Thomas Hi Peace, Hawina — shetahtahtahtah ketibl koloka tedengitseni aleka: I have heartfelt love for all Eritreans in the refuge camps of Ethiopia. I cannot sleep well until their situation is resolved.
Late Capitalism and the Ends of Sleep, a zeitgeist-capturing book about the way that, in an age of the internet and labour precarity, we have lost our ability to switch off.
We are now all on hour call, living in a state of perpetual alert, best expressed — not only physically but poetically — by the thought that our lights are permanently on, that we are no longer able to turn them off and go to sleep. For to sleep is to be lost or to lose time, to fall behind, to drop out, to become unknown, not only to ourselves but more importantly in a world of mobile phones and twitter trendings to others as well.
Not only the world but we ourselves, no matter where we live, are now permanently awake, switched on, unable to do anything but carry on the way we began, our faces held up against the light. As Crary puts it in a resonant turn of phrase: The other work in the show is much the same — although it is much more elaborately expressed.
We see in a series of large-scale photographs a group of men and women holding a motorbike up off the ground on a wooden support, almost as if it were a religious procession.
But what exactly is it they are doing?
What could be the point of this strange ceremonial? It is at this attenuated latitude, apparently, that a rider on a good enough bike is able to travel at sufficient speed against the turning of the earth that they are able to remain in effect still, their shadow staying immobile under the gaze of the farway sun.
It means that the earth is rushing by in a blur under the wheels of an unmoving motorbike, or put otherwise that the motorbike has to go at something like mph counter-clockwise in order to remain perfectly motionless.
It is a beautiful emblem of the utter pointlessness of art, so far ahead of the rest of the world in consuming all of that energy while remaining in the same spot.
But perhaps in another way art forms a kind of Archimedean point, a pivot or fulcrum around which everything turns and from where we can reflect as though in a magical bubble upon all of that relentless activity around us.
From meteorite to meteor — does art not trace something of the same trajectory, allowing us to float free, if only for a moment, from the weight of the world below us? For the last thirty years, Gertrude Contemporary has been instrumental in supporting artists within Australia, and has built a worldwide reputation as an influential centre for experimental contemporary art.
As we prepare for our upcoming move to a new location, these new roles will be at the heart of our continued position as a highly regarded and integral part of the Australian arts community.
In relation to her departure, Emma states: He joins us following his position as Curator of Exhibitions and Australian Projects at the Australian Centre for Photography, after many years of curating at institutions such as Artspace, the CCP and West Space, as well as maintaining an independent curatorial practice.
With his dynamic breadth of experience throughout art institutions, Mark will be well placed to develop exciting new programs and exhibitions for Gertrude Contemporary, reinforcing our history of fostering emerging artists and experimental art.
In response to his appointment, Mark said: Gertrude is the creative engine room of the visual arts in Australia, its alumni of exhibitors and studio artists is remarkable in its scope and critical contribution to culture and discourse across the past three decades.
This significant history is the vital foundation upon which the organisation has been built, but its fundamental asset is not the past; rather what it is yet to contribute to the future of contemporary art and thinking in Melbourne, Australia and in our expanded region.
Prior to this, she worked as a Strategy and Operations Management Consultant for Deloitte, supporting client organisations across a range of industries to make strategic, financially robust business decisions and to grow their business models. She said of her appointment: With an emphasis on allowing the students to work with an area that is part of their immediate environment and community, the project will take place on the football pitch centrally located in the Atherton Gardens housing estate, on Napier Street, Fitzroy.
This work will be an ephemeral turf painting created by all the students from the school alongside Tully Moore, and aims to activate this particular space in ways yet to be explored, claiming a patch of turf within an area where gardens and open space are limited.
They will be joined by players Mohammed Amin and Faisal Aden, who are both Yarra Young residents with local teams, and Wilson Poni, current Yarra Young Citizen of the Year, who has played a leadership role in bringing young people together from across Fitzroy, Collingwood and Richmond housing estates.
The students from Fitzroy Primary School will then participate in soccer matches against one another, wearing the uniforms that they have created in collaboration with Tully Moore.Port Manteaux churns out silly new words when you feed it an idea or two.
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Not Accepted: Slides, catalogues, photographs, colour photocopies, or any other printed material. Decisions Applications are considered by an advisory committee composed of Gertrude staff, a current Gertrude Studio Artist, a former Gertrude Studio Artist and an external curator or museum professional.
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