Matthew Barney, Film – “The Order, 2002”
Renowned international contemporary artist Matthew Barney lives and works in New York. Barney works in a variety of media including sculpture, photography, drawing, and film. He is best known for his creation of the Cremaster Cycle, an art project consisting of five feature-length films made over a period of eight years (1994-2002).
‘The Order’ (film version and excerpt from Cremaster 3) was filmed in the Guggenheim Museum in New York City. Structured as a game, this rehearses the initiation rites of the Masonic fraternity through allegorical representations of the five-part Cremaster cycle in which the Entered Apprentice (Matthew Barney) must scale the Guggenheim and compete in five ‘levels’ or ‘degrees’: one for each film in the series. This competition features a fantastical incarnation of the Entered Apprentice as its sole contestant. He must ascend through five degrees, each presenting him with a different opponent or overcome obstacles on each level of the museum’s spiraling rotunda. Molten Vaseline drips slowly down from the fifth degree providing the game with its time base. The Entered Apprentice must become initiated before the Vaseline reaches the first degree.
Image sourced from ACMI
The Chin Chin Wall of Art is a not-for-profit independent contemporary art space for the moving image. Situated in the Melbourne CBD and viewed from Chin Chin restaurant, Flinders Lane and Higson Lane seven nights a week from dusk, the projection wall offers a broad range of video works from local, emerging, established and international artists.
The projection space presents a context for the diversity, education and understanding of contemporary video art. Offering a non-traditional exhibition space, we provide a platform for informative and experimental work that is provocative, controversial although not offensive. The provision of time, space and dialogue encourages risk and criticality. We aim to facilitate creative networks and connect the local art community with the global sphere of contemporary art. The program is made up of both curated and proposal based exhibitions and projects attracting a diverse audience local foot traffic, chin chin guests and the Melbourne CBD public.
The wall of art accepts proposals throughout the year.
Download submission form here.
Rubbed Genie, Digital Art – “Chiijn Djinn”
Matt Daly aka Rubbed Genie is a Melbourne-based artist specializing in interactive digital media, motion graphic design and projection installations. Matt Daly’s work is largely made using Unity software – a skill developed studying video game design at RMIT. Since graduating, Matt has focused on pushing the boundaries of what game design means and blurring the lines between games and art.
Matt Daly explains, “with this piece, my initial concept was to create a surreal landscape to transport the guests of Chin Chin to another world, encapsulating the energy of the restaurant with moments of intensity as they dine. The main goal I had was to represent the distinct characteristics of the venue and the wall on which the work is displayed within the world I created. First was to harness the urban feel the wall and Chin Chin hold, given their location in the heart of the CBD, the large static blocks channel the monolithic form of the surrounding buildings looming above. The ruins in my scene represent a lost city from the past, something that the heritage-listed wall shares. The blue line structures represent the new, technologically-focused advancements in the city, with most buildings covered in antennas and receivers. With the current change from winter to summer, we’re starting to see beautiful, light night skies and rich orange sunsets – I wanted my world to share this too. These ideas combined to create a surreal depiction of Melbourne and the space that surrounds Chin Chin.”
Rubbed Genie would like to credit Alexander Webster (@Alexanderetah) & Amber Ter Hedde (@virtual.amb) for there assistance.
The sale price for Chiijn Djinn is $333.00
Rebecca Monaghan, single channel video – “The Hermeneutic Field”
‘The Hermeneutic Field’ is a re-interpretation of the classic colour theory wheel into a sculptural expanse of objects. Each object is in itself an expression of the colour it displays. Taken as a collection, in part or in whole, the arrangement of forms provides a playful exchange that highlights the relationship of complementary colours.
In The Field, the viewer is taken on a journey, visiting four colour segments, each with a distinct personality. Beginning in the mellow Blues/Blue-Green, the viewer is then taken across to the analogous opposite, the warming tones of Orange-Yellow before sliding across to the energized Red-Violet and lastly on to the sharp acidity of Yellow-Green.
Rebecca Monaghan’s art practice since completing her Masters of Contemporary Art at VCA in 2015 has primarily focused on the hermeneutics (interpretation) of colour with a theoretical foundation that references Wassily Kandinsky and Claude Debussy. Through the construction of small-scale sculptural arrangements, animation, sound and interactive video she has conjured dynamic spaces for the viewer to travel through and experience the lively relationship between colours and their individual personalities.
Monaghan is based in Melbourne and completed a Master of Contemporary Art at the Victorian College of the Arts in 2015. She holds a Bachelor degree majoring in philosophy and psychology and postgraduate qualifications in computer science.
Recent exhibitions include ‘Call and Response’ at West End Art Space (2018), ‘Abstraction Twenty Eighteen’ at Five Walls Projects (2018), ‘Not Fair’ (2017), ‘Attack, Decay, Sustain, Release’ at Five Walls Projects (2017). Her work is held in the Deakin University and Epworth Medical Foundation art collections, and in numerous private collections.
Glynn Urquhart, single channel video – “Cilla”
Glynn Urquhart is a multidisciplinary artist working primarily with animation. A graduate of the Victorian College of the Arts, his work deals with themes surrounding the physical, the digital, and the spaces that exist between the two. He has had his work shown at solo and group art shows locally around Melbourne, as well as animated short films screened at film festivals internationally. Projection work of his has also been shown at White Night, Gertrude St Projection Festival, and West Projections.
“Cilia” is a series of new 3D animated video works that playfully experiments with colour, form, and texture to create abstract organisms that float, spin, and dance in an airy ethereal realm. Taking inspiration from Australian native flora and cell organelles, these creations blur the lines between macro and micro, alive and inert, biological and machine. Elements of physical reality that are familiar to us are subverted in this new realm. Gravity shifts. Hair is sentient. Glass wiggles as though it were made of jelly. Through the use of projection, an alleyway in the CBD becomes a window into this world and we are invited to consider where this space exists. Does it feel familiar? Could these creatures exist? Or is it pure abstraction, alien and strange?
Rebecca Riggs – Tell Me A Story, Sing Me A Lullaby
Single Channel Video
Tell me a Story, Sing me a Lullaby is a series of two video works in which Riggs reimagines the hopes, wishes, and perspectives of the child. A Fountain Just For Me presents a re-invention of a fountain monument within a concrete area in an apartment complex and in The Clown and The Piano, a sad clown seeks a place where s/he can be accepted for who they are.
One of the most innate human needs is for a feeling of belonging and the construction of identity. We are put under a lot of pressure to form a sense of self from our youth. You might recall hearing adults asking your younger self that dreaded question “What do you want to be when you grow up?” Instances like this have ignited Rebecca Riggs’ interest in the human condition, which is explored in her art practice.
Samuel Szwarcbord – Colour Space #2
Colour Space #2 is part of an ongoing series of work that investigates how we perceive and understand colour. The term colour space refers to the types of model used for the representation of colour. In the digital realm colour is often interpreted through a proportion of red, green and blue (RGB), in analogue television a colour encoding system PAL (Phase Alternating Line), or similar, was broadcast alongside the video signal, and in printing the model is based on cyan, yellow, magenta and black (CMYK) or a proprietary system like PMS (Pantone Matching System). These are all systems with limitations which seek to make colour, something that we each observe differently, quantifiable and reproducible. Through pairing printed colour with digitally projected light Colour Space #2 collapses these distinct spaces and uses the artwork as a mechanism to ask larger questions about perception and interpretation.
This project, Colour Space, speaks specifically to the types of projects Samuel Szwarcbord makes: temporary sculptures, site specific installation and performance based site works. His practice treats slight, disposable or mundane materials and environments with care and preciousness. His work uncovers a particular joy that can be found through emphasising the aesthetic, material and social qualities of objects and spaces that one experiences — or overlooks — every day and drawing a different kind of attention to them. Samuel graduated with a Master in Contemporary Art from Victorian College of the Arts in 2017, with previous degrees in architecture from University of Technology, Sydney. He lives and works in Melbourne, Australia.
Claudia Gleave – Fever
‘Fever’ is a context responsive text-based video work that explores the limits of our structures and systems of logic, in particular language and colour, and the moments when they break down and create new poetic or visual possibilities. It also explores the transgressive nature of indulgence and excess and its ability to divide and split the subject involved.
The work pairs colloquial antonyms with corresponding pairs of colour opposites and, through a process of transposition, reveals the inherent ambiguity of language, meaning and everyday experiences. In an attempt to conflate apparently incompatible opposites ‘Fever’ also explores the idea that the superabundance of any force inevitably produces or contains its opposite, similar to the principle of equilibrium in the natural world.
Claudia Gleave is a Melbourne based artist whose practice spans video, performance, photography and text-based works. Her work questions personal and societal boundaries and constructs, often revealing the nature and limits of human knowledge and structures of logic and often employs the subversive and reflexive potential of a comic and tragic sensibility. She holds Bachelor of Fine Arts (Honours First Class) from The Victorian College of the Arts and has exhibited in numerous solo and group shows.
Suzanne Gately – Fempop
Fempop is a new work created by Suzanne Gately where modernized pop art meets comic book animation in a collage of strong female characters. Sourced from a variety of fictional worlds of female popular culture and pop art. In a market historically saturated with boy-obsessed girls and damsels in distress, this work focuses on highlighting some of fiction’s best-developed, strong, three-dimensional, female characters.
The work has two main sections: the core animation – featuring recognizable female fictional characters; occasionally reimagined (i.e. Chinese Alice in Wonderland). Copyrighted characters appearing as silhouettes with detailed backgrounds and public domain characters appearing detailed with silhouetted backgrounds.
Suzanne Gately is a digital native and fluid creative who lives and works in Sydney. She is a young videographer, photographer, and designer who has produced, directed and edited a range of video works, with her greatest interest in video postproduction.
Suzanne loves the artistry that is available within motion picture. She intends to build an indelible career as an editor and further explore her talent for production and directing. Aiming to create work that communicate modern issues and celebrations of culture, Suzanne is looking forward to spending much more time returning to developing independent, original content, such as FEMPOP which debuted at Chin Chin Melbourne as part of White Night 2018.
Tara O’Conal – Untitled 2017
Tara O’Conal is an emerging artist based in Melbourne. Tara is currently studying a Masters of Fine Art at the Victorian College of the Arts where she graduated in 2016 with First Class Honours.
Tara O’Conal’s practice investigates experiences of perception, working with video, photography and sound within the field of contemporary video installation. Her daily interactions with the world guide the material in the work through which she explores experiences of embodiment as she encounters everyday phenomena. Tara’s work offers a quiet and focused perspective, contemplating the sensory nature of existence.
Annie Edney – Ancestral Mischief 2017
Annie Edney’s video art is made with light colour and water, recording the improvised manipulation of found organic objects on liquids to evoke memory. She is currently interrogating the idea that all of our ancestor’s memories are held in our DNA.
Edney has 20 years experience as director and lead artist making site- specific projects with extensive community involvement. Emerging as a video artist in 2015, she is now focused on her solo studio practice and has shown videos internationally, including Venice in 2017, Istanbul in 2016, and Melbourne 2015-17.
Alex Gomez – Midnight Flesh Dates 2017
Grotesque yet somewhat familiar to the human form, layers of colour and fleshy configurations trip through a strangely erotic collage of imagery. In sharp contrast with the crumbling concrete walls of the urban jungle, the soft fleshy textures reflect the vulnerability of the ephemeral human condition. Gentle contours of the body are matched with the sticky pulp of fruit and silky flower petals, while the psychedelic layering of colours allude to an intoxicating dream-like state. Disjointed and sickly sweet, the video is at the same time both overpowering and hypnotic – a train wreck you can’t tear your eyes away from. It is a self-portrait, a reflection on femininity and the female body. With visual poetry throughout, the rhythm of the film sighs and gasps; following the pattern of the breath.
Alex Gomez is a Melbourne based video installation artist examining intimacy, the body and identity. Since graduating from Monash University in 2015, she has exhibited in a number of solo and group exhibitions in Melbourne and Milan (Italy).
Kerri Wilson McConchie
Kerri Wilson McConchie is a Melbourne based artist with a practice that includes drawing, video, projection and installation. Her works focus on themes surrounding personal history and identity that relate to broader contemporary issues through unwritten narratives of abstract moving images.
Drawing combined with digital processes is employed to push the possibilities of transition, thereby creating another ‘being’ through distortion, repetition and transformation. Layers of memory, conscious reflection and the unconscious, drives the basis of drawings that become expansive and immersive through projection. In this new projection work these layered transformations have been repurposed as animated stories that although unstated, portray issues through coded symbols and patterns.
Kerri completed a Masters of Contemporary Art at Victorian College of the Arts in 2016 and was the recipient of the Chin Chin Wall of Art Award,
Chin Chin X Jason Ebeyer
Jason Ebeyer is a 3D Visual Designer based in Melbourne, Australia. Combining elements from different sources, he produces work using a combination of programs and mediums, creating vivid scenes, which are sometimes an explosion of colour, and other times dark hallucinogenic dreams.
“I’ve grown up during the tipping point of the digital age – where the internet is no longer confined to your home computer, and is now accessible everywhere and anywhere. As a society we have never been more connected with each other than we are right now, we have also never been so distant. The internet has literally opened up another dimension where your identity is a fluid concept, and who are one day can change with something as little as your profile picture and who you’re following. This small body of work explores the feminine and masculine identities within myself, and how they interact with each other. Being a creative has become an outlet for me to explore different feelings and thoughts through my work and share with the world around me.”
Corinna Berndt – The Screen
Corinna Berndt is a Melbourne based artist working across multiple mediums, including sculpture, collage and video. Her practice investigates the tension between corporeal and digital experience, often exploring interactions between objects and bodies.
Berndt’s layered videos explore multiple possibilities of manipulating the image space of the screen. An ongoing focus of her work has been the concept of the video screen as an experimental site for exploring experiences of time, space and the digital image, in relation to the body.
Berndt recently completed a Masters of Fine Arts at the Victorian College of the Arts. She has exhibited at project spaces and commercial galleries in Melbourne.
Timmi Tsapaliaris, The Feeling of Noticing
Timmi Tsapaliaris perceptual and aesthetic concerns are an ongoing investigation of the somatic and physical memory of place. The work is a mere passing moment or accumulation of moments within this extended investigation. From repetition to representation in real, literal time, one traverses the possibilities of the Australian suburban condition within which, a wide spectrum of unquestioning realities reveal itself. Within the comforting familiarity of each-day’s sameness, there also exists the unquestioned and assumptive – that for lack of time, and puncture we are not confronted to acknowledge. My work looks at the unquestioned banalities and possibilities within the everyday of which we are all a part.
Timmi Tsapaliaris was born in Adelaide, South Australia. She attended classes at the Ruth Tuck Art School when she was 7 years old, where she learnt the fundamentals of drawing and water colour painting. She was awarded the ProHart Scholarship during her Bachelor of Visual Art at the Adelaide Central School of Art. She continued her tertiary studies in Melbourne at the Victorian College of the Arts, where she was awarded first class honours in Fine Art (Honours). She currently resides in Melbourne where she works and explores new modes of presenting contemporary video art.
Crims, ‘Life is Sour’
‘Life is Sour’ is a colourful, wicked look into modern aesthetics, drawing influences from around the world and the stunning visuals and media pulled from its depths.
Bringing together visuals and styles from post-internet subcultures, movies, western media and Japanese displays, the footage is a vivid and aggressively chill view of the familiar and the unknown. With elements of military nonchalance, heavy anime influences and a life online, Life is Sour is dark, twisted, vibrant and a whole lot of aesthetic.
Crims – Working as a resident VJ for the international dance music event Cold Tech, Melbourne-based Crims first started VJing after a particularly inspiring night in Tokyo. With a life online exploring the post-internet subcultures, Crims works to create a look and feel to match each night’s vibe and aesthetic. Crims has worked around Melbourne and Tokyo, creating visuals and displays that blend anything from dark cityscapes, vibrant anime, grainy military test footage and the more striking scenes of Hollywood.