerk (AU), Sofie Loscher (IRE), Dara Gill (AU), Michaela Gleave (AU) and more...

Click image for link to SK Website.

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

Das Superpaper Issue 22

Guest Editors Natasha Bullock & Alexie Glass-Kantor

Rock My World In-magazine exhibition curated by SuperKaleidoscope

Colleen Ahern, Justin Balmain, Heath Franco, Konrad Smolenski, Soda_Jerk, Ken Unsworth

To download full issue click below link:

Issue 22 Das Superpaper.pdf

ARTSPACE SUPERKALEIDOSCOPE OPEN STUDIO

FAIL BETTER

This selection of films is part of a larger curatorial project currently in development exploring notions of failure in reference to the ancient Greek myths of Icarus and Sisyphus.

The exhibition (taking place later in 2013) will revere romantic quests for the sublime, taken on with purpose and abandon, whilst investigating the latent 'failure' that lies in all such acts. The project will also investigate physical and emotional endurance, and address the melancholy, and sense of poetic absurdity, associated with our inevitable human failings and longings.

"All of old. Nothing else ever. Ever tried. Ever failed. No matter. Try again. Fail again. Fail better."Samuel Beckett, Worstward Ho (1983)

FILMS 'Deep Water' (2006) Directed by Louise Osmond, ‘Burden of Dreams’ (1982), Directed by Les Blank and 'Waiting for Godot' (2001) Directed by Michael Lindsay-Hogg.

DAS SUPERPAPER

SuperKaleidoscope will be guest editing the upcoming DAS Superpaper Issue#26 in collaboration with Nick Garner and Robyn Stuart from the Das Team

R E : P E R F O R M A N C E

To coincide with the arrival of the groundbreaking exhibition 13 Rooms in Sydney in April, this issue will analyse the shifting conditions and rising popularity of performance-related art, reflecting on the changing modes of production, presentation and documentation of performance art.

DAS Superpaper

PARLOUR

Kaldor Public Art Projects Parlour, a creative new space where art, music, film, performance and hands-on workshops come together to explore and engage with Kaldor projects at night. 

Parlour brings a fresh approach to the Kaldor project artists' work in a variety of stimulating, entertaining and sometimes, surprising, ways. 

Parlour Looking Back & Looking Forward guest-curated by SuperKaleidoscope

PARLOUR 12 & 19 April 2013 

Pier 2/3, Hickson Rd, Walsh Bay

13 ROOMS

Kaldor Public Art Project #27, entitled 13 Rooms, brings together 13 famous artists and more than 100 performers to present an innovative group exhibition of ‘living sculpture’ within 13 purpose-built rooms. This groundbreaking event will run for 11 days and has been curated by renowned museum directors and curators Hans Ulrich Obrist, Co-director of London’s Serpentine Gallery, and Klaus Biesenbach, Director of MoMA PS1 in New York.

MONO NO AWARE

LINDEN CENTRE FOR CONTEMPORARY ARTS

INNOVATORS PROGRAM

16 NOVEMBER - 15 DECEMBER 2013

LOTTIE CONSALVO, PAULA DOEPFNER (GER), CHRISTOPHER HANRAHAN, STEVEN HARVEY, KK+JLD, PAUL KOS (USA), FINN MARCHANT, TODD MCMILLAN, GEMMA MESSIH, SLUSH, MARIAN TUBBS AND KEN UNSWORTH

Mono no aware is an exhibition exploring the relationship between impermanence and beauty. The title refers to a Japanese concept which literally translates to 'the pathos of things' but the meaning of the phrase is subtly nuanced and has changed over time. Eighteenth century Japanese scholar Motoori Norinaga, derived the concept in his critique of 'Tale of Genji',  believing it to be the crucial emotion that moved readers. The idea predates Norinaga though to Heian times (794-1185), where aware was often used to described as the ‘ah!-ness of things’ -  the profound individual emotion one feels when encountering the beauty of a situation, object or person, whilst also being conscious of its frailty or fleeting nature. 

Some works in the exhibition evoke this feeling, creating moments of suspension and exploring the passing of time through cycles of impermanence. In them we see a tension between absence and presence;  form and formlessness; sound and silence. Other works reveal the poetic charm and emotional quality of things, reflecting a fascination with objects and their inner lives. 

Mono no aware is about an experience of beauty and time that is heightened by an understanding of its inevitable passing. It is about the wonder of beauty in the face of decay, of happiness that cannot last, about an appreciation of light in the knowledge of darkness.  We experience everything in the shadow of imminent departure.

With texts by: Amelia Groom, Sara Guetti (IT), SuperKaleidoscope

Curated by SuperKaleidoscope

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

CONQUEST OF THE USELESS

KK+JLD & SUPERKALEIDOSCOPE AT SYDNEY GUILD

Conquest of the Useless is a collaboration between artists KK+JLD and curatorial collective SuperKaleidoscope. The project explores the precarious relationship between aspirations and failure in reference to the ancient Greek myth of Sisyphus. The faulted hero Sisyphus was sentenced by the Gods to his interminable fate; of rolling a rock up a mountain only to watch it roll back down under its own weight. 

Addressing the melancholy and sense of poetic absurdity associated with our human longings and inevitable failings, the artists look to Albert Camus' essay 'The Myth of Sisyphus'.  In the text Camus argues that there is an underlying contradiction between what we want and what we find in the universe. Seeking meaning, order or reason, often all we uncover is amorphous chaos. He interprets Sisyphus' tragedy as a metaphor with which to acknowledge absurdity as the eternal human condition. He also reasons, however, that Sisyphus' awareness of the limitations of his existence in itself, seems to grant him a release, allowing him to transcend the physical tragedy. 

There is no more dreadful punishment -(STOP)- than futile and hopeless labor -(STOP)- Sisyphus is the absurd hero -(STOP)- the whole being -(STOP)- exerted toward accomplishing nothing -(STOP)- the cheek tight against the stone -(STOP)- at the very end of his long effort-(STOP)- measured by skyless space and time without depth -(STOP)- the purpose is achieved -(STOP)- it is during that return -(STOP)- that pause -(STOP)- that Sisyphus interests me -(STOP)- that is the hour of consciousness -(STOP)- he is superior to his fate -(STOP)- He is stronger than his rock -(STOP)- the absurd man, when he contemplates his torment, silences all the idols -(STOP)- Each atom of that stone -(STOP)- each mineral flake of that night filled mountain - (STOP)- in itself forms a world -(STOP)- the struggle itself toward the heights -(STOP)- is enough to fill a man's heart -(STOP)- One must imagine Sisyphus happy -(STOP)-

TELEGRAM CONTAINING EXCERPTS FROM THE MYTH OF SISYPHUS, ALBERT CAMUS

 

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body  

© Copyright Sarah Mosca 2016

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