Exhibition Dates: 8 – 29 August 2020

Opening Night: Friday 7 August, 6 - 8pm

Fleur Summers | Dissociative Dialogues

Daydreaming is a kind of mild dissociation…

you forget where you are and what you’re doing…

your mind wanders, thoughts bubble up and float by, subconscious plans coalesce, new ideas emerge and problems are solved…

Dissociative Dialogues employs recognisable social objects and processes to encourage physical interaction in novel ways. Everyday activities such a walking promote thinking through mild dissociation. As we rely on procedural memory and suppress active thought, we allow the mind to consider alternate, potentially rhizomatic, ideas

Fleur Summers is a Melbourne based-artist and is currently undertaking a PhD in the School of Art at RMIT University. Dissociative Dialogues is part of a more expansive interest in the nature of sculptural encounter and how our bodies interact with art objects.

Bon Mott | Albedo Crabsody

Inspired by Jonathon Glazer’s film Under The Skin, which uses Albedo of the Magnus Opus’ focus on White, Bon Mott presents Albedo Crabsody. At once ethereal, Mott conjures the ‘femme fatale’ dark and otherworldly as she stands poised as a siren at the helm of a ship luring you on an eerie journey into the masculine landscape of Aussie rock. Bon Mott’s work hovers between performance art, spatial practice and the intangible though embodying the ghost of songwriter, Bon Scott. The ghost is summoned through layering choreography, film, photography, lighting, vocals and sound effects. These layers create a perpetual dreamlike journey of gender identity, and empowerment through performing as energy. The energy in between AC/DC’s band logo which was self-professed Bon Scott.

Bon Mott is a PhD candidate at VCA (University Of Melbourne), completed an MFA in Sculpture from VCA and completed a Masters of Design at Sydney’s COFA (University of NSW).

 

Louise Bennett, Charlie Donaldson, Victoria Lawson, Provoked, Kat Sawyer / Paul Soulellis and Vincent Wozniak O’Connor | Post-tourist

Artists’ engagement with tourism has been under-examined.

Post-Tourist discusses artistic strategies of institutional critique of power structures in art practice. The abstract environment and its lack of universality is a point of opposition. The artistic, touristic subject can neither ‘perform’ nor intervene within that with which they are implicit without questioning that self-same knowledge construction.

You can re-examine the power constructs of their discourse, and within the abstract space of the mediated touristic environment find a means to share the possibility of dissent.

Material action crosses the barrier of perception to find a place of transition and transmission. A liminal site of exchange, knowledge and deconstruction, a critical moment on the threshold of experience purveying open-ended practice and participation.

Documentation or archiving these actions furthers the dialogue and continues the discussion and the process.

1/ 171 King Street Melbourne | www.kingsartistrun.org.au