Centre for Contemporary Photography
Ryszard Dabek
Alex Rizkalla
David Van Royen
Anthony Hunt
Alasdair Foster
Larissa Hjorth
Daniel Palmer
Ryszard Dabek and Anne Kay: Modus Operandi. Alex Rizkalla: In A to Z of Health and Wealth. David Van Royen: Him Self. Alasdair Foster for Lecture series: Art Without the Artist?
Modus Operandi
Ryszard Dabek and Anne Kay
Gallery 1
Modus Operandi is a joint exhibition by Ryszard Dabek and Anne Kay.
Two distinct bodies of photographic work (26 bus stops & Beige and
Brown Customs) have been brought together to generate a complex
discourse of inter-relatedness and difference based on aesthetic,
social, political and economic concerns. Anne Kay's Beige and Brown
Customs (2001) were produced in Los Angeles, where the activity of
photographing became a way of recording and processing what was
different and new. Ryszard Dabek's 26 bus stops (1999/2002), were
methodically photographed while travelling between the towns of
Kosina and Solina in south east Poland, almost always from a moving
vehicle.
Each series employs a documentary framework to deal with typologies
of vehicles and modes of transport, a way of coming to terms with a
place and its landscape; while the formal approaches employed in the
two series of work are vastly different, each is borne of process.
See this exhibition online @ http://www.ryszard.net
Anne Kay acknowledges the generous support of the Samstag Program.
In A to Z of Health and Wealth
Alex Rizkalla
Gallery 2
There are many paths circumnavigating the role of museology in
cultural production; they provide ethnographic clues and leaking
traces. There are the sociological inquiries of the late Pierre
Bourdieu into the roles of 'capital' as a type of knowledge system.
There is James Clifford's notion of the 'art-culture' system that
reframes modes of Western subjectivity and thus the postcolonial
museums of the future. In A to Z of Health and Wealth, Alex Rizkalla
begins at the socio-political model of the Medical Museum as a fecund
site in questioning the roles of cultural, social and economic
capital. Through a plethora of sequence projections fusing image and
text within various temporal moments, Rizkalla provides an
ethnographic terrain in which the museum itself transforms into its
own tourist. (Larissa Hjorth)
Him Self
David Van Royen
Project Space
He's somewhere between twenty-five and thirty-something. He has
reached MANHOOD. His rites of passage? Education, car ownership, the
soul searching experience of travel.
But isn't manhood the everyday exercise of responsiblity?
As our lives grow older, spare time dissolves. There are never enough
minutes in a day to achieve all that is required. We are engaged in a
constant stream of tasks, doing maintenance on our work and lives.
So where does the masculine identity reside in today's culture?
What tools can we use to measure masculinity?
A moment. A pause in his day. A non- action which lets him slip out
of present necessity and rest in the sub-conscious. Him self,
unadulterated.
When asked what he does, his response is a silent pause
All the Three Letter Words in the English Language
Anthony Hunt
e-Media Gallery
Graduating in Fine Arts from RMIT in 1997, Anthony Hunt has since
explored a wide variety of themes expressed through the media of
sculpture, photography, digital media and installation. He has
exhibited in group, solo and collaborative exhibitions at a number of
galleries throughout Melbourne, including 1st Floor, Uplands and
Gertrude contemporary art spaces where he was a studio artist between
1997-1999. Since that time, Anthony's practice has concentrated on
incorporating computer-based work into his art practise. All the
Three Letter Words in the English Language (2002)’ is the latest
example of this approach, combining sound and text to create a
humorous digital work.
Curated by Daniel Palmer
Image: Alex Rizkalla
Photo-Synthesis: Explorations into Contemporary Photomedia 2002 CCP Lecture series
Wednesday August 21 @ 6.30pm
Alasdair Foster Art Without the Artist?
In this provocative presentation, Alasdair Foster explores the use of
art and looks to a near future when art may no longer rely upon or
privilege the artist-producer. Drawing on a wide range of disciplines
including neurophysiology, economics, art history, behavioural
science and consilience theory, Foster offers what he calls "a
polemic refracted in a crystal ball".
Alasdair Foster is the Director of the Australian Centre for
Photography in Sydney. With a hybrid education in physics,
photography, history and theatre, his career has spanned the film
industry, commercial and art photographic practice, curation and
writing. Before moving to Australia, he was the founding director of
Fotofeis, the award-winning biennial of international photography in
Scotland.
Image: Anne Kay
August 16 - September 14. 2002
Opening. Thursday August 15, 6-8pm
Gallery hours. Wednesday - Saturday 11am - 5pm
Centre for Contemporary Photography
205 Johnston St Fitzroy Vic 3065 Australia