March 2010: A Symposium

March 10, 11, 12: Postgraduate Symposium 2010

5 speakers gave talks on Wednesday 10 and Thursday 11th of March 2010, enlightening us with their processes, and preparing the way for our own talks on Friday.

The theme: “The Master’s Tool Shall Never Dismantle The Master’s House” (A quote from an essay by Audre Lorde)

The aim of the symposium is to discuss personal artistic practice in the the context of current practices. And to explain the relationship between research and practice. The guests managed these discussions successfully (each had a 1h presentation), leading to discussion panels where the question was raised (among others) of whether to keep the work “unresolved” or not…

The 15 minutes imparted to the candidates for their presentations sometimes meant they presented a summary of their work, ready for a critique session rather than an actual reflection on their working practice. However, the presentations were all slick and highlighted the research concerns and questions of the candidates.

symposium note-taking

Note excerpts

Shubigi Rao

“The invention of a lie is more interesting than the lie”. Shubigi walked us through how she came  about making her piece “The Tuning Fork Of The Mind” for the 2008 Singapore Biennale: it all started with the newspapers reporting how “Modern art is bad for your brain”…

Tony Godfrey

Unveiled his medium of choice: words on paper. Conversations form an important part of his research; LOOKING; THINKING; TALKING. The Postcards on the wall of the artist’s studio represent a paradigm shift.

Guo-Liang Tan

The practice of LOOKING comes first. The importance of Uncertainty. Question: What happens to a painting when it leaves the studio to get exhibited? What does it loose by not being in the environment where it was painted? Paintings after all masters were exhibited next to Masters’ paintings. Then, there’s all these things that people do but we dn’t know about: conceptual artists drawing. Curate = Conversation

Exhibitions: Found and Lost (Osage, 2009, Curator); Grieve Perspectiive (Grey Projects, 2010, Collective).

Lesley Duxbury (Program Director, Post Graduate Research, RMIT)

“If we knew what we were doing, it wouldn’t be called research, would it?”

In our research, we need a time to think and we need a time to do things automatically. Art doesn’t follow a linear process.  Large collaborative with scientists: MELT, research project related to climate change. Artists can contribute to such a scientific project, among others, by getting the public interested. To evoque – not to be didactic.

Sand Helsel (Professor of Architectural Design)

A biased map-maker. A different way of looking. Mapping Taipeh. Using different travel journals through walking in the city. Following a stry dog or the postman for example. Creative vs Documenting. Half the systems we use are invisible.

M.A.F.A. Candidates

Lucinda Law

Text -Time – Space

Tim Xie Ying

Mao – Mao . Son of Son of Mao. Icon. Mini-Mao: a toy?

Natacha Arena

Quote from Frank Stella: “What to paint and What painting is”.

Cui Liang

Making mistakes? Painting square canvases in seemingly repetitive manner, highlighting the slightest mistake.

Steven Lim

Reference: Antony Gormley. Learn to Let it Be

Edith Podesta

How to be a dog. How performing as one changed her. Noticing the time it takes to get back to “normal”. Dealing with the unexpected.

Rubin Hashim

“Who Are You?” Negociating the museum display of a person that might as well have existed.

Isabelle Desjeux

How Getting Institutionalised Changed My Practice – Look out for my next post for a detailed version of my talk.

Rajinder Singh

How a coffee stain and a fake hole in the wall can be related to the Cosmic dimension. How such artwork relates to the rest of the gallery.

Igor Delic

Using Classic Movie Frames to Draw the Story Board of a Vampire comic Book.

Mohammad Zaki Bin Razak

Master and Slave Dialectic (Hegel)

Matthew Bax

Fascination with the rituals associated with Death in Singapore, and the burning of joss paper and fake material objects. Matthew concluded on letting us know that he challenged the notion of needing to paint outside the frame…

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