DAVE McDONALD



David McDonald
What We Now Know Resides
wood, paint, latex, rope, vaseline
installation detail
© 2009

The installation What We Now Know Resides sees Platform extend its architecture as a sort of rift through the unconscious, between daily life and things shut out. A sculptural and performance-based work that probes the grease-traps of the mind, a suggestion that a malignant presence now resides in the twenty-first century human psyche. Psychological thriller with carnal, primitive and sexual undercurrents – four and a half stars. (DM)

By ‘removing’ or ‘boarding up’ the Platform space, the artist is manifesting his concerns that Melbourne is becoming a ‘Lifestyle City’, whereby consumption lifestyle grows and cultural and community engagement wanes. Art (amongst other creative areas) becomes a prop for shopping and lifestyle. Platform, with its display cases that contain and constrain most exhibitions, is the perfect gallery and site to present these notions. When the known gallery is blocked out, it is envisaged that questions will be raised on public space, art, lifestyle and the presentation of creative work to the Melbourne community.

Dave McDonald works primarily with sculpture/installation that invites viewer interaction. Over the last five years he has exhibited primarily in public spaces with installations produced for various Melbourne festivals including: L’Oreal Melbourne International Fashion Festival, Melbourne Design Festival, Next Wave Festival and State of Design Festival. In 2007 McDonald opened an experimental art gallery in the CBD, Rise and Fall – a parasite art space on the elevator, stairwell and cinema screen of Curtin House. The project explores human interaction in zones and thoroughfares between public and private space in Melbourne. In addition to his practice, McDonald lectures in Architecture and Design at Swinburne University in Prahran.

ADAM CRUICKSHANK



Adam Cruickshank
Philosopher Kings
digital prints
installation view
© 2009

A comment on the over reliance of critical theory in the justification of much contemporary art was the initial impetus for these prints. Bringing the actual image of the philosopher or theorist to the foreground in preference over their theories and combining that with hip hop lyrics seemed both comical and relevant. Hip Hop is usually a very visual medium; image is often (almost) everything. This is in direct contrast to theorists, whose ideas are paramount, the concepts of which are often hard to describe without the use of convoluted language. Or are they? Can they be summed up and/or directly opposed by a few choice lyrics? Will the image of the thinker combined with the words of the MC still make sense? Does this conjunction somehow debase critical theory or does it conversely point out how universal some philosophies can be? Personally, I just want to see Rene Descartes wear a fat gold rope and Friedrich Nietzsche bust a move.

Adam Cruickshank went to the Queensland College of Art in the early 1990s and, after a period of exhibiting, was lured by a liveable wage into advertising and magazine art direction. Two years ago he began a rededication to full time art practice. He has exhibited extensively in Europe and Australia, has had work published in numerous anthologies and magazines, recently held a solo show at TCB in Melbourne and co-curated the Grow Wild show at Utopian Slumps.

LEON VAN DE GRAAFF



Leon Van de Graaff
OK, Commuter
computers, lights, plastics, industrial components, other various materials
installation detail
© 2009

Decades ago, we were sold the idea of the paperless, portable, work-from-home office. We were seduced by advertising images of happy people using portable computers by the beach, in bed or at cafes; a holiday atmosphere for every working day and no need to waste time going into the city. What we got was more people travelling further and more often for work and the capacity to waste vast amounts of paper and other resources at the click of a button. For most people, portable information technology has become about making tedious travel time more productive or just merely distracting.

In OK Commuter three human-sized robots (with their phones, PDAs, handheld game platforms in hand) occupy Vitrine, now morphed into a train/tram carriage. Each robot is made from found objects and technologies from a specific era indicative of each robot’s fictional age. The public can direct the robot passengers to perform clich├ęd actions and monologues from commuter life via text messages chosen from a predetermined list on the Vitrine window.

Leon van de Graaff studied science at ACT TAFE and sculpture Canberra School of Art, ANU before fleeing to Brisbane where he exhibited extensively in artist run spaces and festivals. In 2005 and 2006 he was invited to exhibit mixed media sculpture with multimedia/interactive components in the QUT staff and student showcase exhibitions Journey and RE-active. He now lives in Richmond and works at the National Gallery of Victoria as a multimedia technician.

STEPHANIE CHEEK



Stephanie Cheek
Croydon, Victoria
newspaper clippings, photocopies, drawings, photographs,
installation view
© 2009

Croydon, Victoria is a photo-based installation, incorporating quotations, objects, articles and statistics found in, or referring to, the eastern Melbourne suburb of Croydon. These elements are arranged strategically to reveal moments of tension, dysfunction and violence in our suburbs. Visually the work resembles a geographical profile, much like a crime map police use for tracking criminal activity. The work focuses attention on events that are deeply disturbing and close to home.

Stephanie Cheek is an emerging artist, with a Diploma of Visual Arts from RMIT and a Bachelor of Fine Art from the VCA. She lives and works in the outer eastern suburbs of Melbourne.

Call for Proposals: un Magazine

Call for Proposals
un Magazine volume 3 issue 1

un Magazine – Melbourne’s leading independent magazine for writing on contemporary visual art. un Magazine fosters and offers opportunities to promote independent and critical thinking regarding contemporary art in all media. Focused on artists, writers, artist run and independent projects and contemporary art communities, un Magazine is an important platform for the dialogue of ideas extending from the local into national and international contexts.

We welcome proposals for contributions including but not limited to: criticism or review of recent contemporary art projects, exhibitions and publications (taking place in the previous five months); interviews; essays and features on topics of current debate; and experimental contemporary art practice engaged with text, writing or publication modes of display.

For this issue we are particularly interested in: writing that engages with multidisciplinary practice and art outside the gallery (i.e. site-specific work, performative practices, etc.); styles of writing ranging from the critical and analytic to creative and fictional or speculative; interviews; artist pages; art as text and collaborations.

All proposals must be submitted using the attached guidelines and application form (attached) or available at: http://unmagazine.org

Deadline for proposals: 13 March 2009

All submissions and editorial enquiries should be emailed to the Editor, Zara Stanhope: zara@unmagazine.org please do not send extended or finished texts without prior consultation

un Magazine MENTORSHIP PROGRAM
We are able to offer a one-to-one mentorship for a select number of contributors. The mentorship program offers the benefit of working with an experienced art writer in the drafting and development of your writing for publication.

For general magazine enquiries email the Project Manager, Angela Brophy:
projects@unmagazine.org
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