Museum of Contemporary Art Sydney
Experimental Universe with the Hi God People
Pia Borg, Emile Zile and Amiel Courtin Wilson
Experimental Universe is a program of events featuring films, music and performances created by Australian artists responding to Yoko Ono’s rarely-visited instructional works, Six Film Scripts (1964) and Imaginary Film Series (1968). Running over two nights (6 February and 13 February) the program also includes two film screenings of early Yoko Ono films, Apotheosis (1970) and Two Virgins (1968). In this second blog post for theMCA, Joel Stern and Danni Zuvela of OtherFilm introduce the artists featured on night one (6 February).
Film scores are blueprints for potential films; unlike traditional/industrial film scripts, which are prescriptive, film scores encourage an “open work”, one which is, arguably, co-created by the score originator and the interpreter. In the mid-1960s, reflecting her contact with fluxus ideas, Yoko Ono produced a number of highly imaginative scores for films which were never translated into film works. For Experimental Universe, OtherFilm offered some of Australia’s most interesting contemporary artists the chance to interpret one of Yoko Ono’s film scores.
Each artist has prepared a new work in response to OtherFilm’s commission that – putatively – takes one of Yoko’s scripts from the Imaginary Film Series as its point of departure. Some of these interpretations stick quite closely to Yoko’s initial prescriptions; others treat her ‘scores’ as suggestions to spark off other creative investigations.
As part of the process of thinking through Yoko Ono’s scores, we asked the artists for their thoughts on the idea of the score – whether it was constrictive or freeing – and how this may have conditioned the creation of their work in Experimental Universes.
more here:
http://www.mca.com.au/news/2014/01/31/interpreting-yoko-onos-film-scores/
Experimental Universe with the Hi God People
Film scores are blueprints for potential films; unlike traditional/industrial film scripts, which are prescriptive, film scores encourage an “open work”, one which is, arguably, co-created by the score originator and the interpreter. In the mid-1960s, reflecting her contact with fluxus ideas, Yoko Ono produced a number of highly imaginative scores for films which were never translated into film works. For Experimental Universe, OtherFilm offered some of Australia’s most interesting contemporary artists the chance to interpret one of Yoko Ono’s film scores.more here:
http://www.mca.com.au/news/2014/01/31/interpreting-yoko-onos-film-scores/
Art BY TWILIGHT
hEIDE mUSEUM OF mODERN aRT, mELBOURNE
EXPLORE FUTURE PRIMITIVE IN A NIGHT OF
CREATIVITY, CONVERSATION AND LIVE MUSIC.
Listen to micro talks from ‘Future Primitive’ artists Graham Fletcher, Daniel Boyd and Alasdair McLuckie
Watch an exclusive live performance by Melbourne artist Dylan Martorell
Get crafty with artist Siri Hayes
Enjoy a DJ set from Triple R’s Breaking & Entering.
A summer BBQ and drinks will be available for purchase from Café Vue Heide.
Includes museum admission & a glass of Yering Station wine on arrival.
Bookings essential: 9850 1500
Listen to micro talks from ‘Future Primitive’ artists Graham Fletcher, Daniel Boyd and Alasdair McLuckie
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