Christina McPhee
Since the beginning
Works in United States of America

ARTBASE (3)
PORTFOLIO (2)
BIO
Christina McPhee http://christinamcphee.net
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DISCUSSION

[-empyre-] Emergent Issues in Contemporary Practice


-empyre- in June: Emergent Issues in Contemporary Practice

In conjunction with the 2004 exhibition - a joint project of the Australian
Centre for the Moving Image and the National Gallery of Victoria, -empyre -
presents 26 artists, curators, theorists, and information professionals
discussing current issues in contemporary art practice over four themed
weeks:

--->June 3 - 9 click for activism - Tactical media and political art
practices, with Melinda Rackham, Scott Redford, Sue Dodd, Sam de Silva,
Escape from Woomera, and boat-people.org.
--->June 10 - 16 in situ - As place dissolves in an increasingly connected
world what becomes of situated practice?-with Alexie Glass, Nat and Ali,
Adam Nash, Chris Caines, Zina Kaye and qnoors.
--->June 17 - 23 game to game - The art and theory of games and game
technologies. with Helen Stuckey, Anita Johnson, Escape from Woomera, Troy
Innocent, Rebecca Cannon, and Dr Melanie Swalwell.
--->June 24 - 30 media, mutation, migration and decay - Addressing questions
of stability, ephemerality and archiving, with Clare Stewart, Damien Frost,
Tom Nicholson, David Wadelton, Tim Plaisted and Margaret Phillips and Paul
Koerbin from PANDORA archive.

Moderated this month by Melinda Rackham.

Join us at -empyre- soft skinned space

<http://www.subtle.net/empyre>

_______________________________________________
empyre forum
empyre@lists.cofa.unsw.edu.au
http://www.subtle.net/empyre

DISCUSSION

ELECTROFRINGE/forward from Emma Stewart


Reply-To: electrofringe@yahoogroups.com
Date: Fri, 21 May 2004 17:09:19 +1000
To: EF group <electrofringe@yahoogroups.com>
Subject: [electrofringe] 2004 Electrofringe Festival - Call for Designer

2004 Electrofringe Festival - Call for Designer
30 September - 4 October 2004, Newcastle, NSW Australia

Submit your innovative design
to be considered for the new look of
Electrofringe 2004
Electrofringe is a hands-on, all-in new media arts festival dedicated to
unearthing emergent forms, highlighting nascent trends and encouraging young
and developing artists to explore technology and its creative
possibilitiesSand Electrofringe 2004 needs a new look!

Electrofringe is searching for an emerging designer who is able to capture
the ethos of Electrofringe in design, for both print and online media, for
the 2004 Festival.

We are now sending out a call for entries to emerging designers interested
in creating the Electrofringe 2004 image/look. The theme of Electrofringe
2004 is -

Replicate.Automate.Infiltrate.

Entries can be submitted into either of two categories A or B.
A: Design of 2004 Electrofringe image for print & web supplied as a single
image PRIZE MONEY $200
B: Design of 2004 Electrofringe image for PRINT plus website design mockup.
PRIZE MONEY $500
(If you are a graphic designer/illustrator but not a web design enter A,
if you are a graphic/web designer enter category B.)

NB: Only one prize will be awarded. We are looking for the best design
overall so either category can win.

The deadline for entries is the 25th June 2004.
Format for design entries
A: JPG at 300dpi (keep your original multilayered files for future editing).
B: JPG at 300dpi PLUS either link to mock up website or screen capture of
homepage design.

Please also complete the following registration form and email it, along
with your design work, to electrofringe@octapod.org with subject header
Electrofringe Designer Call for Entries.

More information on the Festival, and last years designs, can be found on
www.electrofringe.org
----------------------------------------------------------------------------
-

ELECTROFINGE REGISTRATION FORM - DESIGNER
DEADLINE 25 JUNE 2004

ARTIST NAME

ADDRESS
STATE

PHONE Day:

MOBILE

EMAIL

CATEGORY OF WORK

OPPORTUNITY

FW: Call for an Emerging Curator


Deadline:
Sun May 30, 2004 13:22

--
soundart performance videoinstallation multimedia painting theory

------ Forwarded Message
From: Emma Stewart
Date: Sun, 30 May 2004 22:47:03 +1000
To: christina112@earthlink.net
Subject: Call for an Emerging Curator

Hi Christina,
I was wondering if you could forward the below information to Rhizome again?
- it would be great if you could.
thanks,
emma stewart.

Electrofringe Festival -
Call for an Emerging Curator

30 September -


DISCUSSION

Re: Re: new work: gloriousninth flaming


Dear Kate and all,

>
> On 5/25/04 12:27 PM, "Kate Southworth" <katesouthworth@gloriousninth.com>
> wrote:
>
>> Dear Christina
>>
>> 5/21/04 20:30Christina McPheechristina112@earthlink.net
>>
>>>>>> http://www.gloriousninth.com/flaming.html
>>>>>>
>>>>>> Glorious Ninth
>>>>>> Flaming (our/your/their rage) 2004
>>> Re the complex concept of beautiful...
>>
>> I'm sorry that its taken a while to respond to your post, but I am largely
>> unfamiliar with Bracha Ettinger's work, and its taken me a few days of
>> reading and re-reading these excerpts to get a sense of her ideas. I'm a
>> bit blown away by them actually. It feels like I've found what I didn't
>> know I was missing. They've provoked in me an extraordinarily strong
>> intuitive and emotional response, and I just want to go and read more.
>>
>> kindest regards,
>> Kate
>> G9
>>
>> http://www.gloriousninth.com
>>

Wow, its great to discover common ground (even if so shifting, so hard to
sort out, so dark).

Yes, Bracha is on to something important, that is pretty hard to talk about.

Some observations that have meant a lot to me regarding trauma and the
function of the work of art come from Hal Foster... specifically, in "This
Funeral is for the Wrong Corpse," in Design and Crime, London and New York:
Verso, 2003 pp. 130f. He writes on an installation by Robert Gober and the
things he says, as well as the work of Gober itself, illuminate the
'trauma/beauty' aesthetic that arises from the current horrible mix of
amnesia, racism, sexual trauma and violence going on in the Iraqi war.

Hal Foster touches on a kind of delay, or lag in the evocation of traumatic
experience--"this paradoxical modality -- of experience that is not
experienced, at least not punctually, that comes too early or too late to be
registered consciously, that can only be repeated compulsively or pieced
together after the fact..." (p. 131)>

He reminds us of the novels of Ian McEwan, Toni Morrison, and the films of
Atom Egoyan, among others.

I too 've tried to make art about this in installation and in net art on
<http://www.naxsmash.net>. I have tried to write about this also
<http://www.naxsmash.net/public_html/texts/McPheeNaxsmash_files.htm> I work
with the poetry of Paul Celan for noflightzone with similar motives
(<http://www.naxsmash.net/noflightzone/texthtml/noflightzone.html>)

From Foster's pov as a critic to Bracha as therapist/artist, I triangulate a
another couple of questions or desires about the process of making art in
this condition of trauma.

So far as I know Bracha is the only observer who has carried this notion of
delay, this 'too early, too late' further into an inquiry into the creative
process dynamic between trauma, oblivion, retreat, witness and beauty. I
think it's cool to listen to her voice a bit more fully at this moment.
Here again Is Bracha on the underfire list, from March 29, 2004:

it is indeed possible that
> some kinds of work need another kind of time to be effective, and that
> curators are missing the less-instant NOW in their rush for the INSTANT now.
> War is not this instant event that creates just instant reactions of instant
> feeling that of necessity will produce art. War is always
> shockingly instant but also traumatizing in the long run and for the
> generations to come. It creates vagues and vibrations on many levels and art
> is involved with its chords on so many different levels. Instant reactions are
> important, but they are not necessarily art, even when they are translated
> into images made by artists and signed as art. Paul Celan's poetry was not
> born in the same day, nor in the day after the event. So perhaps when you look
> in the day after for poetry you see nothing of this order. There, where art
> becomes, layer of layers of traces, conscious and unconscious, are working
> through.
>
> We are carrying in this second half of the twentieth century enormous
> traumatic weight, and wit(h)nessing in/by art brings it to culture

DISCUSSION

Re: Re: new work: gloriousninth flaming


Dear Kate, and Patrick,
>>
>> --- Patrick Simons <patricksimons@gloriousninth.com>
>> wrote:
>>> http://www.gloriousninth.com/flaming.html
>>>
>>> Glorious Ninth
>>> Flaming (our/your/their rage) 2004
>>>

Re the complex concept of beautiful...

Bracha Ettinger recently wrote several posts on trauma, beauty, war and
artistic practice for the <underfire> project hosted by Jordan Crandall.

I would like to quote her here because I think this issue of what beauty is
and does in a time of war is fascinating and certainly points to your work
at gloriousninth.

> War is not this instant event that creates just instant reactions of instant
> feeling that of necessity will produce art. War is always
> shockingly instant but also traumatizing in the long run and for the
> generations to come. It creates vagues and vibrations on many levels and art
> is involved with its chords on so many different levels. Instant reactions are
> important, but they are not necessarily art, even when they are translated
> into images made by artists and signed as art. Paul Celan's poetry was not
> born in the same day, nor in the day after the event. So perhaps when you look
> in the day after for poetry you see nothing of this order. There, where art
> becomes, layer of layers of traces, conscious and unconscious, are working
> through.

.......

> We are carrying in this second half of the twentieth century enormous
> traumatic weight, and wit(h)nessing in/by art brings it to culture