Monthly Archives: May 2012
Arts Centre Melbourne is at the centre of the Melbourne Arts Precinct. The precinct includes the National Gallery of Victoria, Hamer Hall (formerly the Concert Hall), and the State Theatre. The buildings were constructed consecutively from 1968 (NGV) through until 1984 (Theatres Building). The precinct was designed by Sir Roy Grounds employing geometric conventions. The site formerly hosted Wirth‘s Circus and it‘s accompanied park and fairgrounds.
The photographs below outline a contemporary perspective of the geometry associated with the development of this iconic Melbourne site.
Dire Straits is the most iconoclast 80s band; particularly in regard to a Pommy cock-rockin‘ new wave genre. The founding members, Knopler brothers Mark & Dave, musically constructed their claim to the advent of the 80s -perhaps contenders as the continental mirror of a pre-pubescent Talking Heads. Walk Of Life first appeared on the UK Single for So Far Away; the acclaimed seminal track from the Brothers In Arms album. However, the track‘s upbeat pop-blues appeal was such that Walk Of Life is itself became so renowned as to warrant its‘ own music video; partly shot in the London Underground:
The introduction to this track dispels, though, the inferiority of the musical production values employed by Dire Straits. Although we must, authentically, evaluate the Straits as a fantastic pop music achievement: it must be said that their simplistic and characteristic 1-4-5 arrangements epotimise their drab rhythmic endeavours.
You have but one day to visit Mesiti‘s most recent work Citizens Band at the ACCA New 12 show before it finishes tomorrow. Her installation consists of 4 single channel video art works, and a 5th compositional piece. It features 4 people of non-European heritage composing traditional song. An Asian man outside a convenience store playing the erhu, an African cabbie whistling a traditional tune, another African (female) composing music using the splashing of water and, finally, an Arabic (or North African) immigrant singing a tune from his homeland, with the aid of a basic keyboard. 3 of these were filmed in Sydney, with the final piece featuring the Arabic male shot on the Paris Metro.
At once, you are inclined to reflect upon the situation these immigrants find themselves; inflected is a longing for their homeland and traditional values/ environment. I found the song absolutely lovely, and the scenes well shot. However, I can‘t help but feel the over-riding theme was patronising and all too melancholic for my liking. But I guess that‘s one for you to judge yourself: the works in themselves worth the visit to ACCA.
Otherwise, you can also view parts of the work during this ACCA Artist interview:
Acoustic acts are a dime a dozen in the YouTube age, and it‘s no longer difficult for amateur musicians to pick up their guitars and take to the virtual stage. But finding one with talent, soul, and modesty is another challenge altogether. For the last few years, Adelaide folk musician Cassie O‘Grady has been establishing a solid fanbase that understands this challenge through relentless performances at the city‘s live venues. The young songwriter‘s repertoire of uncompromising folk-influenced tracks, including inventive covers of such artists as Cyndi Lauper and The Romantics is sure to rival some of the major players of the genre. With the upcoming release of her debut EP Kings, recorded and mixed by Adelaide‘s very own punk/folk lovechild Ben David, the rest of the world will soon be exposed to O‘Grady‘s undeniable musicianship and songwriting capabilities.
A big thank-you to all those that attended the Bivouac group show we organised at Long Play.
For those that missed out; here is a composite of two videos screened at the exhibition:
Seditious Libel (Vox by Unkown c.1930)
Solvent (Vox by King Burraga, 1933)
Dedicated: Henry Seekamp
HD Video 
Today we visit the cinematography of Rodrigo Prieto. In the 2009 Pedro Almodovar film Broken Embraces; the audience is mesmerised and flawed by Prieto’s fascinating imagery. His camera work and visual motivations, I believe, make it the most influential and admired film that I have ever seen. A major compulsion for Prieto is that of portraiture in the moving image: Broken Embraces contains endless character inquisitions using this method (portraiture in film). It is thus imperative to note Prieto’s previous work on Spike Lee’s 2002 film 25th Hour –a film I also count as highly regarded. The visual stylisation of this film is epitomised by locked-down video shots and ultra colour saturation (or over exposure). Prieto pioneered this aesthetic to an extent; in his portraiture of the characters surrounding Edward Norton (as Monty Brogan; our protagonist in the film). Prieto also shot the 2002, politically-charged Frida, and also the series of Alejandro González Iñárritu films –comprising the 2010 Biuitiful, 2006’s Babel, 2003’s 21 Grams and 2000’s Amores Perros. Amores Perros is also a film whose visual style has profoundly informed my visual dynamic or perspective of the moving image.