Archive for the 'Installation' Category

Diversity Dinner

Emma Konnaris

Thursday, 29th April

6pm for 6.30pm start, vegetarian Indian buffet meal included with registration.

This sound installation is an extension of a performance that occurred at last year’s TINA festival. DIVERSITY DINNERS was launched last year as a continuous and ephemeral artwork that focused on the celebration, diversity, and ritual of sharing a meal. All attendees were required to bring a plate to share – the food that they brought had a special significance to them and their personal stories were recorded. The proceedings of the night were also recorded.

The purpose of recording this intimate event was to bring the Dinner back to life within a different space.

The installation of Diversity Dinners at Open Fields uses both sound and object.
The recording of the Dinner – music, the hum of chatter, eating, laughing – is played in the exhibition space where a table is set for a meal. The audience will also have the opportunity to listen to the personal stories through earphones, setting a more intimate atmosphere.

This is an experimental artwork, as it expands the boundaries of traditional art. This work is abstract, non-pretentious, and simply seeks new ways to activate thought on space, community, and food.


Emma Konnaris is a young artist operating out of a too-small studio. Her artmaking practise has been seduced by painting, installation and food. This affair will probably continue, much to her pleasure.


In Between Stations

Ella O’Keefe

Ongoing, with a concluding reading at Serial Space, Friday April 30 7pm-10pm

A participatory event followed by reading and discussion. This event takes inspiration from the Metro Poems project of Oulipo member Jacques Jouet.

Participants will be invited to take a journey around the Sydney train system (suggested route: Redfern -> Bondi, Bondi -> Redfern with a change at Townhall to go via city circle).

The journey is a means for generating poems, using the constraints and principles Jouet developed for his metro poems where the aim is to write a new poem between each stop on a metro ride.

This event extends Jouet’s exercise by making it an activity for a group. While participants write separately and may spend the journey in relative silence the fact that a group of people will simultaneously board a train and begin writing could also be thought about as a kind of creative intervention…perhaps not quite a performance.

The second half of the event would comprise a reading of some of the poems generated by the event as well as further discussion of The Metro Poems and experiences of the event.

Hopefully this will open out a number of areas for discussion; the usefulness of constraints and generative procedures in creative production, the notion of the ‘draft’ – in this exercise the ‘finished’ version of the text is produced in extreme time constraints, location and movement, mapping of the city or an experience of the city.

Ella O’Keefe completed an honours thesis in writing and cultural studies at UTS on the poetry of Barbara Guest in 2009. She has produced radio for The Night Air on Radio National and is a current contributer to Final Draft the books and writing program on 2SER FM.

open fields print compilation

Jessie Lymn & the Rizzeria

Friday 30 April, 2010, 7 to 10pm

Serial Space

Motivated by a desire to ephemerally capture traces of Open Fields, a collective publication will be curated, edited, typeset leading up to and during Open Fields.

A live print session on the closing night at Serial Space will complete the collection process; using the analogue/mechanical technology of the Risograph stencil printer (courtesy of the Rizzeria), two dimensional remants of the three days will be printed over Open Fields text. Spot colours, live printing, communal collation and a take home publication will all feature.

Jessie is currently a PhD student at UTS, a member of the Rizzeria stencil print collective, a marmalade maker and will cook you dinner if you ask.

Her research project considers archival spaces outside of traditional institutional archives. Using zines as a specific site of research, she is exploring spaces of memory making and collection through practice.

Zone of Unconditional Hospitality

Jim Hearn

Serial Space, Wednesday 28th April


It is as though hospitality were the impossible: as though the law of hospitality defined this very impossibility, as if it were only possible to transgress it, as though the law of absolute, unconditional, hyperbolical hospitality, as though the categorical imperative of hospitality commanded that we transgress all the laws (in the plural) of hospitality, namely, the conditions, the norms, the rights and the duties that are imposed on hosts and hostesses, on the men or women who give a welcome as well as the men and women who receive it.
Derrida & Dufourmantelle, 2000, p.75-7.

To create an installation entitled, Zone of Unconditional Hospitality. Such a zone, it is envisioned, will be marked out on the floor of an exhibition or social/public space (perhaps with red tape or chalk), and have a sign which states, Zone of Unconditional Hospitality. Such a sign would necessarily be written in as many languages as possible.
This installation is imagined as a collaborative cultural space where what fills or enters such a zone is open to visitation rather than simply invitation.

Such a space necessarily functions as both literal space and prototype.

Collaboration from peers will be sought in regards what might constitute hospitality in such a space; how the provisioning and reciprocity of the signposted hospitality might look and feel.

Given the scope of what constitutes hospitality, such a Zone of Unconditional Hospitality, addresses first and foremost somatic needs. The poly-cultural requirements human beings have for food, drink and accommodation, while the most basic of things to comprehend, can be difficult to locate outside the meta-narratives of hospitality as a function of industry and hospitality as a function of charity.

One of the desired outcomes of this research project will be to transgress Derrida’s stated impossibility of unconditional hospitality. And while the research findings may result in nothing more than a list of such impossibilities, the construction of such a zone is critical in and of itself.

Another key outcome will be to disrupt dominant ways of knowing hospitality in this particular Western moment: which is to say, hospitality as a function of industry (the hospitality industry) and hospitality as a function of charity. Such a disruption will elevate notions of what constitutes hospitality, over and above, as it were, industry and the traces and memories of hospitality as a function of charity and the omniscient gaze.

Such a Zone of Unconditional Hospitality seeks to function as a cultural space where the host is not always the host and the guest is not always the guest: it is, in and of itself, a zone that transgresses sovereign hospitalities.

‘An act of hospitality can only be poetic’, (Derrida & Dufourmantelle, 2000, p.2)
Derrida, Jacques & Dufourmantelle, Anne (2000) Of Hospitality: Anne Dufourmantelle invites Jacques Derrida to Respond. Stanford:Stanford University Press.

Jim Hearn is a researcher, writer and chef.

He has a BA (Hons) First Class from Southern Cross University and is currently a Ph.D. Candidate at UTS in the Centre for Transforming Cultures.

Jim had three short films screen on Eat Carpet before writing and directing a half-hour of television for SBS in early 2000. He worked on the script for CHOPPER and an adaptation of Andrew McGahan’s novel LAST DRINKS. He has also been employed as a script assessor for the NSWfto.

Jim is currently writing a book about his experiences in the hospitality industry.


Kyla Ring

Wednesday 28 April

Serial Space 7pm –10pm


The main theme of my chosen work for Open Fields is hoarding. I envisage spending part of my time collecting locally found cardboard ( acceptting donating materials) and light weight materials Styrofoam to construct a “double hoarded” wall. 

The cardboard box is of interest to me because it holds our material possessions, it stores away parts of life that are not current and this act is about lose of permanence, life that has past, just the same as a building being renovated out of character or totally demolished and rebuilt with room for dialogue about the Fraser construction site.

The double meanings of words, words that sound like other words, play on words are an important part of my art making practice. The act of hoarding is essentially about protecting, whether it is protecting people from falling tools and building facades and or protecting our worldly possessions in storage, but I am also keen to investigate the personality or fragility of ‘the hoarder’ why, how and what it means to hoard. 

An image stays with me of a homeless man and his shopping trolley and 5 metre chain of prized possessions tied together in shopping bags pushing and maintain the movement along a busy side street of New York City this glimpse out a window was as impressive as it was deeply distressing.

Kyla Ring has worked on several sustainable community art projects over the past five years, installing her innovative sculptures in urban spaces, parks, public buildings and galleries in Sydney, Melbourne and Berlin. She uses sustainable practices and non-traditional media to convey both whimsical and serious messages about society, human behaviour and the environment and designs installations that encourage audience interaction through exploration, sharing and play.

A two day forum of creative research, experimentation and practice held from April 28-30 at the University of Technology, Sydney, and Serial Space Gallery, Chippendale.

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