Y3K newsletter out from the end of the week, see Y2K Gallery for more

This Friday 6-9 curtin house lift 252 Swanston st UPS DOWNS INS OUTS, with James Deutsher:



preview will be on Thursday May 29 at 6pm.

Wall drawing "From Nick Selenitsch to some other thing 4", with Nick and Alex Vivian, and Help from Liv Barrett and James Deutsher, and
Y11 art class from Berwick Secondary collage who picked the colours . As part of:

Evergreen Terrace 002
In love and bondage

Evergreen Terrace for 'Unsheltered Workshops', as part of Next Wave Festival 2008 at VCA Margaret Lawrence Gallery till sat14 june tues-sat, curated by Jeff Khan.

Ah, Grandpa: My Homer is not a communist. He may be a liar, a pig, an idiot, a communist, but he is not a porn star.

Ah, Herzog: I could only conceive this as true if it was a film.

La Haine. We saw this movie for the first time a couple of weeks ago and it’s been in our
head ever since. Friends leant it to us and we’ve been telling other friends about it, but most people seemed to have seen it in the 90s.

Ah, Bob: There’s gonna be a burnin’ and a lottin’ tonight…

About 7 years ago I lived in France on a high-school exchange. Our home for the winter months was a housing project in Rennes, Brittany. The host family was made up of an Anglo-French mother and her French-Tunisian husband, they had a 7 year old child together, and also living in the 14th fl. apartment were the mother’s two older kids from her previous marriage. The dynamic was pretty explosive, sometimes things got smashed in the night. And in the entire housing block that I was a small part of, I’m sure many things got smashed in the night.

Ah, Deleuze: It’s questionable whether the notion of “the imaginary” has any bearing on cinema; cinema produces reality.

Rennes was physically different to Paris and the projects weren’t the residual and decaying matter left by utopian European architects of the 50s and 60s. (How depressing things look when they set out with ambitious ideals and fail… French suburban destitution takes place with a backdrop of crumbling theoretical idealism…) So we remember the apartment block in Rennes as being just a large gr-eige building, probably with 5 or six sides; the elevators always smelt like piss and young boys who seemed intimidating but harmless patrolled the boundaries. They wore puffy jackets, brands like Pinko and H&M, not North Face and Helly Hansen like in North America. Also, straight-legged jeans and thick ribbed socks pulled over the hems, generally shoes were black or white sneakers, Reebok I think?

The clothes are important to us. Making cloths seems a necessary interjection into our way of life, Ah, ffixxed. Some of it is about wearing-what-you-believe-in. Chris Kraus and Wang Xiaobo are amongst our real favorite writers, the ones that speak to us with a profundity and sincerity with subjectivity and intelligence that paves a road to understanding our world better. Both Kraus and Wang explore domination and submission in their writing. We like talking about this, and the idea of the master slave as-complicit relationship is an empowering thing.

Ah, SUNY Press: Wang in Love and Bondage

There is a large, bound volume of photocopies- Evergreen Terrace Vol.1. People were invited to give us pages of photocopied material to compile into this heavy, black & white publication. There are many authors, many editorial decisions, many many ideas and images. We assemble things as an impulse and have it as a document of a collective conscious at a particular time. It is about sharing things we like as a group, whether they are hugely significant or quiet responses. This was an open call out to our e-mail network and beyond for photocopies of favorite magazines, articles, books, note pads, yellow pages or asses on the photocopier. The material was a surprising mix of personal and heavily edited selections from journals and studio paper to a whole edition on Art Forum magazine.

The wall drawing is Christopher L.G. Hill with Evergreen Terrace. Hill has been working on a series of practice extensions, working off, or extending the works of other artists. These usually start with a work that he likes a lot, something that initiates a desire to develop it within his own practice. The pattern used in the drawing is a response to the recent works of Nick Selenitsch. We like this way of working, embracement of the flow of ideas and the way we make meaning in our lives through interpreting and responding to that which is around us.

Ah, Homer: Lisa, would you like a donut? 

Lisa: No thanks. Do you have any fruit? 

Homer: This has purple in it. Purple is a fruit.

Working with the Y11 art class from Berwick Secondary collage we work shopped the idea of colour, did some writing and made a sculpture as a group of 24 people. Trying to make something that was one piece in a sculptural for with tat many people was challenging. It turned out as a blob with so many intricacies and was quite aesthetic in it’s ugliness. Certainly one of those objects that almost being to look good the longer you spend with it. This was a challenging experience to approach the class with the desire to develop something that we had no idea of. The colors for the wall drawing were chosen in this class and handed to Chris maybe as a way of inserting other decisions into the work. There are challenges to our freedom that go unnoticed all the time. There are some moments of un-fettered freedom like in the sculpture, and moments of negotiation, push and pull.

The turtle and cat in love and bondage- the cat always chooses confrontation, but never wants to be seen as the active agent. The turtle keeps moving towards the cat at the same turtle-pace, while the cat makes small movements and waits for the turtle to bite its tale. The cat is smart enough to disguise its behavior and act surprised when it feels the turtle’s nip; the turtle is smart enough to act honestly in its pursuit.

Ah, Milhouse: Remember the time he ate my goldfish? And you lied and said I never had goldfish. Then why did I have the bowl Bart? Why did I have the bowl?