Wednesday, 20 July 2005

new screen gallery exhibition, white noise (18 august - 23 october)

An immersive journey into the hiss and flicker of abstraction in the digital age

White Noise, a spectacular new International exhibition at the Australian Centre for the Moving Image (ACMI), is a visually seductive and sensory journey into the ongoing relevance of abstraction. Early twentieth-century abstraction was a vehicle for artists to explore and universalise ideas and sensations; White Noise continues this exploration in the digital age of the twenty-first century.
 
Devoted to the contemporary revival of interest in abstraction by digital artists, White Noise features large-scale installations by renowned artists Ryoji Ikeda (Japan) and Ulf Langheinrich (Germany), and assembles six Australian and international artists who are leading the current resurgence of abstraction. The exhibition also includes the work of 18 software artists in a web content program, as well as an historic film program that traces the earliest experiments in abstract filmmaking.

Mike Stubbs, ACMI Exhibition Programs Manager said, "Abstraction is among the twentieth century's most important contributions to the history of art. The abstraction movement introduced a wide range of new artistic techniques and materials, and redefined the boundaries of art itself."

"White Noise investigates the revival of interest in abstraction and the ways in which the movement continues to evolve in the twenty-first century as world-renowned, cutting edge digital artists apply digital technology stripping back existing frameworks to portray 'nothing'."

White Noise will immerse visitors in light, sound, colour and rhythm; creating highly-charged sensory experiences of mood and interior contemplation, and forging new and dynamic encounters with the art of abstraction.

The visual and artistic strategies of early abstraction have changed and expanded with new media technologies. Like the pioneers of early abstraction, the artists in White Noise share a strong desire to evade narrative frameworks, to streamline representation and to depict 'nothing'. Showcasing works that invite the viewer into experiences that are at once, spectacle and transcendence, White Noise explores ways in which artists test the material form of the moving image.

Curated by Mike Stubbs highlights of White Noise include:
> Two installation works by Japan's leading electronic music composer, Ryoji Ikeda.  Ikeda's data.spectra is a new work commissioned by ACMI that features an intensely bright screen stretching the entire width of a darkened room, which, upon closer inspection, reveals a vast array of digits seemingly without end.  Ikeda's spectra II has never been shown before in Australia. It features an enclosed corridor in which sound becomes the primary means by which the visitor navigates space.
> Keiko Kimoto's Imaginary Numbers showcases luminescent panels and one moving image work.  Keiko Kimoto creates undulating, elegant shapes from countless sets of computerised, mathematical points, quietly transforming the spatial balance of the screen.
> Ernest Edmonds and Mark Fell's Absolute_5 is an interactive, audiovisual work that responds to the presence and movement of people in the gallery, an abstract structure is mapped into sound and image to create the 'synaesthetic' work.
> Ulf Langheinrich's Light, Drift, Waveform, three large-scale installation works that streamline representation and achieve their hallucinatory impact through geometric patterns, intense colour fields, and the use of sound.

Works exhibited in White Noise include:

Abstraction Now
Various artists
Featuring 18 leading software artists, these interactive works wire the philosophy of abstraction to software. Many of the pieces begin quite simply with an empty screen or a few minimal elements; generating shifting patterns of lines and shapes, the computer screen soon becomes a changing, unpredictable area rather than a static composition.

Aguas Vivas
Peter Bosch and Simone Simons, Spain/Netherlands, 2002-2005
Concerned with the phenomenon of vibration, Aguas Vivas is comprised of one steel container filled with black oil, one oscillating motor and eight springs.  The oil is sent into vibration; as the surface of the oil starts to undulate, light reflected onto the liquid bursts into fragments.  The results are captured on video and projected onto a wall.  The images that are produced are ceaselessly energetic and hypnotic, varying from orderly patterns to chaotic, abstract shapes.

Absolute_5
Ernest Edmonds, Mark Fell, Australia and UK, 2005
Mark Fell and Ernest Edmonds bring together two different skill sets from two different eras to create Absolute_5, an interactive, audio-visual work that responds to the presence and movement of people in the gallery. 

spectra II, data.spectra
Ryoji Ikeda, Japan, 2002 and 2005
data.spectra is a new, commissioned work by Ikeda and spectra II is an existing artwork that has never been shown before in Australia.  Both data.spectra and spectra II will explore the aesthetics of pure data.  Using data derived from systems of the information age, nature, economics and so on, Ikeda gives visual, sonic and sculptural form to this source material.  Ikeda's installations include sound and moving image projections, producing unique and beautiful abstractions of electronic data in the contemporary world.

Imaginary Numbers
Keiko Kimoto, Japan, 2004-2005
Imaginary Numbers consists of ten luminescent panels, expressed in black and white, which create undulating and elegant shapes from sets of countless points; quietly transforming the spatial balance of the screen. 
 
Light, Drift, Waveform
Ulf Langheinrich, Germany, 2005
Light, Drift and Waveform are three large-scale installation works by Langheinrich that streamline representation and achieve their hallucinatory impact through geometric patterns, intense colour fields, and the immersive use of sound.
 
Black on Black, White on White

Jonathan Duckworth (Metraform), Australia, 2005
This installation explores how our field-of-vision frames information.  Black on Black, White on White relies on the perception of light observed between a foreground, geometric form and a background colour, which is generated by computer and displayed on an LCD panel.  The background and foreground geometry are assigned a homogenous colour, however, subtle differences and abstract shapes can be seen when viewing the installation at certain angles.  Black on Black, White on White appears to change in hue because of polarised light passing through the LCD panel.

Further information

Justin Rogers, Communications Coordinator, ACMI ph 03 8663 2475 m 0412 172 887 jrogers@acmi.net.au
Danielle Poulos, Communications Coordinator, ACMI ph 8663 2498 m 0417 540 543 dpoulos@acmi.net.au

 

 
 
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