Name: Future Archive Past (visual arts exhibition) Frisson (music).
Where: Neon Parlour, 791 High St, Thornbury.
When: Fri 30/Jun/2017 6-9pm.
Please come and see the hauntingly intriguing exhibition by KURTIS ADAMSON, showing June 28 - July 9, with a special guest performance on the opening night, Friday 30 June, from Melbourne based synth and electronics due FRISSION.
OPENING NIGHT PERFOMANCE:
[to be read in David Attenborough's voice] FRISSION is a Melbourne-based duo, with Tim on synth and electronics and Paul on guitar and electronics (although he could feasibly be replaced by a cat with a reverb pedal).
Combining influences from London and South Africa (although you wouldn't be able to tell by listening to the music), it's mostly angular and angsty and brooding and self-involved and dark. Instrumental, too.
Aiming to be as jarring as possible without actually being kicked off the stage, FRISSION aspire to channel some Böhren und der Club of Gore, or perhaps Coil. Otherwise, they are inordinately interested in chickens, nuclear winter, and penguins, as well as birds, more generally.
Join us for this intriguing opening experience.
Kurtis Adamson utilises discarded photographic negatives from the early 1900’s to address the relationship between analogue and digital media and the changing perceptions around photographic archives.
Adamson’s solo exhibition ‘Future Archive Past’ examines the hauntological character of analogue-to- digital archives, focusing specifically on the appropriation of unidentified negatives from the photographic archive of Angus McNeil. Angus McNeil was a professional photographer in Adamsom’s childhood town of Kempsey, NSW between1897-1945.
While working as a digital restorer for the McNeil collection, Kurt Adamson was struck by the patina of McNeil’s original negatives and how their “aura” appeared to be erased, or eroded, when onverting them into digital images. This spoke to Adamson’s interest in the act of preservation also being an act of erasure or destruction, and how his art practice can make visible such erasures.
Through employing and developing the notions of ‘disembodiment’ and ‘re-storying’, ‘Future Archive Past’ alludes to the social spectral concerns of digital data collection and identification, whilst also encouraging reflection and contemplation of the digital age we live in as we increasingly create a digital legacy for future generations.
(forwarded from Kurt Adams)