Erika Scott | Opening event, a set on Flickr.

Oil! | Opening event, a set on Flickr.

Grid North | Opening event, a set on Flickr.

GRID NORTH
A new collaborative project by Boxcopy
Featuring Anastasia Booth, Joseph Breikers, Anita Holtsclaw, Tim Kerr (Canada-based), Channon Goodwin, Daniel McKewen, Raymonde Rajkowski, Marianne Templeton (UK-based) and Tim Woodward.
The Block, CI Precinct, QUT Kelvin Grove Campus
Opening event TUESDAY 26 July 6-8pm
27 July – 13 August 2011

In the film, when asked by Spock ‘why are you climbing the mountain?’ Kirk says, somewhat facetiously, because it’s there — a remark attributed to the climber, Mallory. Mountaineers climb, yes, because it’s there – because otherwise you’d be walking on the plains. But the mountain is climbed because I think the climber wants to hug the mountain. He wants to envelop that mountain within his body; he wants to make love to the mountain. And on its highest and finest level, whether these tough young guys with their sinewy bodies and their one-meal-a-day routine will admit it, there is a passionate affair going on between the climber and the mountain. Why do I climb the mountain, I would say the climber would say because I am in love.

- William Shatner

Grid North, a project by Brisbane based Artist-Run Initiative (ARI) Boxcopy, simulates the alpinist’s journey from first sight to summit, encapsulating all the risk, wonderment and glory in one specially crafted expedition. This trekking adventure tests physical and mental limits through rugged terrain and harsh conditions, while also offering moments of marvel and scenic revelation. Boxcopy creates an installation that uses the grid datum of the existing site to make space for audiences to navigate and discover the varying altitudes and wild vistas of artistic endeavor.

Grid North is the fourth large-scale installation in Boxcopy’s program of projects dedicated to temporary, ephemeral, site-specific installation-based works. Other off-site projects include an installation for Structural Integrity, a 2010 Next Wave Festival keynote project in Melbourne, and a residency in Singapore supported by Next Wave and Asialink. Boxcopy supports the experimental and innovative practices of early and mid career Australian artists, and is currently run by Anastasia Booth, Joseph Breikers, Anita Holtsclaw, Tim Kerr (Canada-based), Channon Goodwin, Daniel McKewen, Marianne Templeton (UK-based) and Tim Woodward.

Opening setup 2011, a set on Flickr.

Adam Cruickshank | Required Fields Must Not Be Left Blank, a set on Flickr.

Wilkins Hill | ‘Lemurs, roswell, wheat, pyramids, mosquitoes, yellow skin, humans that lay eggs, bestiality, nazi aryanism’, a set on Flickr.

Lemurs, roswell, wheat, pyramids, mosquitoes, yellow skin, humans that lay eggs, bestiality, nazi aryanism
Wilkins Hill
OPENING EVENT: Saturday 9 April 6-8pm
2 – 30 April 2011

Lemurs, roswell, wheat, pyramids, mosquitoes, yellow skin, humans that lay eggs, bestiality, nazi aryanism (2009) is a nine-part videowork that was created by Wilkins Hill over a six month period whilst living between Berlin and Paris. Based on the theme of language translation, the artists utilised automated translation websites, voice recognition and text-to-speech software to generate an abstract narration concerning the American psychic medium J.Z. Knight. With original sound and video that was recorded in Germany, Italy, Switzerland and France, the work is offered by the artists as “a pessimistic metaphor for communication.”

Wilkins Hill is a collaboration between Wendy Wilkins and Wes Hill that began in 2000. Wendy is currently studying her Masters of Fine Art with Prof. Matt Mullican at the Hochschule für bildende Künste, Hamburg. Wes is a PhD candidate in art history at the University of Queensland. They live in Hamburg, Germany.

Sarah Byrne | GHOSTHOUSE, a set on Flickr.

GHOSTHOUSE
Sarah Byrne
26 March 2011 6-9pm

Let’s spend the night together?
You, me and a couple of videos?
No one is home and the living room is free.

Boxcopy Vs Good Paper

Invisible Structures: Australian artist collectives in Tokyo, Singapore and Yogyakarta // Supported by Next Wave and Asialink // 10 December 2010 — 5 February 2011 - http://inside.nextwave.org.au/news/in…

Invisible Structures: Australian artist collectives in Tokyo, Singapore and Yogyakarta presents three Australian artist collectives on separate residencies across Asia. The project is the second-stage of Structural Integrity, a high-profile exhibition, residency and cultural-exchange project involving 11 local and international Artist Run Initiatives (ARIs) that was part of the 2010 Next Wave Festival, held in Melbourne, Australia in May 2010. Invisible Structures embraces collaborative and process-based projects, presenting opportunities for an even deeper engagement between the participating Australian and Asian artists, and between the artists and the various local people and communities they encounter. With the support of Asialink, Boxcopy will now travel back to Singapore to work with independent cultural space Post-Museum, another ARI from Structural Integrity. Boxcopy will work on-the-ground in Singapore throughout December 2010 and January 2011.

Being towards nothing

New work by Haruka Sawa

Opening 2 October 5:30-8pm

Artist talk at 5:30pm

Continuing until 23 October

Being towards nothing is an exhibition featuring the new work of Japanese born, Brisbane based artist Haruka Sawa. It explores the idea of ‘death and the everyday’ through the use of everyday objects and a candle wax installation. The artist’s fixation on death stems from a personal ‘death wish’, as well as her own near death experience and experience of the passing of a loved one. For Sawa, considering death in the everyday reminds us of the fundamental aspects of life and the limited time we all have.

The exhibition features candle wax casts of the artist’s body that are used to signify the ephemeral nature of time and existence. Viewers are invited to participate by lighting the candle wax body and distinguishing the light whenever they wish — an action that encourages reflection on the chance and decision-making processes in our everyday lives. Overtime the wax body gradually melts and collapses, representing the value and fragility of life.

Haruka Sawa is currently completing a Bachelor of Photography with Honours at Queensland College of Art. In 2009, she received the Graduate Art Show award for her installation work, ‘Conduit’ and has recently won the 2010 Clayton Utz Launch Art Award.

(Photography by Carl Warner)

Crawl2: Three Moves Francis Alÿs | Arlo Mountford | Gemma Smith Curated By Ellie Buttrose & Bree Richards Presented by Crawl Inc. Opening 6pm 13 November 2010 13 November – 4 December www.crawl.net.au/crawl2/

From the utopian ambitions of the modernist movement through pop culture piss-take and the confusion of life in the 21st century, each artist in ‘Three Moves’ engages with a dizzying spectrum of forms and ideas. Works by Francis Alÿs Arlo Mountford, and Gemma Smith all muck around with Marcel Duchamp’s famous maxim that ‘art is a game’, variously poking fun at, reconfiguring, or playing with a vast array of visual referents, from the familiar to the foreign. Rather than breaking free from the past, each artist meets it head on, mining the annals of art history in order to make it new – to ham it up, break it open, and take it out to the streets. Three artists, three moves: It’s a nonsensical game between irony and intellect where art wins hands down.

BOXCOPY | SYDNEY 2011

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LIVE FOR SATAN | Ican Harem

22 January – 12 February 2011
Performance documentation»>
Installation documentation»>

LIVE FOR SATAN is a solo exhibition of new and recent work by Indonesian artist Ican Harem. Incorporating performance, video, illustration, design and music, Harem’s practice weaves with a sense of equivalence through a broad field of cultural production. For his exhibition at Boxcopy, Harem focuses on the presentation of a series of short, low-fi videos, made initially as visual accompaniment to his black metal karaoke band, CangKang Serigala. Often darkly humorous, Harem’s karaoke videos shift between visual arbitrariness (a quality true to the karaoke style) and other more composed moments that are unexpectedly disarming.

Developed in response to the size of the Boxcopy gallery, the exhibition LIVE FOR SATAN will re-imagine the exhibition site as part karaoke den, part Islamic mosque. In the absence of the performer, Harem will create an anticipatory zone – a space both open for the viewer to use (for karaoke? prayer? sacrifice?) and a stage awaiting the blood, sweat, and theatrical posturing of a CangKang Serigala performance. Harem playfully negotiates the difficulties of a ‘hybrid place’, using his art practice and on stage persona to test out conflicting identity discourses, a place influenced by nationality, religion and personal interests. LIVE FOR SATAN is Harem’s first solo exhibition in Australia.

Structural Integrity Forum Part 2

Structural Integrity Forum Part 1

After the opening (LIVE FOR SATAN)

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LIVE FOR SATAN // opening performance

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LIVE FOR SATAN (Installation photography)

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