Always doing something, with somebody, somewhere

Always doing something, with somebody, somewhere featured a range of artworks, a collage (as curatorial proposition) and a series of appropriated materials; including a film on an architect (Anti-villa) to a natural history documentary. The art works included; a site specific assemblage, a series of films and a sited audio piece.

The group exhibition featured three distinct elements; the first was a program of artist films, interspersed with a selection of appropriated photographs and a selection of found film clips taken from a range of sources in the public domain. The second element offered a ‘curatorial proposition’ in the form of a large free standing structure that featured a collage of drawings, texts and printed material where every decision was made explicit and visible in the exhibition. The curatorial process was an active material.

The intension from the start was to consider all materials as fair game; this not only included the artworks, but also the institution (and it’s contents). The requirement for a structured aesthetic display was reduced so that all elements were treated as equal base materials, from which a new mechanism could be built. This approach isn’t disrespectful; it is a necessary process of breaking down and then re-orientating, to afford the artists (as curators) resistance to external signifying hierarchies, the tyranny of beauty and acceptable design.

Featured artists: Michelle Atherton, Sarah Botha, Del Hoyle, Jim Howieson, Dale Holmes and TC McCormack

A group exhibition at Atelierhaus Salzamt gallery, Linz, Austria. and an event: Kristallin#9

The ‘curatorial proposition’ considerd all materials as fair game; this not only included the artworks, but also the institution (and it’s contents). The requirement for a structured aesthetic display was reduced so that all elements were treated as equal base materials, from which a new mechanism could be built. This approach isn’t disrespectful; it is a necessary process of breaking down and then re-orientating, to afford the artists (as curators) resistance to external signifying hierarchies, the tyranny of beauty and acceptable design.

• Project