Dämmerschlaf at Artspace

MikalaDwyer_Artspace_Dammerschlaf
Mikala Dwyer, ‘The hanging garden of moonman marigolds’, 2016, installation view, ‘Dämmerschlaf’, Artspace, Sydney. Courtesy the artist, Roslyn Oxley9 Gallery and Anna Schwartz Gallery. Photo: Artspace.
Accessed on 23 January 2016:  http://www.artspace.org.au/program/exhibitions/2016/daemmerschlaf/

 

Right now and throughout mid January to mid February, above the Australian sky, there is a planetary alignment that is happening.  If you look up to the predawn sky, all five of the visible (to the human eye) planets, being Mercury, Venus, Jupiter, Mars and Saturn, can be seen all together, hanging out in the universe above us like a gang of celestial buddies.  The planets are brought together by invisible forces, and during this same period of celestial connection, three artists are also brought together to explore the connection of the physical and conceptual thresholds between the studio and the gallery.

Nick Dorey, Mikala Dwyer, Clare Milledge are exhibiting in Dämmerschlaf, the first exhibition of the Artspace 2016 program.  All three artists were 2015 One Year Studio Artists at Artspace, and this is their resulting body of work.  Dämmerschlaf is the German word for ‘twilight sleep’, a form of calming pain relief.  Dämmerschlaf is an evolving experience taking place throughout the month of January, slowly growing and moving and aligning throughout the course of the exhibition.  All artists have relocated their working environments from the upstairs studio to the downstairs gallery, creating together and aligning their ideas in the exhibition space. The artist is actively present throughout the exhibition, creating and designing the space where you can watch them in-situ, much like the planets in our night time sky.

Why the link between Dämmerschlaf and the planets? Well, the works are of a spiritual and supernatural perspective.  The artists explore the occult, the moon, perceptions of realities and physical and conceptual thresholds.

Stage 6
This would be a good experience for Stage 6 students to go and visit an artists studio in preparation for creating a major body of work.  Artistic collaboration and different art making practices can be viewed in-situ and compared between the artists.

The Conceptual Framework can explore the notions of space, the studio space vs exhibition space. The physical and spiritual space.  The artist and the audience in the same space.  The performance of the creation of the work can also be explored.  There is a public program from GreenUps, which indicate concepts of sustainability will be at play throughout the exhibition.  Another concept to explore is the title: What does Dämmerschlaf mean? (The German word Dämmerschlaf is translated into English as ‘twilight sleep’, which describes a state induced by a combination of analgesia (pain relief) and amnesia to combat the pain — or the memory of pain). Why is this title significant? How does twilight sleep, amnesia and an induced state of calm and relief feature in the exhibition?

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Dämmerschlaf at Artspace

Collage – artist examples

Collage is an art form that is having a resurgence.  Or maybe it never went away?  Regardless, it is finding its way back into art galleries and into the practice of some well known Sydney artists.  From its early days from the start of the 20th Century, with Picasso and Braque, it has traversed from modernism, satirical, to the decorative and craft.  Resting at the tacky flower decoupaged potpourri holder arts in the mid 1990’s.

But collage is a beautiful thing.  And it is a very accessible art form to introduce into the classroom, at any stage.

collage 1
Artist: Chelsea Tuesday, Sydney Collage Society, image sourced from: http://sydneycollagesociety.com/chelsea-tuesday/.

The Sydney Collage Society, established in 2015, is one such group that pushes the boundaries of the cut-and-paste.  A group exhibition, titled Cut It Out!,  (at Low Road Garage in Paddington) was a complete mix up of different collage techniques to show many different ways the art form can be applied.

Another fantastic artist is Oliver Watts, who makes paper cut works. Inspired from Dadaism, and the French poet Tristian Tzara, Watts creates intricate pictures and the re-telling of stories, all from assembling pieces of cut paper.  Watts further explored the genre of collage and paper cuts with his short film, The Sea Hare, 2013, where he re-imagined a fairy tale, based on one by the Brothers Grimm, of a princess in a tower with 12 windows.  Placed quite firmly in the cerebral, Watts’ playful works always make you think.  And they are always beautiful as well.

My favorite collage creating duo are Greedy Hen.  These two awesome ladies have created some wondrous images and landscapes from layering image upon image.  The duo are regularly commissioned to create album cover art for bands, and films clips, and posters and even a clip of kittens smashing up instruments for MTV.  The works traverse easily to the moving image, and always have a sense of play.

Collage – artist examples

David Capra

 

David Capra is an artist that deals primarily with performance and experience, inviting the audience to be part of the artwork to give it structure and meaning.  He does not perform on a stage with the audience silently watching on.  Capra directly involves the audience to experience the artwork, in turn making them a part of it.  He calls himself an ‘intercessory artist’, whose work takes the form of interventions into physical and social space designed to initiate healing. (Information sourced from the MCA website: http://www.mca.com.au/artists-and-works/artist-commissions/david-capra-teenas-bathtime-2015/).

The Conceptual Framework discussion:
The Ministry of Handshakes is an artwork where Capra shakes audience and visitor’s hands with a giant prop arm.  Capra greets audience members as they enter an area or space, or in alternative versions of the performance, Capra walks towards members of the audience and public, making the artwork space mobile and actively bringing it to the audience.  This artwork involves the audience directly through the artist initiating contact with them, inviting them into the space to be involved in the artwork, but at the same time distancing them, as the artist is using a two meter long prop arm, having the audience shake his hand from a distance.   If you look at the artist’s statement about his performance practice, where he calls himself an ‘intercessory artist’, this distancing could also be viewed as a means of trying to help, though cautiously respecting people’s personal space, but welcoming them.

This artwork, and artist David Capra, is a great way to discuss The Conceptual Framework, the relationship between the artist, audience and artwork.  The Subjective Frame can also be discussed, in relation to the space the artist creates through welcoming visitors but keeping a long distance away from them, and how the students interpret the meaning of the space created by the artist.

Teena’s Bathtime Eau De Wet Dogge perfume, 100ml bottle. Photo by Damien Brinley, courtesy the artist.
Teena’s Bathtime Eau De Wet Dogge perfume, 100ml bottle. Photo by Damien Brinley, courtesy the artist.

David Capra has a sausage dog (dachsund) called Teena.  Capra has incorporated Teena into a number of his artworks.  In 2013 he invited audience members to dance with Teena as part of Workout at the MCA.  And in early 2015 Capra made Teena’s Bathtime, also at the MCA, where he re-created the experience of bathing Teena in a special room that immersed all the senses in the experience.  There was the smell of wet dog; the visuals of Teena being bathed and bubbles floating in the air; a giant Teena sculpture you could touch; the sound of Teena being bathed; and during a special public program event (with a meet and greet with Teena and Capra) dog treats that you could make were available to give to your dog to taste.  Teena doesn’t like having a bath, and is anxious about the experience.  This is understood from watching the video of Teena having a bath and from discussions Capra has with audiences during public program events.  In Capra’s discussions with audience members about Teena’s Bathtime, a lot of discussion is centered around mental health and anxiety.  People have written letters of support to Teena offering advice on how to manage her anxiety.

This year (2015) Capra also launched another artwork about Teena at Gallery 9, called Teena’s Bathtime – Eau de Wet Dogge.  This artwork is an extension of Teena’s Bathtime and is another immersive performance experience.  The exhibition at Gallery 9 was the launch of a perfume Capra created, with the help of professional perfumer Jonathon Midgley from Damask Perfumery The perfume smells of flowers, wet dog fur, and sour bath bubbles.  Everyone at the exhibition said they could smell different dog related smells in the perfume.  It is a playful artwork that comments on the world of perfume making and the sense of smell and the experience of bathing Teena.  During the opening Capra walked around with Teena on a leash, welcoming the visitors to the perfume launch.

David Capra and Teena during the opening of Teena’s Bathtime – Eau de Wet Dogge, at Gallery 9, 11 November 2015. Photo by Damien Brinley, courtesy the artist.
David Capra and Teena the dog greeting audience members during the opening of Teena’s Bathtime – Eau de Wet Dogge, at Gallery 9, 11 November 2015. Photo by Damien Brinley, courtesy the artist.

Outcomes
Practice: Students could try making an immersive experience using one or all of the senses.
OR
It could be extended to exploring the concept of Synesthesia. They could pick an experience and try to recreate it with a different sensory experience. Example: Recreate the sound, smell and touch of eating a burger or ice cream; or the feeling and visuals of music.
OR
For Stages 1 to 3 Creative Art Students an additional resource to extend the exploration of sensory representation of colours is a book called The Black Book of Colors.  This is an excellent resource to explore blindness and colour experience through touch and description.
Conceptual Framework: Students can consider and discuss David Capra’s relationship with the audience in his artworks.  This is best explored through the artwork The Ministry of Handshakes. 
Frames:
Subjective: Discuss the sensory and immersive experience of the work, and what it means to the student. What are some of the key words that describe the artwork experience for you.
Cultural: Issues of anxiety and mental health can be explored.  The anxiety of Teena having a bath, and how Capra has addressed this through exploring the experience and creating a sensory environment that invites the audience to help Teena deal with her anxiety.
Structural: What visual and sensory language does artist David Capra use to convey his artwork? How does using all the senses (sight, sound, taste, smell and touch) and involving the audience in a performance change the experience of the artwork compared to a 2D artwork?
Postmodern: How does artist David Capra challenge mainstream ideas about art?  How does he represent his ideas in the artworks and how are his artworks different to others you have seen?

Resource links:

David Capra