Louise Bennett and Erika Scott in a site specific video installation at the
2017 KOSMA International Exhibition Media Nostalgia: Time Reflection
Two of Brisbane’s most original artists will be featured in an exhibition in Gwangju, South Korea in November 2017. Curator Kim Machan said ‘I’m very pleased to see Louise and Erika take their work into this very interesting and challenging context. Both artists have consistantly produced work that breaks with familiar art genres working in a highly personalised manner that requires the viewer to tune their attention to detail and a close reading of materials, content and context.’
The exhibition is organised by The Korean Society of Media & Arts and will be shown at the Asia Culture Plaza Outdoor Media Wall (Media Façade), Gwangju, Korea, opening 2nd November and screening until the 5th November 2017. The Asia Culture Plaza Outdoor Media Wall commands an area measuring 75 metres in length and 16 metres high. The program will tour to Malaysia where it will be displayed in December 2017 in another monumental LED screen built in the Manara TM building, Kuala Lumper.
Curator Kim Machan has selected two artists proposing their art works in a format that will closely consider the context of the video wall programming in both locations. Machan says ‘My aim is to treat the thirty-minute time allocation as a conceptual whole rather than a series of short films. Scott’s work Hive Mind 2017 repeatedly alternates with Louise Bennett’s work The Sun from Your Past, 2017 in a thirty-minute screen intervention that challenges the programming format, the materiality of the screen, and artistic experience of the video wall. I see it as a site specific installation rather than a screening venue. Bennett and Scott approach video and the moving image in very sculptural ways which was a compelling reason to include them in this project. While these works are separate and dramatically different in the visual language they use, they combine to activate the architectural space that the screen inhabits. The works occupy two extreme positions – the banal and sublime.’
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