Curated by Maria Manuela Lopes with work by Andy Gracie UK Carlos Marques PT Herwig Turk AT Kathy High USA Kathleen Rogers UK Marta de Menezes PT Maria Manuela Lopes PT Paulo Bernadino Basto PT Perdita Phillips AU Suzanne Anker USA Horácio Tomé Marques and Francisco Marque Teixeira PT
thinking vaguely about hydrocarbon landscapes — popping up again after considering Energy and Experience: An Essay in Nafthology by Antti Salminen & Tere Vadén and Petro-subjectivity: De-industrializing our sense of self
A performative walk, A creature-spotter’s guide to your local neighbourhood, was sold at the PICA Salon on Saturday 2 August.
Mundaring Arts Centre invites you to the opening of Canopy – into the forest
Peter Dailey, Mel Dare, Joanne Duffy, Bec Juniper, Norma MacDonald, Clare McFarlane, Alan Muller, Perdita Phillips, Gregory Pryor, Nien Schwarz, Nalda Searles, David Small, Holly Story, Paul Uhlmann, Linda van der Merwe and Philip Ward-Dickson
Curated by Peggy Lyon and Ashley Yihsin Chang
Opening Fri 2 May, 7 – 8.30pm
Viewing Times Saturday 3 May – Sunday 8 June 2014
Tuesday – Friday 10am – 5pm; Saturday and Sunday 11am – 3pm
closed Mondays and Public Holidays
Mundaring Arts Centre 7190 Great Eastern Hwy, Mundaring Western Australia 6073
Happy New Year! I hope you are well and rested after the festive season. It’s been great hearing of everybody’s adventures over the last few weeks and this has inspired me to recount mine:
The year began with the solo residency and exhibition fast|slow|complex at Spectrum Project Space in Perth, Western Australia. 20 years in the making it was based on trying to connect personal waste and possessions with processes at the levels of local ecosystems and global climates.
Amongst the group shows around the world, the Cusp sound work went off touring with the Adaptation show and I was included in the Bunbury Biennale with The burden of an action that now appears unwise. The shy (dissolution + exchange) conceptual mail art project is also still going (but currently the albatross has been lost, twice, in Sydney in December and we are still waiting fingers crossed for it to materialise again).
A major highlight was the P A A mini residency about Little Penguins, Sydney Harbour and Japanese minisubs at The Cross Arts Project in Sydney for the Novel Ecologies exhibition (curated by Jasmin Stephens). I created two works, the .–. / .- / .- (penguin anticipatory archive) and doing so that (tie a knot in it, the world is a handkerchief, a pile of promises). So far potentials for 2014 include collaborating on a pollen project and participating in a show called Canopy about Western Australia forests.
I continue to write monthly reports on the art scene in Western Australia for Art Monthly. Publications finalised in 2013 included Perdita Phillips – Sounding and thinking like an ecosystem (co-author Merle Patchett) in Antennae: The Journal of Nature in Visual Culture. 27 114-128 and Observing across scales: Broome Bird Observatory as a site of multiple exchanges in the Animal Studies Journal, 2(1), 2013, 74-81
My thoughts about art and sustainability, urban ecology and zombie environmentalism were presented at the fabulous Future Nature, Future Culture[s] 2013 Balance-Unbalance Conference (May 31 to June 2, Noosa, Queensland) where I met up with other members of the Australian Forum for Acoustic Ecology, the Institute of Australian Geographers Conference (1-4 July, The University of Western Australia) and at The Aesthetics of Sustainability (3-4 October, Curtin University). Let’s hope these writings get published at some point too.
The Field_Notes – Deep Time workshop at Kilpisjärvi in northern Finland was organised by the Finnish Society of Bioart. This was a life-changing opportunity to work further with walking and landscapes. Afterwards in Helsinki I talked about living time at the associated symposium. Apart from the quick trips to Sydney and Finland (+ Norway and Estonia) I also travelled to Suzhou in China to research Scholar’s Stones, ending the year with $30 in my bank account.
If only for idle curiosity please do feel free to sign up to the Perdita Phillips Occasional News and Exhibitions http://eepurl.com/DTkJH mailchimp list. Mailchimp allows me to include more pictures and allows you to change your address or unsubscribe at any time. I only send out e-vites/really important news to this address a maximum of 4 or 5 times a year. I could put you on this list automatically but I know how annoying it is to get joined up without your permission so just take 5 seconds and paste this address into your browser: http://eepurl.com/DTkJH.
South Georgia Islands in 2014
Finally, thanks to the generosity of 21 amazing friends and supporters, I only have 790 dollars left of the $2500 I’ve been asked to raise to support The Clipperton Project’s expedition to the South Georgia Islands in March. That’s only 16 more people donating $50 (or more) by 12 January. This expedition combines art and science and will be surveying wandering albatross populations and levels of plastic in ecosystems. I’d dearly love to go and do some drawing and sound recording! Please donate here http://clippertonproject.causevox.com/perditaphillips (further details here http://www.clippertonproject.com/expeditions/south-georgia-2014/).
I love hearing news from you all — may your own life travels be both tender and richly rewarding and your friends and family be safe and well in 2014
Two rocks sit on my shelf in a Chinese box, reminding me of 2013 travels
On Wednesday I will be installing a work at the Momentum show at the Perth Centre for Photography. It’s called Unseen work for unwitnessed exhibition: the spatial patchiness of rainfall is a characteristic of Australian arid and semi arid ecosystems and is composed of a contact print, chair, and bunch of spinifex. This was a piece made for an exhibition called Women’s Work when PCP was upstairs in William Street in 1995. In part it is a self portrait. I was living in the Kimberley and never saw the show. Instead I sent down an undeveloped roll of film and a spinifex clump and asked for the spinifex to be installed on an old chair in the gallery. A contact sheet was included on the wall nearby. Now I am in the process of recreating it with the help of two special spinifex gatherers who have sent me 11 bunches! Meet Ernie (on the white chair, smaller and more cat-curled-up-like) and Bert (a larger, greener clump with more seed heads).
These are the two largest bunches (click on the images). Which do you think is the best spinifex? Please vote by 6am on Wednesday (AWST) and I will take your opinion into consideration when I choose which one for the gallery.
…and now that I have oodles of spinifex and I will have to make another piece with these beautiful plants…
Unseen work for unwitnessed exhibition: the spatial patchiness of rainfall is a characteristic of Australian arid and semi arid ecosystems
The Momentum show at PCP includes
This was a piece made for an exhibition called Women’s Work when PCP was upstairs in William Street in 1995. I had to re-find a bunch of spinifex for the work.
Momentum opens 31 October 2013, 6pm, Perth Centre for Photography at 100 Aberdeen Street, Northbridge WA and runs until 8 December
More details about the show:
A cross-section of Western Australian photography exhibited at the PCP over the past 21 years. 2013 is a milestone year for the Perth Centre for Photography. PCP is coming of age. It’s been an extraordinary journey of growth. In over two decades of existence the PCP has made it its mission to foster, support and promote excellence in photographic practice in this state and beyond. Momentum is a coming of age story. It’s about looking back as well as ahead to new initiatives and growth. PCP’s future has never looked more positive.
Curated by Paola Anselmi
To be officially opened by The Hon John Day MLA, Minister for Culture and the Arts
Guest speaker Les Allester
If you wish to receive occasional emails about exhibition openings or other events and milestones about Perdita Phillips contemporary artist, subscribe here: http://eepurl.com/DTkJH. On average there will probably be 4.5 or so emails/year.
If you are a Western Australian artist, gallerist or arts organisation and wish to get a monthly reminder about when to submit information for the WA Artnotes for Art Monthly Australia, subscribe here: http://eepurl.com/DTdBv. Art Monthly is one of Australia’s premier journals for contemporary art. As WA correspondent I am always looking for what is happening in Western Australian contemporary art (in WA or elsewhere) — in the form of exhibitions, events, openings, publications, conferences, one-offs, workshops, projects, talks, industry news and achievements. You will receive 10 emails per year.