D>Art.06 is the ninth edition of Australia’s premier screen and digital media arts festival. This year’s festival will feature new and experimental video and web art as well as works using mobile technologies presented in a month-long program of screenings, a forum and an exhibition at the Sydney Opera House Studio and Exhibition Hall in April 2006.
Under the theme “Condition of Emergence”, dLux media arts is now calling for works in the following categories of D>Art.06:
- D>Art.06 Screen: Experimental video works with a maximum duration of 15 minutes
- D>Art.06 Web: Online works suitable for exhibition in a gallery environment
- D>Art.06 Locative / Mobile: Artworks specifically made with or for mobile technologies. The nature of the artwork may range from video to games to locative and social networking applications.All works submitted must have been completed in 2005 or 2006. The call for entries closes on February 18th 2006. Any entries not received by this date will not be accepted.
For more information, detailed entry conditions and to submit your work to D>Art.06, please visit http://www.dlux.org.au/dart06
There’s no sound component this year, apparently because local sound culture is supposedly thriving on its own. I’m not sure how I feel about that. On the one hand, I’ve never submitted work to D>Art and haven’t attended the sound exhibitions, so it doesn’t really affect me directly. But on the other hand this move seems consistent with the feeling of segregation that I got at the ACMI/Ozco/RMIT Vital Signs conference last year – that despite the fact that many sound artists / experimental musicians also work in more established ‘new media’, there is a real ignorance from the non-sound-oriented new media scene of what we’re about, which results in exclusion. If the sound / experimental music scene is thriving, it is at a grass roots level, in spite of this exclusion.
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It’s a real shame that d>art won’t have a sound component this year. I’ve had works in the d>art exhibitions for the last two years and I think it is a pity they have chosen not to continue the sound component as I think they were one of the few making a real attempt to engage with sound in a gallery context and consider how to present it in that space. Especially given that I think the costs of the sound component of the exhibition were fairly minimal – they’re already hiring the Sydney Opera House gallery space for the mobile art and last year they seemed to have organised sponsorship from Apple providing the iPods for delivery, all they would have needed some a small curators fee and some admin costs. In the past the exhibition has offered an important chance for those working with sound to deal with the gallery context and present sound work alongside other mediums and I think that will really be missed.
As far as I’m concerned- ACMI should never have been even called ACMI… It assumes visual medium, which is simply short sighted.
**apparently its earlier forms appeared to be more open to other mediums (such as sound?)- but then got taken over by film-headz…. don’t hold me accountable for it- I’m just continuing the rumour.
d>art dropping the sound because the ‘local scene’ is fine on its own is absurd- why not drop the screen part too?? I’m sure there is no lack of video artists in sydney. It just looks like a weak excuse to me.
You’re right, it’s a closure of opportunity, and obviously one that you feel more directly than I do.
I suspect that the existence of Pelt may be one reason that dLux has decided it doesn’t need to deal with sound. I also hear that dLux plans to relocate to Chippendale in the near future.
It’s ironic that I’ve just written an essay for dLux for their current Ian Andrews exhibition, which is about radio and contemporary sound theory – would the exhibition have even happened if it didn’t have a screen component?
I’ve gotta say I’m sick & tired of the general scopocentrism of new media / media arts culture in Australia. From my perspective, it’s just ignorance. I’m tired of feeling like a second class citizen whenever I’m talking with visually-oriented ppl. Do we have to make video in order to be taken seriously? It’s such a stupid situation.
Despite some trendiness and tokenism of ‘sound art’ in recent years, it still feels like we (as genuine participants in sound / experimental music culture) are destined to remain marginalised in the wider new media / media arts culture (and the wider music culture, but we’ve always known that – new media was supposed to be our opportunity for inclusion – but now I guess not).
I hope I’m just being pessimistic. I guess all we can do is keep making our work, running our events, and try to develop infrastructure and influence policy where we can.
I actually don’t mind being ‘underground’ – I’m used to it. But I am sick of being patronised.
Word.
scopocentrism
I wish I had thought of using that word!
I have seen an email from this organisation explaining their position (they have cited both a lack of expertise and the supposed ‘health’ of the sound art scene) – its pretty reprehensible. The continuing and (by now) predictable ghetto-isation of sound/music by visual artists posing as new media artists is beyond the laughable. No doubt these organisations will be the first to claim they are ‘inter-arts’ when it comes to putting out their hand for money from funding bodies. Also, the rise in activity in the new music and sound community in the last decade seems like a rather ironic excuse to drop it from a funded event such as this. Good one guys! Nothing like responding to changes in contemporary practice eh?
I’ve never felt that new media art was about inclusion (in this country at least), more about another micro-clique of visual artists and film makers. I suspect this is more about an argument between last year’s sound curator and the organisation in question over them not being credited in the program.
I wonder what would happen if, under the experimental video work’ category we organised a number of sound artists and musicians to submit audio works accompanied by black video tracks! Alternatively the black video track could have text superimposed saying ‘mandatory video content’