And the earth sighed is a media art installation that was featured in Performing Climates an arts program designed and curated for the public by Arts House for the 2016 Performance Studies International (PSi) Conference.
The exhibition opened 6th July at Arts House in Melbourne 2016.
And the earth sighed was also featured in the Adelaide Festival of Arts 2019.
Audiences enjoyed interacting with the installation that re-imagines the relationship between nature and culture by presenting aerial views of Australian landscapes and waterways dynamically manipulated in ways that reveal their underlying fragility. We worked with Sydney artist Alex Davies to create an immersive ambient soundscape that fosters engagement and contemplation about the impact of climate change on natural ecologies.
and the earth sighed >https://vimeo.com/175772743 video link opens new browser window
Starrs and Cmielewski
Australian Artists
Josephine Starrs and Leon Cmielewski are Australian artists whose long term collaboration has produced media art installations situated at the juncture of cinema, information visualisation and sublime landscape. They are passionate about presenting the land and oceans as spectacular living organisms and showing the impact of human intervention on fragile environments. Their immersive audiovisual installation, and the earth sighed, re-imagines the relationship between nature and culture. Highly detailed aerial views of Australian landscapes and waterways are dynamically manipulated in ways that reveal their underlying fragility.
We acknowledge the Gadigal of the Eora nation on whose Country we work. We pay respect to all First Peoples, honouring the ongoing custodianship of the first artists and knowledge holders.
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and the earth sighed
Large floor projected video installation
not so happy trails
Not So Happy Trails sound and video installation commissioned by the New Landscape Institute exhibited at the Wagga Wagga Art Gallery, NSW
The work is part of The Long Paddock project, curated by Joni Taylor and featuring contemporary artistic responses to the vast network of Australia's travelling stock routes and reserves. Sound design by Panos Couros.
Exhibition Dates: Saturday 6 May - Sunday 16 July, 2017
Not So Happy Trails video excerpt >https://vimeo.com/385002718 video link opens new browser window
incompatible elements
Incompatible Elements installation: Performance Space, Sydney 2010
Incompatible Elements is a project that evolved during an artist residency at Performance Space, Carriageworks, Sydney. In this media art installation, poetic texts are embedded into animated satellite images of terrains and waterways in crisis. The intention is to configure the land as active and to imagine it being able to speak and make comment about human impacts upon it. The latest iteration was shown in the Maldives Pavilion at the 2013 Venice Biennale opening on October 15th at the Gervasuti Foundation, curated by Camilla Boemio.
The installation was first exhibited at Performance Space Carriageworks, Sydney in October 2010, at MIC | Toi Rerehiko as part of the Auckland Arts Festival in March 2011, Seoul as part of the Sydney and Sookmyung exhibition, November 2011, at the Museum of Contemporary Art in Taipei in 2012, and at Canberra Contemporary Art Space in 2012. The largescale prints version of Incompatible Elements was exhibited at crossarts projects gallery in Sydney in August 2013.
Incompatible Elements version02 at Cross Art Projects in Sydney ran from May 23rd - June 30th 2013, with an opening an artist talk at the gallery on June 1st at 3pm. Four large prints and 2 videos from Incompatible Elements body of work were on show.
dancing with drones
Opening Night Event for Liveworks Festival of Experimental Art at Performance Space
photography by Alex Davies
Dancing with Drones video installation featuring dancer Alison Plevey performing live was featured in Performance Space's Liveworks Festival Carriageworks Sydney 22 - 25 October 2015.
The normalisation of drone warfare and drone surveillance is becoming a concern to all. But drones can have other uses. Starrs & Cmielewski used a drone to record dancer Alison Plevey's site-responsive performances in different locations at Carriageworks. In response to the persistently intrusive drone, she exhibits a range of different emotions including curiosity, agitation, engagement and resignation. At Performance Space's Liveworks Festival 2015 she performed live, responding to both her own video image and the live drone.
Dancing with Drones video https://vimeo.com/145380407 video link opens new browser window
Article by Ann Finegan in Runway Australian Experimental Art Magazine, issue #28 September 2015 Hunting Ground: Dancing with Drones
siteworks bundanon
photography by Heidrun Lohr
Dancing with Drones 2014
The normalisation of drone warfare and drone surveillance is becoming a concern to all. But drones can have other uses. Starrs & Cmielewski used a drone to record dancer Alison Plevey's site-responsive performances in different locations at Bundanon. In response to the persistently intrusive drone, she exhibits a range of different emotions including curiosity, agitation, engagement and resignation. At Siteworks 2014 she performed live at night to both her own video image and the live drone.The Verdant Shed 2012
We created two artworks for Siteworks 2012, developing the work during two artist residencies, responding to the unique Bundanon environment and architecture through video projection and animation techniques.
The Verdant Shed is a night-time video projection piece where the long dead trees that are the posts supporting the old shearing shed (now the Study Centre) appear to come to life, sprouting branches and leaves that sway in the wind. This refers to both the ancient practice of building sacred structures and meeting places from living trees and also the current organic architecture trend to design modern buildings incorporating living trees.
The Verdant Shed was projected onto the Study Centre at Bundanon on the night of the 29th of September 2012 as part of the Siteworks: Future Food Feast event.
Moving Graffiti 2012
Moving Graffiti is a stop motion animation that depicts a hand drawn map of the Shoalhaven River, morphing into an Australian Bass fish leaping out of the river. The Bass are in decline due to weirs and dams blocking migration on most of our rivers. Tallowa Dam on the Shoalhaven excluded the Bass from more than 80% of their habitat before a fish lift was built. We projected the fish/river animation onto several locations around Bundanon, from old fence posts to the stone walls of the Bundanon homestead, re-shot and edited to create this artwork. Moving Graffiti was installed the Bundanon Homestead Library from 29 September through to 29 October 2012 as part of Siteworks 2012.
Moving Graffiti video https://vimeo.com/81694501 video link opens new browser window
cementa
chapel of rubber 2013
Exhibited in Cementa arts festival, Kandos, NSW February 1-4, 2013 The work shown in the first cementa comprised an 11 minute HD video loop with Gregorian chant audio, burning frankincense incense, a large lightbox on the floor and 12 ‘relics’ hanging around the chapel made from tyre debris gathered from the Kandos burnout track.
The Street Machine and Hot Rod Show is one of Kandos’ main annual cultural events. Chapel of Rubber is a mixed media installation that is a shrine to the burnouts, fire and smoke of this annual horsepower hoedown. The meditative video of the Kandos burnout event focuses on the ritual sacrifice of these machines, the burning tyres smoke as they melt into concrete and the destroyed motors bleed oil and coolant.
The video was shot at Kandos on Australia Day, Saturday January 26, 2013 and the work was installed a few days later in the chapel of the former convent of the Good Samaritan nuns as part of the first Cementa Festival.
chapel of rubber video link >https://vimeo.com/83567705 video link opens new browser window
lightbox image of the Kandos burnout track
elemental square 2015
Cementa_15 was held in Kandos, NSW April 9-12th April 2015.Elemental square is a 2 channel video work installed in Kandos Projects shopfront window. A land art sculpture representing the four elements was constructed from natural material at a local site. Using a drone launched from Stockyard Point the camera sweeps down the escarpment to capture the immolation of the sculpture.
waterways
Sydney Harbour! Gorgeous blue water, glittering city skyline, exclusive "dress circle" suburbs, lovely fresh ocean air. However commercial fishing has been banned in Sydney harbour because the marine life is considered toxic. Recreational fishing is extensive, but fish caught on the Western side of the Harbour Bridge have been found to have high levels of dioxins and other carcinogens. Waterways offers ideas for solutions to these problems while at the same time revealing the underbelly of Sydney Harbour through the 1990s popular local TV cop show Water Rats.
Waterways was commissioned by San Francisco Arts Commission and exhibited in the group exhibition, Urbanition at Carriageworks, Sydney from August 4th - September 3rd, 2011. The exhibition is a sister city project between Sydney and San Francisco and was shown at the SFAC gallery in San Francisco in April-June, 2011.
urbanition website
Thanks to Alana Hunt for helping us with the interviews.
Watch the video documentation here
>https://vimeo.com/36221994 video link opens new browser window
sms_origins
large screens project
Federation Square, Melbourne, August 2009 to December 2010
sms origins documentation https://vimeo.com/70996470 video link opens new browser window
A phone number is displayed on a large screen in a public space along with the instruction "sms your family origins"
Participants sms their own and their parents places of birth to the local number and linked curved vectors are added to a public map that updates in real time as it receives texts.
The map is not static, texts are displayed in real time, while the map zooms in to the countries of origin and animated vectors connect the locations. As more people participate the map grows to include accumulated vectors.
Presented by Fed Square, Art Center Nabi and The University of Melbourne with the assistance of the Australia Council for the Arts.
Programming Adam Hinshaw
land[sound]scape
video and sound installation, curated into the third Guangzhou Triennial, China, opened on 6th September 2008.
The work features panoramic images of the "Walls of China" at Lake Mungo in Western NSW, Australia projected onto a double sided suspended video screen. The viewer's movement around the installation space is tracked by sensors and an ambient spatial audio soundscape responds to this audience movement. The sound incorporates field recordings from the Lake Mungo site, as well as voices speaking the names of early Chinese immigrants to Australia. When the viewer stops moving, the voices gradually fade away.
Lake Mungo in far western New South Wales is Australia's oldest Aboriginal archeological historical site.
The name Mungo only dates from 1922 after the old Mungo Woolshed on former Gol Gol station built in 1869 by Chinese labour. Lake Mungo was formed about 45,000 years ago and is the site of Australia’s oldest fossil finds. On the Northern and Eastern shores of the waterless lake stands a 25km crescent shaped dune estimated at between 15,000 to 30,000 years old. The dune was named the ‘Walls of China’ by the Chinese workers employed on Gol Gol Station. Most of the fossil finds that led to the world heritage listing of the park have been found in the Walls of China. Lake Mungo basin has been bone dry for at least 15,000 years. [The Traveler's guide to Australia]
Also exhibited at the Chinese Gardens of Friendship in Darling Harbour, Sydney in February 2010.
Keith Gallasch reviewed the exhibition in RealTime Arts
seeker
winner of an Award of Distinction in Interactive Art from the 2007 Prix Ars Electronica, Austria
The Seeker installation uses three large projections to explore migration, territorial boundaries, conflict commodities and human displacement.
Seeker’s interactive component enables participants to map their own personal family migration history. Making a contribution allows access to a visualisation of all accumulated maps. The most recent vectors are drawn first, followed gradually by the vectors of previous participants. An alternative animated visualisation can be accessed by the viewer where elegant curves represent the distance each generation has travelled. Another screen shows panning satellite imagery of cities overlaid with moving text of harvested news feeds. The text describes incidents where people have died attempting to seek refuge in another country.
The third screen consists of animated curves representing population migration data, and the effect conflict resources such as tantalum, diamonds and oil have had on the displacement of people. The animations are overlaid onto vast empty landscape images from Africa, Australia and India.
Over time the three screens begin a silent conversation with one another as the viewer makes connections between issues of personal migration, conflict resources and the way human displacement is represented in the global media.
Seeker was first exhibited as part of the “ContemporaryCommonwealth06″ Exhibition jointly hosted by the Australian Centre for the Moving Image and the National Gallery of Victoria, in Melbourne from February to May 2006.
Seeker not only traces the global movement of people and resources, but also illustrates the ongoing process of translation from the physical to the virtual in the way we perceive the world. Translation implies a desire to communicate; each person who engages with Seeker will be prompted to consider what is lost and what is gained, what is repressed and what is discovered in this process.Fiona Trigg, CC2006 Catalogue Essay
Seeker has also been exhibited at the Experimental Art Foundation in Adelaide, August - September 2006, at Artspace in Sydney, February - March 2007 and at Ars Electronica, Austria, September 2007
Seeker is the winner of an Award of Distinction in Interactive Art from the 2007 Prix Ars Electronica, Austria
documentation on youtube
credits:
Leon Cmielewski & Josephine Starrs
Programming: Adam Hinshaw
The artists would like to acknowledge the support of:
Australia Council
Asialink Residency Program, Australia
WAAG Society for Old and New Media, Amsterdam
Sarai, Centre for the Study of Developing Societies, New Delhi
Kein Mensch ist Illegal
plaything
Exhibition at Sydney College Of The Arts, March 2007
The installation consists of a series of screen-based games played from a freestanding console that negotiate two-dimensional space in different ways using line, colour, shapes and simple gameplay. These games lead to video clips of young women responding to questions posed in the plaything research questionnaire.
view a streaming video excerpt
template video link needs work!!! >https://vimeo.com/385002718 video link opens new browser window
Plaything
Josephine Starrs & Leon Cmielewski
Programming Adam Hinshaw
Actors:
Katherine Berger
Jai McKenzie
Sarah-Jane Allen
Chimene Farhat
Samantha Findley
Cecelia Huynh
Trisha Kennedy
Plaything was produced with the support of an Australian Research Council Discovery Funding Scheme and the Australia Council for the Arts.
floating territories
colonise game
An installation combining distributed printed cards, swipe card reader, abstract screen based games
synopsis: Floating territories uses a series of screen based games to explore issues of migration, border protection and asylum. The project was designed to take place on the ferry that crossed the Baltic Sea between Helsinki and Tallin at the 2004 ISEA event. A swipe card, issued to ISEA participants with the boat boarding passes arbitrarily assigns a tribal allegiance. Each tribe is represented by it’s own distinctive iconography and has it’s own role and goals:
- escape
- defend
- petition
- colonise
- wander
- converge
exhibited in:
isea: helsinki & tallin 2004
reactivate!: experimedia melbourne, part of the gametime conference held at the Australian Centre for the Moving Image
The 2nd International New Media Arts Exhibition and Symposium, Beijing 2005
programming by adam hinshaw
defend game sequence
swipecards
template video link >https://vimeo.com/385002718 video link opens new browser window
trace installation
Sydney, Resort of Thieves ExhibitionState Records of N.S.W.
Sydney 2002/2003
We were invited to create an installation for the Sydney Records exhibition of historical surveillance diaries made by the first Police Commissioner who labelelled Sydney in the 1800's as a "Resort of Thieves".
There is a natural division in the surveillance issue between involuntary and voluntary data acquisition.
Voluntary data acquisition refers to processes where the subject actively engages with the marketing / surveillance / security apparatus, like showing a passport or i.d. or responding to requests for information, ranging from completing a tax return to answering a consumer survey or poll. Often these processes reinforce our identity as a responsible or valued citizen.
Involuntary examples range from the passive recording of people’s presence using simple video surveillance through to forced extraction of biometric data by saliva or tissue sampling.
These processes are seen as focused on criminals although everyone is subjected to the passive form.
Trace is a mixed media installation exploring these biometric themes, a subject that becomes increasingly significant as the ‘global war on terror’ escalates and government security organisations are collecting physical data from citizens for identification purposes. In the first part of the installation the viewer engages with the biometric station, encouraged by friendly instructions to voluntarily register using palm scans, iris scans and voice analysis. Further into the exhibtion an involuntary image capture occurs. Viewers can access these images from a database of previous exhibtion visitors where the biometric data is blended with the captured images. This installation ran for three months over 2002/2003 at the Sydney Records Centre in the Rocks, Sydney.
At the opening of the exhibition visitors were asked to contribute a body odor when entering the space. The artists performed as medical archivists, offering a sterile swab to each visitor, politely asking for the person to rub the swab on part of their body to collect a smell. The swab is then placed in a marked specimen jar to become part of a smell archive.
production details
installation at the state records centre, sydney
commissioned by susan charlton
biometric booth:
hand scanner
iris scanner
voice capture
involuntary image capture
cumulative image database of all visitors
programming by adam hinshaw
template video link >https://vimeo.com/385002718 video link opens new browser window
a.k.a.
video
a.k.a. Synopsis:
a.k.a. — “also known as”, an alias, a front, a smokescreen.
This short video poses the question: how will we respond when the day of universal surveillance arrives?
The answer is simple: never be the same person twice.
production details
title: a.k.a.
video by: Josephine Starrs & Leon Cmielewski
written by: Josephine Starrs
sound by: Daniele Salvati
duration: 3′30″
original format: PAL SP beta
year of production: 2001
screenings:
- 2010/2011 Utopia Now, Experimenta Media Art Biennale, Melbourne, Carriageworks, Sydney and MONA, Hobart Tasmania
- 2009 Sydney Underground Film Festival
- 2002 Kassler Docsfest, Kassel, Germany
- 2002-3 Isis Arts UK, European Touring Programme
- 2002 ::contagion::, NZ Film Archive, Wellington
- 2002 European Media Arts Festival EMAF, Osnabrüke, Germany
- 2002-3 European Media Art Festival EMAF, Osnabrüke, Germany, Touring Programme
- 2002 Transmediale.02, Berlin, Germany
- 2001 d>art, Sydney Film Festival
- 2001 SALA, Adelaide.
video link > https://www.youtube.com/v/KGai87zqfYo&hl=en&fs=1
video link opens new browser window
dream kitchen
interactive stop-motion animation
Beneath the surface of this banal domestic world runs a parallel interior zone populated with inspirited objects. This subterranean zone could be interpreted in many ways: a catalogue of dread, a cabinet of memories, an archive of fantasies. Occasionally, you stumble through a ‘leaky border’ into this underworld where objects play out their base desires upon one another. Each visit to the underworld causes the sparkling kitchen to degrade, ultimately becoming an obscene domestic science experiment.
The Dream Kitchen CD-ROM (ISBN 0646383841) is available from the authors.
produced with the assistance of the Australian Film Commission
Dream Kitchen: CD ROM on themes of domestic space, interface obedience, surveillance
awards:
ATOM Award 2001: Best Multimedia
exhibitions:
- 2002 Vidarte, Festival of Electronic Media, Mexico
- 2002 LE CUBE Issy-les-Moulineaux, Paris
- 2002 Casula Powerhouse Arts Centre, Sydney Australia
- 2002 Ngapartji Multimedia Centre, Adelaide Australia
- 2002 Moving Image Centre, Auckland, NZ
- 2002 Global Arts Link, Ipswich Australia
- 2002 Perth Institute of Contemporary Art, Perth Australia
- 2002 RMIT Gallery, Melbourne Australia
- 2002 Bendigo Art Gallery, Bendigo Australia
- 2002 Mornington Regional Art Gallery, Mornington Australia
- 2002 Newcastle Regional Gallery, Newcastle Australia
- 2001 Elastic Planet, Country Arts South Australia, Visual Arts Touring Programme
- 2001 Experimenta Festival, Melbourne
- 2001 Videoformes, Festival International D’arts Video Et Multimedia, France
- 2001 Cinemedia Conference Melbourne
- 2001 Art & Science International Exhibition and Symposium, Beijing, China
- 2001 13th Videobrasil International Electronic Art Festival, Sao Paolo, Brasil
- 2001 European Media Arts Festival, Osnabruk, Germany
- 2001 Transmediale.01 Festival, Berlin, Germany
- 2000 International Symposium of Electronic Art, Paris, France
- 2000 Animation Playground Exhibition, Casula Powerhouse
- 2000 Dissecacao Exhibition, Macau Museum of Art
- 2000 Liquid Hacking Laboratory, Albrecht Durer Kunstverein, Nurnberg, Germany
- 2000 Viper International Festival for Film Video and New Media, Basel, Switzerland
- 2000 Urban Futures Conference, Johannesburg
- 2000 Axis Amsterdam
- 2000 Cross Female, Berlin
- 2000 D>art, Sydney Film Festival
- 2000 Mobius Awards presentation, Pompidou Centre, Paris
- 2000 Institute of Modern Art, Brisbane
- 2000 Microwave Festival, Hong Kong
- 2000 Biomachines, Adelaide Festival
- 2000 OVER_GAME, Montevideo/Time Based Arts, Amsterdam
- 1999 Probe, Australian Embassy, Beijing, China. Dream Kitchen
concept & direction: Leon Cmielewski & Josephine Starrs
producer: Josephine Starrs
design & animation: Leon Cmielewski
programming: Adam Hinshaw
sound design: Panos Couros
3d: Don Smith & Craig McPherson, Banff Institute, Canada
bio tek kitchen
Players clean up the kitchen laboratory of a home biotech enthusiast using weapons such as dish cloths and egg flippers. The player is attacked by nasty mutant vegetables which are the product of genetic nouvelle cuisine, and learns throughout the game of a world wide corporate conspiracy to take over the entire food chain.
Bio Tek Kitchen: a computer game patch on theme of public IP loss via biotech patenting
- 2011 <<<((( MODS & HACKERS )))>>> Young Projects, Pacific Design Center, LA, USA
- 2006 Timein Festival Berchidda, Olbia, Sardinia
- 2004 Seoul New Media Biennale
- 2003 Computerspiele von KünstlerInnen, Hartware Medien Kunst Verein, Dortmund
- 2003 Experimenta House of Tomorrow, Melbourne
- 2003 version>03 Museum of Contemporary Art, Chicago
- 2000 Axis, Amsterdam
- 2000 SHIFT-CTRL, Beall Center for Art and Technology, UC, California, USA
- 1999 Cracking the Maze, UC San Jose, USA
fuzzy love
fuzzy love dating database
gallery installation with online component
in the ‘Fuzzy Love Dating Database’ people voluntarily photograph themselves and answer a series of questions as a kind of entry fee allowing access to the database of previous respondents, however access is limited to searching through responses to more obscure questions like ‘what is your favourite bodily fluid?’, the database can’t be searched by image or sexual preference
- 1999 Byte Me, Bendigo Regional Art Gallery, Bendigo
- 1998 Fuzzy Love, Walter Phillips Gallery, Banff Centre for the Arts, Canada
- 1998 State of the Heart, Australian Centre for Photography, Sydney
- 1998 Experimental Art Foundation, South Australia
- 1997 Diagnostic Tools for the New Millenium, Kunstlerhaus Bethanien, Berlin
paranoid poetry generator
.....my heart is dead
..........foam and dust and unerasable little beetles everywhere
...i fear fear
view streaming video of the installation in Berlin 1997
The Paranoid Poetry Generator was a net.art piece which collected people’s paranoid episodes and generated haiku-like poems from them.
The site was hosted by the Berlin Internationale Stadt in Germany and later the Banff Centre in Canada over the period 1997 & 1998.
user unfriendly interface
interactive installation
Produced with the assistance of the Australian Film Commission
User Unfriendly Interface, CD ROM/Installation on themes of conspiracy theories, male vs female concept of space, dating services, mens issues & personality testing.
Screenings
- 2010 DVD Dead Drop NY Museum of the Moving Image
- 1997 Video Positive, Liverpool, UK
- 1997 Lab6, Warsaw, Poland
- 1997 Transmedia ‘97, Berlin, Germany
- 1997 Street Level, Photography Centre, Glasgow, UK
- 1997 Beyond Technology, London Film Makers Cooperative, London, UK
- 1997 Technoloust, Antwerp, Belgium
- 1997 Steirisher Herbst, Graz, Austria
- 1997 Cyber Cultures II, Casula Powerhouse, Sydney
- 1996 Perception & Perspective, National Gallery of Victoria, Melbourne
- 1996 Robotica, Melbourne International Film Festival
- 1996 Cybercultures, Performance Space
- 1996 Next Wave Festival, National Gallery of Victoria, Melbourne
- 1996 Canberra School of Art Gallery, New Media Network Gallery
- 1995 ISEA 95 Montreal Canada
- 1995 Monash Gallery, Melbourne
- 1995 Weird Science, Australian Embassy Gallery, Manila, Philippines
- 1994 Weird Science, Experimental Art foundation, Adelaide SA
template video link >https://vimeo.com/385002718 video link opens new browser window
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