Through sound and vision, ‘Super Field’ transports its audience to some of the world’s most remote environments while investigating a range of social, economic and environmental concerns affecting isolated communities.
Curated by sound artist Philip Samartzis and audiovisual artist Madelynne Cornish on behalf of the Bogong Centre for Sound Culture, ‘Super Field’ gathers the work of 19 artists who have dedicated time to travel and build relationships with people and places far from our urban centres. These artists are: Natasha Barrett, Benoit Bories, Matthew Berka, David Burrows, Anne Colomes, Madelynne Cornish, Yannick Dauby, Lawrence English, Hughes Germain, Martin Kay, Slavek Kwi, Jay-Dea Lopez, Douglas Quin, Matthew Quomi, Philip Samartzis, Polly Stanton, Michael Vorfeld, Chris Watson and Jana Winderen.
Philip Samartzis, Fieldwork at Gran Sasso – Abruzzo Italy, 2017. Photograph: Daniela d’Arielli
‘All of the artists are engaged in deep field research, so whether it’s sound or video they are working in the field, which is very different from working in a studio or urban context,’ Samartzis says; ‘Some of the works are focused on ecology or climate, while others have a much more social and political aspect to them.’
The exhibition is comprised of four programs giving visitors the chance to explore different geographic regions in each phase:
1) High Country: The Australian Alps
2) A Surrender to Nature: The Kimberley
3) Glacial Erratic: Antarctica and the Arctic
4) Unheard Spaces: International Wilderness Areas
Madelynne Cornish, Turkey Creek [Great Northern Hwy] – The Kimberley, 2011
‘Super Field’ also features an exhibition environment designed by architects and 2018 Venice Architecture Biennale creative directors Baracco+Wright who have created a massive hanging scrim in the sonic zone and an environmentally inspired response for the video area.
Cornish explains the brief she gave the designers: ‘With the moving image it’s about walking through environments, as opposed to looking at a video on a wall. It was really important to me that people are able to traverse the installation as they would a landscape. Some of the images are close up, they surround you, and then at times you come out to wide, open areas,’ Cornish says.
RMIT Design Hub
Until 17 February, 2018
Melbourne
