colliding Worlds: Education Resource · colliding worlds concept is remarkably apt, contemporary and prescient. However, it is not only our natural environments and sensitive ecologies

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AcknowledgementsEducationResourcewrittenbyJohnneylon:artmuseum/educationconsultantThewriteracknowledgestheinsightsonpracticeandworksprovidedbytheparticipatingartists.

PublishedbytheAnne&GordonSamstagMuseumofArtUniversityofSouthAustraliaGPOBox�47�,AdelaideSA500�T 08830�0870E [email protected]/samstagmuseum

copyright©theauthor,artists,andUniversityofSouthAustralia

Allrightsreserved.ThepublishergrantspermissionforthisEducationResourcetobereproducedand/orstoredfortwelvemonthsinaretrievalsystem,transmittedbymeanselectronic,mechanical,photocopyingand/orrecordingonlyforeducationpurposesandstrictlyinrelationtotheexhibitionColliding Worlds,attheSamstagMuseumofArt.

ISBn978-0-980366�-8-�

SamstagMuseumofArtDirector:EricaGreenExhibitionsandPublicPrograms:EmmaEpsteinSamstagAdministrator:JaneWicksMuseumAssistant:SarahWall

GraphicDesign:SandraElmsDesign

Colliding WorldsEducation Resource: John Neylon

About this Education ResourceThisEducationResourceispublishedtoaccompanytheexhibition

Colliding Worlds�5May–�4July�009Anne&GordonSamstagMuseumofArt,Gallery�

Colliding Worldsisa�009comeOutFestivalexhibition

ThisEducationResourceisdesignedtosupportlearningoutcomesandteachingprogramsassociatedwithviewingtheColliding Worldsexhibitionby:

n Providinginformationabouttheartists

n Providinginformationaboutkeyworks

n Exploringexhibitionthemes

n challengingstudentstoengagewiththeworksandtheexhibition’sthemes

n Identifyingwaysinwhichtheexhibitioncanbeusedasacurriculumresource

n Providingstrategiesforexhibitionviewing,aswellaspre-andpost-visitresearch

Itmaybeusedinconjunctionwithavisittotheexhibitionorasapre-visitorpost-visitresource.


Contents1 Background briefing 5

Aboutthisexhibition 5

Theartists 5

curatorialperspectives 5

2 Exploring the works 6

PiaBorg 6

nicholasFolland 8

HaydenFowler �0

ShaunKirby ��

PatriciaPiccinini �4

AnnaPlatten �6

3 Exploring the exhibition: Themes 18

Theme�:nature �8

Theme�:Materiality �8

Theme3:narrative �8

Theme4:Reality �9

Theme5:culture �0

Theme6:collidingWorlds �0

4 For Teachers 21

PlanningasuccessfulvisittoColliding Worlds ��

curriculumconnections:Keycompetencies ��

5 Get started 24

Year LevelThisResourceisprimarilydesignedtobeusedbysecondarytoseniorsecondaryvisualartteachersandstudents.componentscanbeadaptedforusebyupperprimaryandalsotertiarystudents.


1 Background briefing

Thisexhibitionisafeatureeventofthe�009comeOutFestivalprogram.Theoveralltheme,Colliding Worlds,isinspiredbya�93�sciencefictionnovelbyPhilipWylie(When Worlds Collide)whichtellsthestoryoftwofictionalrogueplanetsthatenteroursolarsystemandcausecatastrophicdamageandtheendofcivilisation.However,whilethecollidingworldsofculturemightportenddestruction,lossandconflict,theyareinfactrichinfertileexchange,bringingdiversityandthepromiseofsustainability.

Colliding WorldsbringstogetheradiversegroupofdistinguishedAustraliancontemporaryartistsworkinginverydifferentmedia:sculpture,new-media,animation,paintingandinstallation.Theirimaginativecreations,conceptsandpersonalartistictrajectoriesaresoutterlydifferentfromeachotherthatunderstandingisstretchedandanycomfortzonechallenged.

The artistsPiaBorg,nicholasFolland,HaydenFowler,ShaunKirby,PatriciaPiccininiandAnnaPlatten.AlloftheColliding Worlds’artistshaveworkedandexhibitedextensivelywithinAustraliaandoverseasandarerepresentedinsignificantpublicandprivatecollections.Fourofthegroup(Borg,Folland,FowlerandKirby)areSamstagScholars.InformationregardingtheAnne&GordonSamstagInternationalScholarshipscanbefoundatwww.unisa.edu.au/samstag

Curatorial perspectivesThecuratorofColliding WorldsisEricaGreen,DirectoroftheAnne&GordonSamstagMuseumofArt.*Thefollowingstatementsaretakenfromhercatalogueintroductoryessay.Theygiveinsightsintothecuratorialprocess,particularlythebusinessofinterpretingthethemeandselectingartistsandworksofartwhichwillbest,asshecomments,‘expressthevisualandinterpretivepossibilitiesofthisunusuallyrichidea.’

‘clearly,inourpresentcircumstancesofclimaticdisruptionandgloballythreatenedecologies,thecollidingworldsconceptisremarkablyapt,contemporaryandprescient.However,itisnotonlyournaturalenvironmentsandsensitiveecologiesthatarestressed,reactiveandchanging.Infactthenotionofa‘collisionofworlds’canbeseenasanallegoryofmoderntimesinthebroadestsense,portrayingalsoahumanworldwheredifferenceandtheunavoidablecollisionofcompetingvalues–political,technological,social,religiousandethnic–threatentheestablishedorder.’

‘Yetsomesayithasalwaysbeenthusinhumanaffairs,andthatcollidingworldsarenatural,cyclical,andaharbingerofultimateprogressforgood.’

‘Andwherescientiststypicallywilllooktorarespeciesoftropicalrainforestfrogsastrueindicatorsofclimatechange,wemight,inasimilarvein,alsobenefitbyreflectingontheinsightsthatartistsprovidetousintheiroften-inspirationalculturalwork.’

‘Theworkofsomeartistsmayseeminscrutable,fantasticorbizarre,andmaysometimesalienateandevencauseoffence.Butwiththebenefitofhindsightwecometorevereartisticideasthatopennewspaceandprovidenewwaysoflooking,orworkthatcandidlyportrayssociety’sunderbelly,withitsflawsandfears.’

*Information:SamstagMuseumofArt:www.unisa.edu.au/samstag

Considern Istheideaofartbeinginsomewayanindicatorofbroadertrendsinsocietyreliableoruseful?

canyouthinkofexamplestosupportthis?

n WhenEricaGreentalksof‘competingvalues’inmodernsociety,whatdoyouunderstandbythis?

n Shouldwehavetowaitfor‘thebenefitofhindsight’beforeweunderstandwhatworksofartmightactuallybesaying?Orshouldartiststryhardertomaketheirintentionsclear?

n Onceyouhavereviewedtheexhibition,isthereanyworkthatspeaksdirectlytoyouintermsofitsmeaning?

About this exhibition


Pia Borg is a film director and animator currently based in the UK. Artistwebsite/dealer/gallery:www.unisa.edu.au/samstag/scholars/scholars06/borg.aspwww.rca.ac.uk

‘Myfilmscollageasynthesisofstop-motion,animatedfoundobjects,photos,mirrorsandpuppetswithliveactionintonon-linearfairytalenarratives,oftendrawinginspirationfromarcaneinventions,automatons,andtheearlyspecialeffectsofcinemaandtheatre.‘

Artiststatement,�009:www.rca.ac.uk

PerspectivesPiaBorg’sfilmspresentaconstantflowofanimatedactioninwhichher‘actors’(foundobjects,photographs,mirrors,puppetsandclaymationfigurines)actoutfantasticalnarratives.Thegadgetryandmechanicalmovementofthevariousvisualcomponentsinvokearcaneinventionsandtheearlyspecialeffectsofcinemaandphotography.

‘InformedbyGermanExpressionistcinemaandutilisingtraditionalanimationtechniques,eachframeiscarefullycomposedfromamontagethatencompassesoldphotographs,foundobjects,humanhair,scannedtextures,dust,insectsanddiscarded�6mmfootage.Shunningtheslicknessofdigitisedanimation,Borgexpressesapreferencefora‘dirty,junkyaesthetic,’citingasinfluentialtheearlyexperimentalworkofFrenchfilmmakerGeorgesMéliès.‘

WendyWalker,‘Thememorable:ephemeral’,catalogueessay,The�006Anne&GordonSamstagInternationalVisual

ArtsScholarships,SamstagProgram,UniversityofSouthAustralia,�006.

WorkPalimpsest,�008,film,�0:05min

‘Thisfilmattemptstoexploretherelationshipoftimeandspacebyrepresentingafixedlocationoveraperiodofthreecenturies.Thecompressionoftimeisillustratedwithacombinationoftime-lapse,realtime,andstop-framephotography.Thespaceitselftransformsandmutates,playingwitharepresentationofhistoricalreferencesfrom�7thcenturypaintingtoearly�0thcenturycinema.Thechoreographyofthecharactersappearing,disappearingandreappearingpayshomagetothephotographsofthespiritsoftheVictorianera.Astimeprogressestherepresentationsofthesecharactersfadebutleaveafainttrace;thesetraceseventuallyoverlap,creatinganewcollage–likethetitlesuggests.Thesoundusedwithinthefilmiscreatedusingshortwaveradiorecordingsevokingthe“electronicvoicephenomenon”recordingsofthedeceased.’

Artiststatementaboutthework,�009.

Framing questions and researchn Theartisthasstatedthatthe‘choreographyofthecharactersappearing,disappearingand

reappearingpayshomagetothephotographsofthespiritsoftheVictorianera.’Thephotographyofspirits(orghosts)wasanoffshootoftheSpiritualismmovementofthe�9thcentury.Seeifyoucanfindoutmoreaboutthismovementandtheroleplayedbyphotographywithinit.

n Themesofghostsandthreatsposedbytheparanormalhaveoftenbeenexploitedbymodernorcontemporarycinema.Investigatethistrendandseeifyoucanfindoutmoreaboutitandwhyitremainsapopulartheme.

Pia Borg

2 Exploring the works


n Asignificantbodyofearlycinema(early�0thcentury)filmsconsistedofhorrorfantasises–hauntedhouses,mechanisedmonsters,mummies,vampiresandthelike.ElementsofPalimpsestappeartoquote‘hauntedhouse’conventionsofectoplasmicappearances,unexplainedmovementsandthedramaticplayoflightanddark.Investigatethisaspectofearlycinemaandre-evaluateBorg’sworkfromthisperspective.

n ThecentralideaunderlyingPalimpsestisthatofasinglespacebeingthesiteofanunfoldingsequenceofeventsoveralongperiodoftime.Scriptorcreateavisualstoryboardforaplaceorsiteofyourchoosingwhichdepictseventsovertime.Youmightliketoconsidercreatingafutureprojectionratherthanre-creatingthepast.

PiaBORG,Palimpsest,�008,filmstill,courtesytheartist


Nicholas Folland is an installation artist based in Adelaide. Artistwebsite/dealer/gallery:www.greenaway.com.auwww.unisa.edu.au/samstag/scholars/scholars99/folland.asp

‘Whilemypracticegenerallyhighlightsananxietyforpotentialfailureineverydayactivity,theprimaryworkconsidersthisnotionthrougharelationshipbetweenthecontrolledspaceofdomesticdwellingandtheunpredictablechaosofthenaturalenvironment.Byforcingeverydayappliancestoapointofexcess,andbycollidingtheirpracticalapplicationwiththeirinherentreferencetonaturallyoccurringforces,Iattempttohighlightafragilerelationshiptotheworld,andtoshiftourperceivedsenseofstabilityandsecuritywithinthehome.’

Artiststatement,�009.

Perspectives nicholasFollandpreferssculpturalandinstallationformatstoexpresshisideas.Afeatureoftheseworksisastrongtheatricalqualitywhichsuggeststhathisobjectsmightbesetsorpropsforaplayoropera.Theobjectshecreatesinvolvethemanipulationoffoundobjectsandmaterials,oftenindustrialordomesticinorigin.Mostoftheseobjects(individualsculpturesandinstallations)haveapared-downqualitywhichrequirestheviewertoexercisetheimaginationandinventstoriesorreasonstoexplaintheidentityandfunctionofindividualitemsortherelationshipbetweenseveral.ThedelicatebalanceinFolland’sworkbetweenthenaturalandtheartificialhasoftenbeenremarkedon.Astheartistcomments,‘Muchofmyworkeitherincludesorimpliesatransformationtakingplace,orsomethingin-betweenstates.Hopefullythere’sasensethatsomethinghasjusthappened,orthatit’saboutto,and,likeamomentofrealisation,it’soutofyourcontrol.’Hispracticeisbuiltaroundnotonecentralideabutseveraloverlappinginterestswhichareexpressionsofaninterestintheworldviewsthatsocietiescreateinordertomakesenseof–andcontrol–theirsurroundings.Thisinterestextendstothesystemsofhypothesising,exploring,analysingandrecordingusedtomapknown,almost-knownandunknownworlds.

Onecritichascommented,‘nicholasFolland’sworksappearasexperimentsreflectinguponprocessandtheconstructionofknowledge.Theyevokestudiesofearthandair,wetanddry,hotandcold;theyplaywithmobility(placedandplaceless),containment,andtheimaginativequesttoencompasstheelementsof“nature”and“landscape”whilepointingtotheambiguitiesoftheirowntask,toincommensurabilityandunpredictability,thepleasureandriskofknowingandperception.’*

*RuthFazakerley,review,nicholasFollandexhibition,GreenawayArtGallery,�–�6August,�00�,ArtlinkVol�no.4.

Workfloe,�009,foundglass,nylon,300x650x�80cm

‘Theworkwasgeneratedfromthedrawingsofearlyexplorers,whowouldoftencreateaccurateprofiledrawingsofnewcoastlinestoassistinfuturenavigation.Onmanyoccasionstherewasnottimeoranopportunitytoactuallygoashoreandinvestigatethenewlands,sowhilethesedocumentswoulddescribeacoastline,theyprovidenootherinformationastowhatthelandmassmightcontain,oritsfuturepotential.Tomywayofthinking,theyweresoclosebutstillsofarfromknowing.Inaway,thedrawingsjustincreaseadesireforknowledgeandenhanceasenseofmystery.’


Nicholas Folland

2 Exploringtheworks


floeisoneofanumberofworksmadebyFollandwhichpickuponthethemeofexploration.Theseworkshavedrawnreferencesfromthe�9thandearly�0thcenturyageofexplorationandtheexperiencesofexplorerssubjectedtotheextremesofdesert,oceanandpolarice-capenvironments.TheAntarctic–andsomeofitsbest-knownpioneerexplorers,RFScottandSirDouglasMawson–havebeendrawnintoFolland’screativenarrativesinacontextofrepresentingsociety’sdesiretobreakdowntheworld’slastfrontieroftheunknown.Themapandchartreferencingthatstronglydeterminestheformoftheworkisconsistentwiththeartist’sinterestinanduseofmapstructureswithinotherworkstosignifyhowelusivethisquestforultimateknowledgeis.Toemphasisethispoint,FollandremindsusthatthecoastlineoncedrawntoassistMawson’sexplorationsis,withglobalwarming,beginningtochange.Intheprocess,theoriginaldrawingsnowbegintotakeonanostalgicidentity.

Framing questions and researchn SomeinterpretationsofFolland’sworksuggestthathissculpturesandinstallationsarevisual

metaphorsforattitudesorstatesofmind.Analysefloefromthisperspective.

n natureisoftenrepresentedinFolland’sworkassomethingthatcanbeobservedandrecorded,but,atthesametime,isalsounrepresentableorunpredictablychaotic.Howisthisideaexploredorexpressedinthisinstallation?

n Folland’schoiceanduseofmaterialsisareflectionofhisintentions.Analysefloefromthisperspective.

n ‘Muchofmyworkeitherincludesorimpliesatransformationtakingplace,orsomethingin-betweenstates.Hopefullythere’sasensethatsomethinghasjusthappened,orthatit’saboutto,and,likeamomentofrealisation,it’soutofyourcontrol.’

Doyouthinkthiscommentoftheartistappliestothisinstallation?

nicholasFOllAnD,floe(studioworkinprogress),�009,foundglass,nylon,300x650x�80cmcourtesytheartistandGreenawayArtGallery,Adelaide,©nicholascharlesFolland,�009/licensedbyVIScOPY,Sydney�009

�0 Colliding WorldsEducationResource

Hayden Fowler is currently living and working in Berlin, Germany and Australia.Artistwebsite/dealer/gallery:www.gbk.com.auwww.unisa.edu.au/samstag/scholars/scholars08/fowler.asp

‘Thecentralconcernofmypracticeistheproblematiccontemporaryrelationshipbetweenhumanityandnature.Iaminterestedintheemotionalrelationshipsofindividualstothenaturalworldandtheincreasingdeprivationofthisconnectionwithincontemporarycivilisation.Myworkisstronglyrelatedtothethemesoffreedom,lossanddesire,andwiththeromantichopeforareturntonature.

Iworktorecombineandjuxtaposenaturalandartificialelementstoexploreboththeartificeofthemodernenvironmentandthedisjointedcontemporarynature/culturerelationship.Byrelocatinginstinct,tradition,andhumannaturerelationshipsintounfamiliarandunnaturalenvironments,myintentionistoinvestigatethefragmentation,sanitisationandrepressionofhumannatureandculturewithintheconstraintsofcontemporaryFirstWorldexistence.

InconstructingfictionalspacesIuseaframeworkofhumanhistory,mixingandcollapsinghistorytogeneratenewparalleltimesandplaces.Myreferencesrangefromtribalismandanimism,pastandimaginarycivilisations,throughtothefuturisticprojectionsof�0thcenturysciencefictionandutopiandystopiannarrative,tryingtofindanewunderstandingofthehumandiscourse,whichbeginswithtotalimmersioninthenaturalworldandendsintotalremovalfromit.’

Artiststatement,�008.

PerspectivescentraltoFowler’spracticeistheinterrelationshipbetweenhumanityandtheanimalkingdom.Thistheartistseesassignifyinghumanity’splaceintheworld.Inancientandtraditionalsocietiesthisrelationshipiscomplexandisoftenexpressedthroughmythologies,accountsandlegendswhichmayinvolveshape-changing(humantocreature,andreverse),hybridity(suchasPanasman/goat)andallocationofspecialortotemicpowersandsignificancetoaparticularcreatureorspecies.Thisrelationshiphasbeeninvariablyexpressedthroughalltheartsforms.Fowler’spracticeinvigoratesandinterrogatesthistraditionbyrelocatingitwithinfictional,futuristicspacessuchasaspacecraft(asseeninSecond Nature)or,asinonework,(Call of the Wild,�007),havingapairofextinctHuiabirdstattooedontohisbodywhileondisplayinashopwindow.Throughsuchstrategies,theculturalauthorityandmeaningparticularcreaturesoncehadaredismantled.But,asFowler’stheatricalpresentationssuggest,asenseofconnectionbetweenhumanityandnatureremains,evenifwemaynotknowwhatthismeansanymore.

‘HaydenFowler’sinterdisciplinarypracticereflectsontheconsequencesoftheincreasingseparationbetweenhumanityandnatureatatimewhenitisbecomingmoreandmoredifficulttodefinewhatisnatural.’

JasminStephens,‘calloftheWild’,exhibitioncatalogueessay,GalleryBarryKeldoulis,Sydney,�008.www.gbk.com.au

‘HaydenFowler’sstillsandvideosalsohaveastrongsenseoftheatricalnarrative.Fowler’sanimalsoperateinstinctivelywithinahighlysanitisedsetorbackground,butrepresentaspectsofhumannature.ThereisapoliticaldimensiontoFowler’snarratives.Hunger’slambsparalleltheprofligatewasteoftheFirstWorldwiththedesperatepovertyoftheThird.ThegoatsinGoat Odyssey,themicedriventhroughthesetinWhite Australia,andthecockinWhite Cockarefollowinganimposedorder,impotentandpowerlessdespitetheexpressionofinstinctivebehaviour.’

louiseMartin-chew,‘AlternativeRealities’,catalogueessay,The�008Anne&GordonSamstagInternationalVisualArtsScholarships,SamstagProgram,UniversityofSouthAustralia,�008.

WorkSecond Nature,�008,digitalvideo,36:�0min

Hayden Fowler

2 Exploringtheworks

�� Colliding WorldsEducationResource

‘Second Naturearticulatesanumberofcontemporaryissues:theisolationofhumansfromeachotherandfromthenaturalworld,themergingoftheorganicandthemachine,andthepotentialdeathofEarthitself.’

‘SetbeyondbothEarthandnature,Second Naturereferencesthespacecolonyofsciencefictiondiscourse,itsinhabitantsclingingtoremnantsoflife,civilisationandnaturewithinthesparsenessandausterityofthemachinewhichsupportsthem.Thedepictionsofthisspaceslidebetweenbeauty,humourandasenseofhorror,articulatingthesilentcreepingterrorofhumanity’s“success”infreeingitselffromthelimitationsofnatureandtheearth.’

‘Withinthesespace-agedchambers,historyisbothcondensedandextrapolated,referencingtribalcostume,theprehistoricgoddessfigureVenus,andthegoldoffallencivilisations.Hishandfulofanimalcharactershassurvivedthehistoricfallfromanimistsymbolstocompanionanimalandnowaccompanyhumanityonthisjourneyintoapparentnothingness.’


Framing questions and researchn Whydoyouthinktheartistassociateshumanity’ssuccess(freeingitselffromthelimitationsofnature)

withterror?Howdoesheconveythisideainthiswork?

n Theartistcommentsthatintheseworksthe‘boundariesbetweenhuman,animal,plantandmachineareblurred.’Analysethevideofromthispointofviewandseeifyoucanidentifywaysinwhichhedoesthis.

n Inmakingthisvideotheartistintendedtocreateasenseofmoodoratmosphere.Doyouthinkthisvideohasorcreatesaparticularmood?Ifso,howwouldyoudescribeitandhowhastheartistcreatedit?

n Todayitisstillquitecommonforpeopletohavetattoosofcreaturesappliedtotheirbodies.Whatkindsofcreatures?Whatdoyouthinkthismightbesayingaboutthesepeopleoraboutsocietyingeneral?

HaydenFOWlER,Second Nature,�008,digitalvideo,36:�0min,courtesytheartistandGalleryBarryKeldoulis,Sydney


Shaun Kirby is a Melbourne-based artist. Artistwebsite/dealer/gallery:www.unisa.edu.au/samstag/scholars/scholars98/kirby.asp

PerspectivesShaunKirby’sworkdefieseasyanalysis.criticalinterpretationhasoftendrawnattentiontoelementsofobliqueness,layering,contradiction,open-endednarrativeandcross-referencingofculturalandlinguisticassociationintheartist’spractice.Atthesametimethereisagreementthathisworkshaveastrongvisualpresence.Thereareanumberofreasonsforthis,amongthemthewaytheartistfactorsinthearchitecturalspacesinwhichworksaresited.ThechallengeinviewingKirby’sworkistoacceptthatawork’smeaningwillliesomewhereinthespacesbetweenthings.Theartistexplainsthisasbeinglikemoirépatternscreatedbyoverlapping,animatedtemplates.Theartisthascommentedthatwithinworksthereshouldbeadegreeofopacityandresistance,evenperversity.Identifyingthecentralideasonwhichtheartworksarebasedisequallychallenging.Thereisnoexplicitsocialorpoliticalagenda.Despitethis,thereisasenseofdysfunction,uneaseorthreat,whichsuggestssomekindofruptureorinstabilityinsocialorder.Thiscanbeexplainedtoadegreebytheartist’sinterestin�950sfilm noir,aswellas�930sExpressionistfilmswhichhadthreatasacentraltheme.Thistheme,however,whileimplied,isoftenheldincheckinKirby’sworkbyelementsofhumourandparody.AsKirbycomments,‘thereisalwaysasortofmisanthropichumourlurkinginthebackgroundofmywork.’

‘SodissolvedarecategoriesofpracticeinthepresentproductionsofShaunKirby,it’simpossibletorefertohimasapainter,asculptor,abricoleuroraninstaller,thoughheiseachofthose.certainlyheisanartist,butoneforwhomartislessadefiningnounthananindefinitearticle.Flux,notfixity,ishiselement.Hisavowalisforambiguityofmeaning,ormultiplicityofit,totheextentthatanyuni-dimensionalreadingoftheworkdepravesit.’

MAGreenstein,‘BacktotheFuture’,catalogueessay,The�998Anne&GordonSamstagInternationalVisualArtsScholarships,SamstagProgram,UniversityofSouthAustralia,�998.

Work cousin beast,�005,mixedmedia

Theworkcousin beastconsistsofatablewithaspiderlurkingbeneath,flankedbyasetofphotographssourcedfrom�9�0sglassslidepositivesdepictingsnakes–andboysholdingsnakes–somewhereintheAustralianbush.ThisisacharacteristicKirbywork-format:asculpturalobjectassociatedwithphotographs.Theartistprovidessomecluestothework’scontentandpossiblemeaning.HestatesthattheworkwasmadearoundatimeinAustraliawhentherewas‘afloodofpoliticallymotivatedrhetoric’aboutnotionsofAustralian-nessandAustralianvalues.Thisraisedinhismindthewayinwhichatermlike‘home’(asin‘nation’)canimplybothrefugeorthreat.Kirbybelievesthat‘insomewaysitisamalignantconceptthatmasksdivision,ambiguityandambivalence,repressedhistoriesandselectiverememberings.The‘drifter’,‘itinerant’,the‘stranger’;allarenegativemanifestationsofthisfiction.It(mostoftenfiguredasmale)isinsomesensea‘spoiler’,anarchetypethatmightbeseentothreatentheunravelingofsocial,ethicalandmoralattachments.Itisalurkingpresenceattheedgeofourphysicalandpsychicworlds,aphantomthatthreatenstomanifestandwreaksomeformofterribledamageorrupture.’

This‘lurkingpresence’isexpressedincousin beastbythespider(‘ratherlooselybasedonthewhite-tailedspiderthaturbanmythhasmadethecarrierofaflesh-eatingnecroticbacteria’)andthephotographsthatfortheartistformakindofnegative‘DadandDave’imageofAustralian-ness,perhapsdarkerandmorerealthantheromanticmythsofmateship,the‘fairgo’.

linkedtothis,theartistseestheimagesincousin beastasresonating‘stronglyintermsofAustralianattitudestothelandscape,thefloraandfauna,andthecountry’sIndigenouspeople.’

Shaun Kirby

2 Exploringtheworks


Framing questions and researchn OnepossibleinterpretationofKirby’sworkisthatbeneaththesurfaceofsocialorderis

anunderbellyofviolenceandthreat.Discussoranalysecousin beastfromthisperspective.

n Theartisthassuggestedthat‘theseimagesrepresentasortof‘antiDadandDave’,akindofdarktwinofthecosynostalgicfictionsofnationalism’.WhowereDadandDave?Andhowcanthesefiguresbelinkedtonationalism?

n TheproportionsofthetablearederivedfromthearchitectureofWalterBurleyGriffin.WhowasWalterBurleyGriffin?Whydoyouthinktheartistisassociatingthisparticulararchitectwith‘underlyingdarknessandviolence’?

n Doyouthinkthatthisworkissayingsomethingabout‘Australianattitudestothelandscape,thefloraandfauna,andthecountry’sIndigenouspeople’?

ShaunKIRBY,cousin beast,�005,mixedmedia,dimensionsvariable(table:�.5x�.5x0.9m),courtesytheartist


Patricia Piccinini is a Melbourne-based artist.Artistwebsite/dealer/gallery:www.patriciapiccinini.net

‘Oneofthepointsofmyworkisthatwenowknowthatweallcamefromthesamegeneticmaterial;thatalllifeonEarthcamefromthesamecommongeneticancestor.Sooneofthepointsoftheexhibitionisthatthereisafamilyinsidetheshow,andthereisalsoafamilythatincludesusaswellasthesecreaturesthatIpresent.Soifwearefamily,thenhowdoesthatchangeourattitude,howdoesitdetermineourresponsibilitytothecreatureswecreate?Inmywork,perhapsIamsayingthatwhetheryoulikethemoryoudon’tlikethem,weactuallyhaveadutytocare.Wecreatedthem,sowe’vegottolookafterthem.’

FromlecturebyPatriciaPiccinini,8December,�003,FacultyofFineArts,TokyonationalUniversityofFineArtsandMusic.www.patriciapiccinini.net

PerspectivesAfterleavingartschoolintheearly�990sPiccininispentalotoftimedrawingatanatomymuseums.AroundthistimeshebeganaprojectcalledThe Mutant Genome Project(�994–95).Theinspirationwasaninternationalscienceresearchproject,startedin�990,calledtheHumanGenomeProject(HGP)whichaimedtoidentifythegeneticmakeupofthehumanspecies.Theartistbecameinterestedintheideaof‘designedhumanity’.centraltotheartist’spracticefromthispointonistheideaofcreatingorgivingbirthtonewlifeformswhichcarrysomeimprintofthehumanspecies,partlyinbiologicalformandpartlyinbehaviour.Initiallysheexploredtheideaof‘designerbabies’,expressedaslUMPS(lifeFormwithUnevolvedMutantProperties).Bythelater�990sherprojectionsofpossiblefuturelifehadencompassedtissueengineering(asseeninProtein Lattice,�997,essentiallyrealisedasamousewithahumaneargrowingonitsback)andmachine/humanhybridscentredoncarandtruckbodies(Truck BabiesandCar Nuggets).In�000,scientistssuccessfullysynthesisedDnAtomaketheworld’sfirstsyntheticorganism(SO�),essentiallyalifeformcreatedwithchemicals.Piccinini’sresponsewasasecondsyntheticorganism,SO�,expressedasanalmostbald,mole-likecreature(‘sirenmole’).Inanextendedseriesofphotographsandinstallations,theartistcastthiscreatureasatechnologicalanimal,dependentonhumansforitssurvival.Amajorexhibition–We Are Family,presentedatthe�003VeniceBiennale–wasashowcasefortheartist’slinesofinvestigationtodateandthehighlevelofproductionskillsrequiredtocommunicatethem.ThisexhibitionincludedtheworksStill Life With Stem Cells,�00�,Game Boys Advanced,�00�,andThe Young Family,�00�.

‘PatriciaPiccininiisanartistwhoexploresthefrontiersofscienceandtechnologythroughhersculptures,photographsandvideoenvironments.Sincetheearly�990s,Piccininihaspursuedaninterestinthehumanformanditspotentialformanipulationandenhancementthroughbio-technologicalintervention.Fromthemappingofthehumangenometothegrowthofhumantissueandorgansforstemcells,Piccinini’sartchartsaterraininwhichscientificprogressandethicalquestionsareintertwined.’

RachelKent,‘Fastforward:acceleratedevolution’,catalogueessayforexhibitioncall of the wild,MuseumofcontemporaryArt,Sydney,�00�.

Work Game Boys Advanced,�00�,silicone,polyurethane,clothing,humanhair

Thetwoboysareclonedtwins.Oncloseinspectionalarmingsignsofprematureagingcanbeseen.ThesourceforthisideawasDollythesheep.Dollywasaewe(5July,�996–�4February,�003)famousforbeingthefirstmammaltobeclonedfromacell.Dolly’sdeathattheprematureageofsixyearsprompteddebateaboutthebiologicalandethicalconsequencesofcloning.

Work Still Life With Stem Cells,�00�,silicone,acrylic,humanhair,mixedmedia

ThisworkextendsideasexploredearlierinthelUMPseriesofundifferentiatedtissueforms.Thelumpsofapparentlylivingtissue,withtheirhuman-likeskin,vasculartraces,creases,veinsandfinehair,mightpotentiallybelungorhearttissue.Theactionofthegirlincaringforthese‘livingthings’invitesthinkingandquestionsaboutadjustingtofutureworldsinwhichsuchentitiesmaybecomecommonplace.

Patricia Piccinini

2 Exploringtheworks


Work The Young Family, 2002–03,silicone,polyurethane,leather,humanhair

Themothercreaturesucklingitsyoungisacocktailmixofbuffalo,pig,apeandperhapsothercreatures.Theexpressiononitsfacedemandsanemotionalresponse.Thequestionis:‘why’?

Framing questions and research n IthasbeensaidthatPiccininihasanambivalentattitudetowardstechnology.Inthecontextofthe

artist’sworksinColliding Worlds,whatmightthismean?

n ArtcriticJohnMcDonaldhascommentedthatPiccinini’sworksare‘sciencefictionvignettespluckedfromsomeimaginarymovieset’.*Howdoyouseethem?*Sydney Morning Herald,�7–�8September,�005

n AcuratorhascommentedaboutPiccinini’swork,‘thequestionofwhatconstitutesthe“natural”hasbeencentraltoherresearchandwork.Theconceptualstrandsthatlinkherdisparateprojectsareexaminationsofthedistinctionbetweennatureandartifice,thevirtualandthereal,andtheincreasinglycomplexandproblematicwaysinwhichourexperienceoftheworldismediatedthroughcontemporaryscientificinformationanddigitaltechnologies.’**JasonSmith,‘Sandman’,catalogueessayforSandmanexhibitioninstallation,nationalGalleryofVictoria,�00�–�003.

Whatdoyouthinkthesestatementsmean?Howdotheyapplytotheartist’sworksintheexhibition?

n IfyoucouldasktheGame Boyssomequestions,whatwouldtheybe?Whatkindofanswersmightyouget?

PatriciaPIccInInI,Game Boys Advanced,�00�,silicone,polyurethane,clothing,humanhair�40x36x75cm(irreg,lifesize),imagecourtesytheartist,MichaelBuxtoncollection,Melbourne


Anna Platten is an Adelaide-based artist. Artistwebsite/dealer/gallery:www.evabreuerartdealer.com.au/platten.htmlwww.acsa.sa.edu.au/studios/platten/platten.html

‘Ifeelmymotivationforpaintinghasn’tchangedmuchfromthatwhichIhadasachild.AsIimagineformostchildren,drawingwasformeameansoftangiblyexploring,possessingandcontrollingtheworldaroundme…I’mstilltryingtodothesamethingbutnowtheemphasishaschangedfromacapturingofoutwardrealitytousingthatrealitytoembodythatwhichissensed,albeitinneranduncertain.Behindthemundanessofeverydaylifeweareallpartofanemotionalrealitywhichisanythingbutmundane.’

Artiststatement.

Perspectives AnnaPlatten’smeticulouslycraftedpaintinganddrawingsusetonalrealiststylesofdepictiontocreatescenarioswhichblendfantasyandcommonplaceelements.Hersubjectsarelargelydrawnfromherimmediateworldandencompassthemesoflifeasajourneyandthetransitionfromchildtoadulthood,singletomarriedstateandparenthood.Theresolutionofsuchprocessesisrarelycompleteorreassuring,butmoreambiguous,leavingtheviewerinsomedoubtaboutpurposesandoutcomes.Herworkhassometimesbeendescribedas‘surreal’butlacksthedarknessofthemostintenseofsurrealistexpression.Itinvitesinsteadanopportunitytoseelifeasatheatreoftheabsurd.Theassociationwiththeatreisoftenstrengthenedbythestage,marionette-theatre-likeandpantomimesettingsinwhichhercharactersappear.Symbolismsuchasladders,exoticcostumingandtoysoffercodedentrypointsintowhatappeartobeautobiographicalstatements.Platten’sadoptionofrealistmodeswasinitiallyinspiredbyFlemishearlyRenaissanceartists.Otherartisticmodelsfollowed,notablyVelázquez,RembrandtandWatteau.Shedoesn’tdrawfromtheimaginationbutworksfrompropsandcostumesaswornbymodels.

‘Plattenisconcernedwiththesymbolsandobjectsthatweseeorareinfluencedbyinourdailylife.Herworkcontainsrepresentationsofsymbolicobjectsofallkinds.Sheposeshersubjectsinawaythatrevealsthemostintimateaspectsoftheirpersonalities,withgreatattentiontofacialexpression,posture,thepositioningofthehands,andthedirectionofthegaze.Alltheseelementsconveyarchetypalaspectsofthehumanpersonality.’

chrisReid,‘Gazinginthetheatre’,catalogueessayfortheexhibitionAnna Platten: Paintings and drawings 1994 – 2004,AdelaidecentralGallery,�004.

The works The Journey,�008,oilonlinen

The Journey – gate,�008,oilonlinen

The Journey – crossing,�009,oilonlinen

The Journey – landmark,�009,oilonlinen

Thefigureofthewomaninperiodcostumewasoriginallyinspiredbya�6thcenturybiblicalillustrationwhichdepictedthehumansoulasawanderingfoolorjester.Theobjectsassociatedwiththefigure–thefool’shat,hobbyhorse,basketandhurdygurdyinherlefthand–werederivedfromthatillustration.Theartistcomments:

‘TherelevantreferencewasPsalm69,verse5,looselytranslatedas‘Onlyyoulordknowmyfolly,Icannothidemyguiltfromyou.’ The woman’s dress is an original Victorian which my sister Bronwyn andThe woman’s dress is an original Victorian which my sister Bronwyn andThewoman’sdressisanoriginalVictorianwhichmysisterBronwynandIfoundinalondonopp-shopoverthirtyyearsago.Itseemedperfect,duetoitstonalityandobviousage,toenhancetheideaofaridinghabitinwhichthejourney-erhadbeenforalong,longtime.’

‘Tomethefigure,althoughfemaleandyoung,standsinforanyonereflectingontheexperienceofpassingthroughlife,reflectingonone’sinteractionwiththeworldwithinandtheworldwithout.’

Anna Platten

2 Exploringtheworks


‘Ratherthantrying,asIhaveinthepast,tohaveanentirenarrativeineachpainting,IenvisionthisJourneyseriestobeexhibitedaspartofalargerbodyofworknominativelytitledas“theWakingDream”inwhichthenarrativeismadeasaninteractionbetweentheworks–thejourneyingfigureandthe“mythical”figuresIhopethatshemightencounter.’


Framing questions and research n InThe Journeyseries,theartisthastravelledbackintimeandusedimageryfromapreviouserato

representasignificanttransitionfromyouthtowomanhood.Imaginethat,asanartistfromsomefuturetime,youdecidetotravelbackto�009andselectsomeimagestodothesame.Whatimageswouldyouchooseandhowwouldyouusethem?

n considerinventingorchoosingvisualsymbolsthatrepresentwhoyouare:notjusthowyoulookbutyourpersonality,feelings,thingsthatmattertoyou,personalstoriesandsoon.composethesesymbolswithinaworkinsuchawaythatpeoplewillwanttospendtimegettingtoknowyou.

n IthasbeensaidthatmuchoftheinterestinAnnaPlatten’sartcanbefoundinthewayinwhichshemixessymbolismandrealismornaturalism.Analyseanyworkfromthisperspective.

Image:AnnaPlATTEn,The Journey – gate,�008,oilonlinen,�86x�30cm,privatecollection,imagecourtesytheartist


Exploringtheexhibitionextendsbeyondlookingatanindividualartist’sworktoidentifyingandconsideringrelationshipsbetweenanyworksintheexhibition.AneffectivewaytodothisistoviewColliding Worldsasanexhibitionmadeupofgroupsofworkswithsimilarthematiclinks.Decidingonwhichthemesarerelevanttoanyexhibitionisapersonalprocess.Belowareanumberofsuggestedthemes.Asyouexploretheexhibitionyoumayidentifyadditionaloralternativethemes.

Theme 1: NatureTheideaofnatureiscentraltohumanlifeandidentity.Manytraditionalworldviewsholdnaturetobesomethingotherthanhumanlife,orthathumanityissomehow‘above’nature.Artofthemodernerahasbeenincreasinglydrawnintothedebateaboutwhatnatureactuallyisandhowhumanityfitsintoit.Mostrecently,inacontextofscientificanalysisoftheglobalbiosphere(andbeyond)inwhichhumanityasaspecieslivesandco-existswithotherspecies,manyartistshavebeenexploringthenatureofhumanidentityandtheimplicationsofbio-technologicalenhancementsofhumanity’s‘natural’form.

Consider:n Piccinini’smutant humans and creatures, envisaging the possibilities of bio-medical science creatingmutanthumansandcreatures,envisagingthe possibilities of bio-medical science creatingthepossibilitiesofbio-medicalsciencecreating

newlifeforms..

n Fowler’sinterrogationoftheinterrelationshipbetweenhumanityandtheanimalkingdom,setinthefuture.

n Folland’srepresentationofnatureasacontradiction–something‘fixed’thatcanberecorded,but,atthesametime,isunpredictablychaotic.

Theme 2: MaterialityTheterm‘materiality’referstotherolethatthematerialsusedtocomposetheworkplayindeliveringsomesenseofmeaningorsignificance.Intraditionalstudioartssuchasoilpaintingorbronzesculpturethisaspectwastakenasgiven,andcriticalcommentaryrestrictedtosubtletiesandindividualstylesofhandlingthemedium.Themodernerahasforegroundedthisaspectofart-makingtothepointwherethechoiceofmaterialsandtheirtactileandsymbolicpropertieshasbecomepartofthepackageintermsofsettingupanddeliveringmeaningsorsimplymakingemphaticstatements.Theincreasinguseoffoundobjectsandmaterials–suchasindustrialormassconsumerdomesticmaterialsandware–acceleratedthisprocess.Today,artistsdrawonarichcontemporarytraditioninwhichtheuseofsuchmaterialsoritemssuchasfat,rubber,furniture,industrialfasteners,clothing,off-cuts,toys,clay,timber,furorwaterisoftenreadasbeingsignificantandperhapscentraltothework’sintent.

Consider: n Piccinini’sfinely-craftedsimulationofhumanoranimalskin.

n ThesenseofarcanedustinesscreatedinBorg’svideo.

n ThehighdegreeofnaturalismorrealistdetailinFowler’svideowhichcontrastswiththeunrealityofthescenarios.

Theme 3: Narrative Thenarrative(story-telling)traditionsofWesternartwereinterruptedbytherevolutionarymodernerawhichregardedsuchtraditionsasobsoleteorbetterservedbycinema.Thelaterpartofthe�0thcenturysawarevivalofnarrativeasakeyartpracticestrategy.Thiswasdueinparttotheemergenceoffilm,videoandphotographic-basedpracticesaspreferredmodesofexpression.Paralleltothis,post-modernistperspectivesencouragedarevitalisationofnarrativestructuresinordertocritiqueculturalsystemsorinsertpreviouslymarginalisedaccounts(e.g.minoritygroups)intomainstreamhistories.narrativeincontemporaryarttakesvariousforms,withmanyfavouringfictiveconstructions(asinliteraryorcinematicfiction),broken/interrupted/overlappingnarratives,multipleendingsandstrategiesdesignedtoencouragetheviewertoidentifywiththecentralnarrative,createalternatives,or‘jointhedots’inordertouncoverthestory.Throughsuchmeansthepast,presentandfuturecanbeconsideredfrommanydifferentperspectives.

3 Exploring the exhibition: Themes


Consider:

The idea of the journey as a special kind of narrative n Piccinini’ssculpturalinstallationsactasfreeze-framescenarioswhichusuallymotivateviewersto

constructstoriesorsomedialogueinordertobringthesecreaturetolife.

n Fowleraddsanextradimensiontotheinterrelationshipofhumansandanimalsbysettinghischaractersinsomefuturetime,onaspaceshiptravellingfurtherfromthepastandthevaluesandworldviewsthepastrepresents.

n Platten’syoungwomanisonalifejourney.

n Borg’sanimationtellsthelifestoryofanarchitecturalspace.

Theme 4: Reality ‘Reality’continuestobeago-totermtorepresentthecentralconcernsofmanycontemporaryartists.InEuropeanart,themodernideaofrealityhavingmany‘realities’orexistinginmanyformscanbetracedfromSurrealism(or‘super-realism’)earlyinthe�0thcentury,whichheldthattheinnerrealityofdreams,thesubconsciousandtheimaginativemindrepresentedamorecentralrealitythanthatoftheworldofappearances.Bythelater�0thcentury,‘reality’tookcentrestageaspostmodernistideasanddebateaddressedthesystemsandbasisonwhichsocietyfunctioned,suchasbeliefs,politicalandcommercialsystems,values,andnationalandindividualidentities.Inthevisualartsthefocusfixedonthewaytheartworldandtheworldsofpopularcultureandconsumerismintersected.Takingapositionthatitwasnotpossibletoseparateartfromthewidervisualenvironment(orvisualculture),manyartistsbasedtheirpracticeonacritiqueorexplorationofthewaymassmediahadcreateda‘hyperreality’basedonanendlesscirculationofsigns.Thevirtualrealityenabledbystate-of-the-artcomputergamesandrealityTVshowsareindicatorsofthesignificanceofrealityasaformofculturalandconsumerbranding.

Consider:‘Magic realism’ Thistermhascometobeappliedtoawiderangeofartpracticeswhichembracebotholdandnewmedia.Asthetermimplies,itemploysrealismsuchasclosesimulationsofphysicalreality(life-likefigures,forexample)orpowerfulillusionsofvisualreality.Thisrealismismixedwithslightorextremefictionalelementswhichcausetheviewertohoverbetweenwantingtobelieveandwantingtoenjoythestoryorspectacleforitsownsake.Elementsofthiskindofartcanbeseenin:

n Platten’sfictionalrecreationofayoungwomanonalifejourney.

n Fowler’sactualuseofrealactors(individualfiguresandanimals,completewithrealitytouchessuchasdroppings)setinafantasyspacecraftorfuturisticenclosure.

n Kirby’sominousspider.

n Piccinini’sdisturbinglyrealGame Boys.

Constructions of reality centraltosomeartists’practiceisaprobingintothenatureofseeingandunderstandingtheworld.Folland,forexample,takesapositionthattherealitythatwebelievetobeconstant(particularlynatureandliterallyrock-solidthingslikecoastlines)isfundamentallyunstable.collapsingorjuxtaposingtimeisanotherwaytochallengetheideaofrealityasfixedandfinal.

n Borg’sunfoldingseriesofhistorical‘facts’.Whichperiodistherealone?

n Platten’smodelforhertime-travellerispartearlybookillustrationandpartfellowartistFleurnoble.

n Fowler,insendinghischaractersonsomefuturisticvoyage,intensifiesthefocusonthe‘hereandnow’.


Theme 5: Culture Theideaandnatureofcultureisafixtureincontemporarydiscourse(thinking,discussionanddebate).The�0thcenturywitnessedwhatcanbedescribedas‘cultureWars’,whichhadtheirrootsin�8thcenturyand�9thcenturyrevolutionsinvolvingmanythings,includingtheemergenceofmiddle-classsocietyandindividualism.TheWarswerebroadlyaboutthedistinctionstraditionallymadebetweenso-called‘high’and‘low’culture.Accompanyingthiswereotherdebatesaboutsystemsandsourcesofculturalauthority(e.g.‘official’historiesofart,artmuseumsandacademies).Manystrategiesusedintherevolutionaryperiodsofthelate�9thtoearly�0thcenturyart(suchastheuseoffoundobjects)canbetracedtothisdeterminationtoreplaceolddefinitionsofculturewithonesthatmadesenseinacontemporarytrans-culturalworld.

Consider: n ThesubtleabsurdityinPlatten’simageofa‘modernface’setonaperiod-costumedbody.

n ThefauxclassicisminFowler’simages,referencingthe‘highculture’credentialsofsuchcreaturesasgoatsandhorses.

n PopularcultureasrepresentedinPiccinini’scomputergames(Game Boys)drawnintoseriousdebateaboutthefutureofhumanity.

Theme 6: Colliding WorldsImplicitinalloftheabovethemesistheideathatalternative,parallelorcomplementaryworldviewsexist.Whenthegaporalignmentbetweenonesetofworldviewsandanotherisextreme,collisionscanoccur.PartofexploringtheexhibitionColliding Worldsistoidentifyanyworldviewsindividualartistshold,anddecideifexploringorexpressingcontradictoryworldviewshaveasignificantroletoplaywithinthework.

Consider: n Folland’sbeliefthatnature(andthusreality)isbothunstableandultimatelyalwaysoutofreach

contradictsagenerallyheldbeliefthattechnology,scienceandnaturallawswillultimatelykeepeverythingundercontrol.

n Fowler’sreadingofhumanhistorywhichinvolvesrecognisingthathumanityasaspecieshasevolvedacomplexsetofrelationshipswiththeanimalkingdom.Itimpliesasympatheticpositiontoreasonswhysuchrelationshipsevolvedandtheartist’sconcernwithviewswhichholdthatinafutureworldanimalswillhaveto‘singfortheirsupper’.

n Piccinini’ssculpturesaddressaprevailingviewthatbio-technologicaladvanceswhichenhancehumanlifearewelcome,insuchawayastoraisedoubtsaboutethical,socialandevenbiologicalimplications.

n Kirby’stag-teamoflurkingspiderandlittlesnake-killingAussiesneedstoberead,astheartistsuggests,againstabackdropincurrentAustraliansocietyofhistoricalattitudestosuchthingsasdispossessionornature,ofwhichtheartistreveals‘disturbinglyretrogradeattitudes,viewsandvalues.’

3 Exploringtheexhibition:Themes


Planning a successful group visit to Colliding Worlds: Pre-exhibition Backgroundbriefing:Informthestudentsabouttheoriginsandcontentoftheexhibition.

ThecuratorialperspectivessectionatthebeginningofthisResourcewillbeausefulresourcehere.

Theprimaryfocusinbriefingstudentsshouldbethefactthatmostmodernformsofartareexperimental,arenotconcernedwithrepresentationforitsownsake,andoftenrequiretheviewertobringtheirownthoughtsandfeelingstotheprocessofmakingmeaning.Thingsthatcanbeidentifiedintheworksareoftensymbolicratherthanliteral.

Suggested activities:n lookatexamplesofcontemporaryart(reproductions/videos)whichexplorethemessimilartothose

identifiedinthisResource(seeExploringtheexhibition:Themes).

n ArtGalleryofSouthAustraliaon-linestudentresearchdownloads:checkouttheArtGalleryofSouthAustraliaon-lineeducationresourcessite–www.artgallery.sa.gov.au–anddownloadthefollowing:

SEE KNOW and FEEL enquiry map Access:GotoEDUcATIOn/unpackingart/TEAcHERS/EnquiryMapdownload.

UsethisasabasisforexploringandanalysingColliding Worldsartworks.Gatheringinformationusingtheenquiry-basedSEEKnOWandFEElapproachalsointroducestheideathatlookingatartworksinvolveslookingforcluestodevelopideasaboutwhataparticularworkmightmeanorbeabout.

Art Games:games-basedlookinganddiscussionisanexcellentwaytointroducetheideathatlookingisanactiveandengagingactivitywhichstretchestheimagination.

Access:GotoEDUcATIOn/unpackingart/TEAcHERS/ArtGamesdownload.

Planning a successful group visit to Colliding Worlds: At the exhibition

Option 1 Ifyoudecidethattheviewingsessionwillbebroadlyimmersiveandinvolvelittleformalworksuchassmallgroupanalysisofworks,scribing,studentreportingandteacherdebriefingthenconsiderthefollowingpackage:

Onarrival,brieflyassemblestudentsandfocusonthebroadthemeofColliding Worlds.Giveremindersaboutgallerybehaviourprotocols.DistributetheCollision Courseresearchsheetorothermaterialpreparedbytheteacher.

Tasks �5minutes Smallgroups(4 –5students)taketimetoviewsomeworks.

Duringthistimeitisbetterifstudentsallhavesomespecifictasks.SuggestselectionsfromtheCollision Coursemenu.

�0minutes Regroupandsamplesomegroupresponses/findings.

�5minutes Reversegroups’levelallocations.

�0minutes Finally,individualtimeoutwithstudentsgivenorselectingactivityfromtheCollision Coursesheet.

Auseful5-minuteclose-outexercise:beforeleaving,givestudentstimeoutforalastlookwithsomespecifictasksinmind.Forexample:chooseoneworkwhichinterestsyoumostandthinkaboutonethingwithinitoranaspectthatyoucouldtalkaboutlaterorperhapsuseinindividualartwork.

note:Timeallowancesforeachunitcanbetrimmedaccordingtoindividualschedules.

4 For Teachers


Option 2 Thissessionwillinvolvestudentsbeinginvolvedinmoreformalandindividualanalysis,andresponseandscribing.

Asuggestionisthatstudentsinthissessiontrytwothings:

n Engagewiththeworkofanindividualartist.

n Engagewiththeexhibition’sthemes.

ForthistohappenitwouldbeusefulifthestudentshadaccesstotheColliding WorldsEducationResourcepriortovisitingtheexhibition.Thiscouldallowstudentstomakefocusselectionsbeforearrival.

This viewing package might look like: Onarrivalbriefly,assemblestudentsandfocusonthebroadthemeofColliding Worlds.Giveremindersaboutgallerybehaviourprotocols.DistributeCollision Courseresearchsheetorothermaterialpreparedbytheteacher.

Orientation time �0minutes Regroupandsamplesomegroupresponses/findings. Focusstudentsontaskstofollow.�0minutes Releasegroupasindividualstoengageinresearchtasks,suchasselectingfrom Collision Coursemenu.�0minutes Regroupandviewselectedworksusingstudents’researchandresponsesas theprimaryfocus.Auseful5-minuteclose-outexercise:beforeleaving;givestudentstimeoutforalastlookwithsomespecifictasksinmind.Forexample:chooseoneworkwhichinterestsyoumostandthinkaboutonethingwithinitoranaspectthatyoucouldtalkaboutlaterorperhapsuseinindividualartwork.

note:Timeallowancesforeachunitcanbetrimmedaccordingtoindividualschedules.

note:In on-site and follow-up discussion, direct students’ attention to key questions including:Inon-siteandfollow-updiscussion,directstudents’attentiontokeyquestionsincluding:Whydodifferentartistsseethingsindifferentways?Howimportantisthechoiceanduseofartmediuminexpressingideas?Aresomeworksmoreeffectiveorinterestingthanothersindealingwiththetheme/subject?Relateddiscussionshouldfocusontheprocessofinterpretation.Whatdoes‘tointerpretanideaorsubject’mean?Whatkindsofdevicesorsystemsofcommunicationdoartistsusetointerpretathemeorsubjecte.g.useofsymbolism,distortion,illusionism?

Planning a successful group visit to Colliding Worlds: Post-visitPost-exhibitionoptionsprimarilyconsistofsharingandanalysingtheinformationgatheredduringtheexhibitionvisit.Thisprocesscouldinclude:

n checkingdatageneratedusingproformas.

n Sharingindividualopinions.

n Differenttaskorthemegroupsreportingfindings.

ThereareanumberofartistwebsiteslistedinthisEducationResourcewhichwillprovidefollow-upresearchresources.Searchoptions(e.g.Google)willprovidefurtherinformationonindividualartists.

Curriculum Connections: Key CompetenciesActivelyengagingwithartworkswithinthisexhibitionwillsupportKeycompetenciesdevelopmentasfollows:

n Kc�collecting,analysingandorganisinginformation:Collision Coursetasksrequirestudentstouseanumberofstrategiestocollectandorganisedataonindividualworksandgroupsofwork.

n Kc�communicatingideasandinformation:Collision Coursetasksrequirestudentstoscribe,debateandreportfindings.

n Kc4workingwithothersinteams:Collision Coursetasksinvolvestudentsworkinginteams.

4 ForTeachers


Curriculum Connections: Essential LearningsFutures:Anumberofworksinthisexhibitionofferaglimpseofthefutureasmediatedbytechnologies.Theyaskquestionsabouthumanity’splaceinaworldwherecommunicationmediasystemsandnewtechnologiesconstantlycreatenewrealities.

Thinking:Thepowerofmanyoftheimageswillcausestudentstostopandthinkaboutmanythingssuchastheissuesfacedbyhumansocietyinarapidlychangingworld.Asagroup,theColliding Worldsartistsdemonstrateahighlevelofabilitytocriticallyevaluate,planandgenerateideasandsolutions.

Communication:Analysingworksorreportinganddebatingfindingsrelatedtoviewingworkswillrequirestudentstomakeeffectiveuseoflanguageandwritingskills.Analysingandrespondingwillalsoallowstudentstolearnmoreaboutartasapowerfulformofcommunication.Manyworksintheexhibitionareconcernedwithwaysinwhichworldviewsarecreatedandaskviewerstodebatetheconsequences.

Curriculum Connections: Visual Art specific outcomesColliding Worldsoffersauniqueopportunityforartteachersandstudentsto:

n Expand knowledgeofthediversityandcontentofcontemporaryartpractice.

n Learn about:

Differentkindsofartpractice.

Differentkindsofart-basedmethodsandmaterials.

Whereartistsgetideasfrom.

Ideasimportanttocontemporaryartists.

Theimpactofnewandemergingtechnologies.

Thelinkscontemporaryartpracticehaswithartofthepast.

n Develop skills in:

Engagingwith,analysing,andrespondingtoartworks,andcommunicatingaboutthem.

Visualthinking,problemsolving,andusingimagination.

Year Level application: Years 8 – Senior Secondary

Senior Visual Arts StudentsThisexhibitionprovidesinsightsintothepracticeofcontemporaryAustralianartists.Theseinsightscanbeexploredwithinacontextofcontemporaryartandculture.

SACE Visual Art Stage 1n Practicalwork–ideasforcreatingworksandexpressingideas.

n contemporaryPractice–offeringinsightsintostrategiesandmethodologies.

n InvestigativeStudy–ACollision Courseartistcouldpresentasalikelycandidateforastudent’sinvestigationofanartist.

SACE Visual Art Stage 2n creating–offeringmodelsandstrategiesforinventivethinkingandaction.

n Perceiving–offeringstructuredengagementwithoriginalanduniqueartworkstosupportthedevelopmentofskillsinanalysingandexpressingopinionsaboutartworks,understandingartwithinawiderculturalcontext,andwritingaboutandresearchingartusingoriginalworksasaprimarysource.

Visual Arts Years 8 – 10 Colliding Worldshasspecialvalueinexposingstudentstothediversityofartpracticewithincontemporarysocietyaswellasofferingideasforartspractice,artsanalysisandresponse,andanunderstandingofartinsocialcontext.


Collision Course: student start-up Thefollowingtasksaredesignedtosupportandinitiatestructuredviewingandengagementforstudentsviewingtheexhibition.Theycanbeundertakeninanyorderandaresuitableforbothindividualandsmallgroupwork.Implicitinsometasksistheideathatstudentsorgroupswillreportfindingsanddiscussworkswithothers.Scribingisnotnecessarytoundertaketheseactivitiesbutsomeofthesetaskscouldinvolvescribingtosupportongoingpost-visitwork.

First and last impressionsn Whatdidyouthinkaboutwhenyoufirstcameintotheexhibitionandlookedaround?

n Wasthereanyworkinparticularyouwantedtolookat,orreturntoandlookatagain?Whydoyouthinkthishappened?

n Isthereaworkinthisexhibitionthatyouthinkyouwillneverforgetorfindhardtoforget?

n Beforeleaving,checkouttheexhibitiononemoretimetoseeifthere’sanideaortechniqueinaworkthatyoucouldtrywhenyougetbacktoschool.

Think aboutsn Whenyoufindyourselfwantingtolookatsomeworksinparticular,doyouthinkitisbecause

theimageorsubjectisinteresting,orisitbecauseoftheartist’stechniqueorwayofinterpretingthesubject?

n Ifthebuildingwasburningandyoucouldsaveoneworkfromthisexhibition,whichonewouldyousaveandwhy?

n Isthereaparticularworkinthisexhibitionthatcontainsorissayingthingsthatyouagreeordisagreewithstrongly?Talktosomeoneelseinyourgroupandshareyouropinions.

Easy?n Whichworkwastheeasiestandwhichworkwasthehardesttomake–andwhy?

Symbolsn canyoufindanartworkthatusessymbolstohelptellastoryorcommunicateanidea?

n Talktosomeoneelseaboutthisartworkanditsuseofsymbolism.

Analysis and response (individual work/s) chooseanyworkthatattractsyourattentionandapplyanyorallofthefollowingquestions:

n Arethevisualqualitiesofthisworkappealinginanyway?

n Wouldthisideahavebeenbetterexpressedinadifferentway?

n canyouseeanykindofconnectionbetweenthiskindofartandothersyouknowabout?

n Whatdoyouthinkthisworkisaboutormightbesaying?

n Writeacaption(extendedwalllabel)foraselectedworkbasedonyourownpersonalresponse,feelingsorinterpretation.

n Hasthisgivenyouanideaforsomethingyoucouldmakeaspartofyourartstudies?

n Whycan’tartistsjustsaywhattheymeanwithoutusingsymbolsoraskingpeopletoguesswhattheworkofartmightbeabout?

n Selectoneworkthatappealsinsomewayandtellsomeoneelseyourreasonsforyourselection.

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Analysis and response (the exhibition)n Writeareviewoftheexhibitionwhichexploresthelinksorrelationshipsbetweentheworks.

n chooseoneofthethemessuggestedinthisEducationResourceandreviewtheexhibitionfromthisperspective.

n ArethereotherthemesnotidentifiedinthisResourcewhichcouldapplytothisselectionofwork?

n Writeapressreleaseforthisexhibition.

n comparetwoormoreworkswhichappeartobeexploringsimilarideasindifferentways.

n Theexhibition’scurator,EricaGreen,hasstatedthat,‘thenotionofa“collisionofworlds”canbeseenasanallegoryofmoderntimesinthebroadestsense,portrayingalsoahumanworldwheredifferenceandtheunavoidablecollisionofcompetingvalues–political,technological,social,religiousandethnic–threatentheestablishedorder.’

Doyoubelievethisexhibitionportraystheworldinthisway?

colliding Worlds: Education Resource · colliding worlds concept is remarkably apt, contemporary and prescient. However, it is not only our natural environments and sensitive ecologies

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