Launch A Wharfie’s Story - play, protest, consequence at MUMA February 23rd by Gallery Director Charlotte Day

Added on by Kym Maxwell.
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Available at MUMA< Perimeter Books and Amazon Distribution

Design: Paul Mylecharane and Beaziyt Wourou

ISBN9780992411732

Number of Pages320 DimensionsWidth: 203mm Height: 276mm Spine: 22mm Weight930g

A Wharfie’s Story - play, protest, consequence publishes for the first time the research materials, photographs, drawings, writings, and documents produced and gathered during the making of multifaceted art project A Wharfie's Story (2015). At the project's heart was the development of an original theatrical work co-created by myself, as a performing arts teacher, and students aged eight to ten years, as part of the Reggio Emilia-inspired curriculum at Collingwood College, a P-12 school in inner-city Melbourne. The work included a free, outdoor, twelve-act performance, as well as a script, two subsequent exhibitions authored by myself, drawings and diagrams, research documentation and this book, which reflects on the various elements of the project as a whole. A Wharfie's Story is based on Jim Beggs and his wife Tui's true-life tale of perseverance and hardship as a wharfie and trade union family. Focused around the fight for fair work conditions on Melbourne's North Wharf from the 1950s to the 1970s, the play focused on Beggs's struggle to move from the corrupt bull system--where workers were hired on a daily basis at a central pick-up point--to become an independent unionist and negotiate fair work for wharfies. As the educator and therefore curriculum builder, Maxwell worked with forty-three students over two terms at Collingwood College to develop the play as part of the performing arts curriculum. Along with a school performance in the gym (20 November 2015), the main presentation was an hour-long performance on the lawn of Buluk Park--in front of Library at The Dock on Melbourne's North Wharf--on a warm and windy summer day (21 November 2015). The public space was transformed into a theatrical platform, juxtaposing the historic tale of the wharf against the site's contemporary 21st century interface. Jim Beggs himself introduced the performance to an audience of families and historians, who applauded the students upon conclusion. This publication is wide-ranging, as befits the project it is based on. The book is divided into six texts, creative responses, a script and images both historical and contemporary, offering a combination of documentation, reflection and analysis. These texts include an interview with Jim and Tui Beggs; a transcript of Jim Beggs's speech; a self-interview; pedagogue and curator Rosemary Forde's reflection on the exhibition storyboard poetics and pedagogic projects; pedagogue and artist Lisa Radford's personal 'Dear Kym'; as well as responses by the students and families involved in the project. The publication also documents the students' work and the two offshoot exhibitions created, Learning Labour (Monash University's MFA Show, Melbourne, 2017) and storyboard poetics and pedagogic process (West Space Gallery, Melbourne, 2017). The titles of the image chapters correspond both to the stages of the project itself and to the content on which it is based: History, Backstory; Organise, Pedagogical Dialogue; Resist, Establish, Set; and Exhibit, Respond. The Consequence seeks to reveal the story of the production; the people, the institutions and the exhibitions involved. Positioning the documenting artifacts within the territory of socially-engaged art-as-document, it explores the key pedagogic and practical concerns of a practice-based research that depends on, and works within, an educational setting. What is at risk when a pedagogic project is made public? What happens when the lines between teacher and artist, education and art object, become blurred? What are the politics of this kind of artistic production?

The Turn, with Ali Mc Cann Incinerator Gallery, April 5th - May 12th, 2019

Added on by Kym Maxwell.
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The Turn, Exhibition with Ali McCann, Incinerator Gallery, 182 Holmes Road, Aberfeldie, Moonee Ponds, Vic 3040.

The Turn is a collaborative inter-disciplinary installation by Melbourne based artists and educators, Kym Maxwell and Ali McCann. The works are a culmination of verbal and visual exchanges between the artists over a three month period, which traversed ideas surrounding institutional interiors and exteriors, Australian educational theories and the functions and failures of teaching and learning. The project is informed by a shared interest in the progressive educational reform in the 1970s and the educational turn proposed by contemporary theorist, Irit Rogoff (2007). Utilising their respective artistic practices as points of departure; strategic placements of photographs,  found objects, and furniture reference an imagined psychological landscape representing the personal and collective educational experience.

Objects of Longing (2018-2019), Shapes of Knowledge, MUMA, 2019

Added on by Kym Maxwell.
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Friday March 29th, I will be leading a discussion Victoria Secondary College School of Art regarding the ethics of pedagogic work and social engaged art as a practice at MUMA from 10-11am. We will explore the framing of acknowledgements and whose voice is primed within the show and works. What are the biases and how this can be addressed.

Object of Longing

Added on by Kym Maxwell.
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Throughout much of this year, contemporary artist Kym Maxwell has undertaken a residency at Dandenong Primary School to develop a multidisciplinary art project titled Objects of Longing. Students and staff at the school have participated in the project through an extended investigation focussed on ideas related to play, collecting and cultural production.

The project has included class excursions to Monash University Museum of Art (MUMA) where students had the opportunity to go ‘behind-the-scenes’ at the museum to learn about what museums collect and why.

Following this, a series of weekly workshops were held at the school with Kym and other artists to develop a theatrical work. Throughout, students engaged in research, script writing, sound, prop, set design and construction. Objects of Longing will culminate in a suite of live performances/exhibitions at multiple venues including Dandenong Primary School, Harmony Square and MUMA.

The first of these live performances takes place on Thursday 6th December from 5:30pm in DPS’s school hall. Please come along to enjoy what promises to be an exciting performance by children from Dandenong Primary School. This project is funded by Creative Victoria through their Creative Learning Partnerships: School Residency Program in association with MUMA and Dandenong Primary School.

La La Hi Prism's New Model collection to be screened at the NGV

Added on by Kym Maxwell.

Videos to be screened as part of a respective of 1990's Australian Art shall include five works from the New Model Collection of La La Hi Prism. This was a contemporary video art label I established and ran in 1999-2001 dealing with limited edition video works by Australia's eminent video artists at that time.

Ricky Swallow, Multistylus Program 1999, colour, sound, duration 1.30 mins, 6 mins loop

James Lynch, Real Life is Everywhere, 1998, colour video, sound, duration 5 mins

Lane Cormick, Calypso Frelimo Fiato, 1999, colour video, sound, 32 min

Nat & Ali, A Face of in the life of Nat & Ali, 2000, colour, sound, duration 1.30 mins, 5 mins loop

David Noonan, Lapsed, 1997, black and white, sound, 24 seconds, 5 mins loop

Stephen Honneger, Margin Walker, 1999, computer generated animation, colour, sound, 11 min 16 sec

Sadly, the Electra and New Stylee Collections will not be screened, but I hope to find a chance for their reprisal in additional collections, or via a screening in another institution or museum.

It would be wonderful if the NGV collect the important series of LLHP video works, as it a great compendium of Australian Video art and artists from the late 1990's early 2000's.

Informal Learning: George Paton Gallery

Added on by Kym Maxwell.

Informal Learning is defined in this case as the type of learning that happens inside an institute that’s not explicitly taught. Rather, it is the learning that happens through social interaction, shared interests and fostering community. 

From April 5-13 for 7 days, Maxwell will invite students’ affiliated to the Student Union as directors, presidents and organisers of Melbourne University’s Club and Departments to respond to the provocation; What informal learning do their members engage in? How does fun factor into formal learning? What gaps are there within discipline-based curriculums that ‘Club’ type networks provide? 

The main gallery of George Paton will be activated to engage with the Clubs and Departments of Union House as they take over the gallery site. In addition, Maxwell will do a field study of Union House and detail its autonomy as an open site for informal activity and performance  that in character is self-directed. 

ACTIVITIES INCLUDE 

Wednesday April 5th The Spirit, Liqueur and Cocktail Appreciation Society holds a gin tasting 

Thursday April 6th The gallery plays ‘Radio Fodder’ featuring The Biggest Blackest Hour 

Friday April 7th Interviews and reflection on Level 2’s Game Play 

Monday April 10th A look into the history of Union House 

Tuesday April 11th An invitation to UMSU Departments and Clubs 

Wednesday April 12th Melbourne Universities, Electrical Engineers Club (MUEEC) will present their live robots for interaction and discussion, along with the closing event presentation. 

A Closing Night celebration of the outcomes of the research will be presented, April 12th from 5-7pm. All Welcome!

Young Publics Theatre Troupe

Added on by Kym Maxwell.
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    &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;Foley Sound studio 1990’s &nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;

        Foley Sound studio 1990’s                                 

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    — Joan Jona’s ‘They come to use without a word’ Venice Biennale (2015)

— Joan Jona’s ‘They come to use without a word’ Venice Biennale (2015)

Term 2: This introductory series of workshops will establish the makings of a unique child centered theatre group. This group will meet on an ongoing basis to develop a framework for continued sonic, video, sculptural and/or movement based works and interventions. The process will be active and thinking focused with an aim to complete a theatrical work in 2016. An emphasis is placed on understanding one another as part of the process. For children aged between 8 to 13 years.

Term 2: April 13th – June 22nd   $120 per term

 

Launch website Parenting is Political at Bus Project

Added on by Kym Maxwell.
Angela Brennan, 'Settle for less' (2004)

Angela Brennan, 'Settle for less' (2004)

Tonight the wonderful website http://www.parentingispolitical.com was launched at Bus Projects. Designed by Rob Janes with the assistance of Ziga Testen, this website explores the unstable territory of parenting and its politic. 

The online component accompanies the exhibition of my own chalkboard drawings at Bus Projects to include a discussion of how care labour transgresses fields of management and governance. The contributors include Peter Tyndall, Anastasia Klose, Aurelia Guo and Angela Brennan [whom also presents an accompanying painting, in gallery 'Self-portrait (1998)] extends the conversation of parenting as a non exclusive condition, not solely occupied by a mother and/or father. A caring relationship can also be demonstrated through inclusive frameworks of animal, elderly, plant and corporation rearing. This website is the establishment of an on-going research into this stem concept.

Public Talk: Work/Life Balance, a talk exploring the works of Tai Snaith, WITH EUGENIA LIM

Added on by Kym Maxwell.

Please join Tai Snaith and guests, Eugenia Lim, Kym Maxwell and Jo Scicluna, for a drink and discussion surrounding Snaith’s current exhibition, ‘Work-life Balance’ at The Other Side.

Forum 011 will be conversational in nature and governed by the broader themes informing Snaith’s ‘portrayals’ of each staff member at Paul Morgan Architects: exploring the notion of 'site' garnered through a process of exchange, sustaining one’s creative practice upon becoming a parent, interpreting this ‘juggling’ as a feminist practice and determining when it is (and isn't) acceptable to allow life to bleed into art.

Eugenia Lim is an Australian artist who works across video, performance and installation. Interested in how nationalism and stereotypes are formed, Lim invents personas to explore the tensions of an individual within society. Lim’s work has been exhibited internationally including the Tate Modern, GOMA, ACMI, HUN Gallery NY, and FACT Liverpool.

Kym Maxwell is an artist, curator, educator and writer whose work within and across these distinct fields investigates notions of education and social spaces. She explores risk adversity, play paradigms and relational aesthetics. Maxwell’s practice explores the types of interpersonal relationships generated in new situations such as socially engaged art activities and curation.

Date: Thursday January 28

Time: 5.45 pm for a 6pm start

Place: The Other Side, Level 10, 221 Queen Street, Melbourne

This series of artists’ forums are intended as an opportunity for professional development for each exhibiting artist. These discussions, focusing on spatial dialogue, are directed towards creative practitioners across the art, craft and design communities.

The Other Side is a practice-led exhibiting space. Situated in the entry foyer of Paul Morgan Architect’s Design Studio, its primary aim is to establish an art and architecture dialogue and a forum for the exchange of ideas. The space also aims to introduce the work of artists to architectural clients. The Other Side is a non-commercial initiative, where all sales generated go directly to each artist.

 

 

Parenting is Political

Added on by Kym Maxwell.

In 2 weeks Parenting is Political my first solo show this year, opens February 3rd. I am very excited by the website, which is to be designed by Ziga Testen and his colleague. It includes contributions by Aurelia Guo, Anastasia Klose, Angela Brennan and Peter Tyndall. x for more details look here.

A Wharfie's Story reviewed in the Age

Added on by Kym Maxwell.

Last year the students of Collingwood College and I produced the play A Wharfie's Story. Here is The Age review (promotion) of this work by Dylan Rainforth

Click here for the link. http://www.smh.com.au/entertainment/art-and-design/wharfies-story-inspires-collaboration-between-artist-kym-maxwell-and-collingwood-college-20151117-gl0pva.html

A Wharfie's Story

Added on by Kym Maxwell.

A Wharfie’s Story

WHEN: 21 Nov 2015, from 3- 4:30 pm

WHERE: Buluk Park, external lawn Library at the Docks

A Wharfie’s Story is a collaboration between the Collingwood College Theatre Troupe and artists Kym Maxwell, Gerard Van Dyke and Joel Stern.

The project is inspired by the autobiography Proud to be a Wharfie by Jim Beggs (2013), a story that traces Beggs life on the Docks as a worker and unionist. The students present their interpretation of wharfi labour and integrity through action and voice ith feedback from choreographer Gerard Van Dyke, and ive sound performance developed with Joel Stern.

The site specific show brings attention to the changing conditions of labour and workers’ rights at the Docks based on Jim Begg’s time there from the 1950’s. Even though 90% of the world’s trade travels via the ocean, the wharfies’ world and stories are somehow invisible.

This project has been supported by Council’s Small Project Grants Program.

Screening: Video Visions -

Added on by Kym Maxwell.

'Nasa and Moonglow' will be presented at the Channels Festival, Video Visions program Friday September 25th at ACMI from 7:30pm.

This four minute video was developed in conversation with Claire Lambe appropriates the pre-code film 'Just Call Me Savage' (1932), starring 'IT' girl Clara Bow. The footage accentuates the unusual behaviours and dialogue of characters Nasaand Moonglow and utilises simple double screen editing techniques to draw attention to Nasa and actress Clara Bow and she performs a hysterical overwhelmed state. Within the context of feminist critique her rage offers the vice of ownership over hysteria in light of the provocations of her father and Moonglow the male victim of her juvenile behaviour.

Talk: Channels Provocation Series - The Future of Video Art

Added on by Kym Maxwell.
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Artists Joe Hamilton, Kym Maxwell, Sabina Maselli and Jessie Scott reflect on the evolution of video art and ponder its digital future.

Part of the Provocation Series, held at ACMI in the CBD and Grey Gardens Projects in Fitzroy, these talks and forums seek to move beyond representations or definitions of video art, and to understand where the medium of video is headed and interpret digital culture’s rapid progression.

Get tickets (free, but please book to confirm your place)

Embodied Sound: Liquid Architecture and the Collingwood College Sound Collective

Added on by Kym Maxwell.

Embodies Sound by the Collingwood College Sound Collective
with Kym Maxwell and Clare Cooper

September 11th to 18th — presented at Westspace Gallery, Level 1, 255 Bourke St, Melbourne City

Liquid Architecture: In conjunction with program, What Would A Feminist Methodology Sound Like?  

'Embodies Sound' by the Collingwood College Sound Collective is a collaboration with the students of Collingwood College with visual artist Kym Maxwell and harpist Clare Cooper - a visual, auditory pedagogical project

'Embodied Sound’ is a metaphor for the ways in which children experience their world though listening. The students of Collingwood College working with Kym Maxwell and Clare Cooper were asked to consider how they ‘embody’ sound through listening. To question what they hear and conceptualise it through instrumental resonance. They were asked to consider the contradictions in sound such as those found in film and Foley techniques and to consider possible gender associations of particular strength to instruments and/or imagery.

These series of workshops, scores, sculptures and sound recordings from the ‘Collingwood College Sound Collective’ portray their ability to articulate variance in sound and its embodiment in instruments and images; whereby exploring resonance in everyday objects, sound in video and animation, the value of mark making in orchestral notation and a capacity to contradict stereotypes.

The students of Collingwood College performed a series of actions through progressive workshops with Kym Maxwell and Clare Cooper thus demonstrating their capacity to debate, collaborate and build community through sound. 

Over one week from September 11th the students’ with the team of Liquid Architecture will exhibit their works within the Westspace gallery alongside the FM (X) evening program.

IF TRANSMISSION WERE MATERIAL

Added on by Kym Maxwell.
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MURAL HALL
Abbotsford Convent
1 St Heliers Street Abbotsford
Opening Drinks
9th of September 2015
6 - 8 pm
Exhibition dates
September 10th - 20th, 2015
10 am - 5 pm

‘If Transmission Were Material’ is Kym Maxwell’s solo exhibition presenting her select V8 and mini 8 video dairies from 1994-2001. As a multi disciplinary artist Kym Maxwell’s work traverses social strategy, installation, immersion and interaction, engaging with a wide variety of audiences and communities. In this exhibition Maxwell explores her earliest video diaries and ponders their relevance today, post-internet and how they may perform like social media as deliberations on issues surrounding identity, belonging, artistic indexing and proposition. This video installation posits ‘Is Transmission Material?’… Then if so, how may it manifest through medium through accentuation and through technocracy? Was video in the 1990’s the medium of self-discovery, identity and social status? Presented in loop on analogue TV screens and DVD media players the installation presents Maxwell’s video diaries from her first purchase of a video camera in 1994 detailing her benign and fraught experiences living abroad and her development of an Australian 20 something lifestyle which involved awkward recordings of social exchanges. This her meta-narrative pre-internet assists in defining Maxwell’s early artistic interest in the ‘experience economy,’ and thus related social negotiations.

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