See, hear, smell and feel the invisible energies that surround us as Australian artists David Haines and Joyce Hinterding summon unseen forces.
David Haines and Joyce Hinterding live and work in the Blue Mountains. Hinterding is fascinated with energetic forces, while Haines is drawn to the intersection of hallucination and the environment. Both artists are captivated by the unseen energies that surround us and seek to reveal them to audiences through their work. Science, the occult and philosophy are important elements of their practice.
Haines & Hinterding’s art incorporates sound, installation, video, performance, sculpture, photography and drawing. Many of their recent works also use computer game technologies. This is the first comprehensive survey of their work and includes immersive virtual 3D environments for visitors to explore and navigate.
A major work in the exhibition, Geology is described by the artists as ‘a virtual world that examines how culture interacts with chaotic forces’ and was inspired by a research trip to the damaged Christchurch Art Gallery Te Puna o Waiwhetu after the earthquakes of 2011.
Other works include the installation EarthStar, which investigates ‘the sun’s elemental and mythic qualities’ and includes an HD video projection of the sun and two ozone fragrances; and Purple Rain, a video projection that responds to electromagnetic energy from digital television signals in the atmosphere.
Energies and Apparitions
This essay was written by curator Anna Davis for the Energies: Haines & Hinterding exhibition at the Museum of Contemporary Art, Australia in 2015.
The art of David Haines and Joyce Hinterding is characterised by its openness to the unseen forces that permeate human experience. Very low frequency (VLF) radio waves, television signals, paranormal events, satellite transmissions and psychic energies are all manifest within their work, which aims to summon these hidden realms and bring them to our senses. Using experimental and traditional media, they engage in an artistic dialogue with science, intersecting with areas such as electronics, solar research, geology, olfactory chemistry and high-energy physics. Aesthetic and metaphysical concerns are equally vital to their practice, which also traverses speculative and esoteric domains such as Reichian orgone energy and Kirlian ‘spirit’ photography.
J.G. Thirlwell is man of many monikers and even more projects: from the epic avant-garde electro-rock of his thirty-five-year Foetus act to scoring orchestral work; creating sound installations to writing cartoon soundtracks. Fellow sonic artist, Jo Burzynska caught up with the Melbourne-born but long-time New York-resident composer/producer/performer at the Gallery before the opening performance of his first ever New Zealand tour.
The World is an Abstracting Machine
Australian artists David Haines and Joyce Hinterding live and work in the Blue Mountains, New South Wales. Working in a collaborative partnership as Haines & Hinterding, they explore the unseen energies that surround us through an artistic practice that incorporates science, the occult and philosophy. Bulletin editor David Simpson spoke to the artists in October 2016.
Rediscover the Gallery after dark with the Mix - a vibrant changing calendar of special events combining people and art, with music, great food, beer and wine, pop-up talks and demonstrations, debates, film and live performances.
How many panes of glass do we have in our foyer? Come and help us turn the Gallery’s glass wall into a massive stained glass window using brightly coloured clear vinyl. A great activity for kids and families on the last weekend of the school holidays.
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I’ve never actually seen the Mona Lisa, and it’s a fair bet that most people reading this article haven’t either. Yet, according to Wikipedia, the painting is ‘the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world’. So how to account for the fame of an artwork we haven’t seen? And what have reproductions of Da Vinci’s sixteenth-century portrait got to teach us about time-based art and the online environment in 2015?
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Good game, but is it art
Like any young medium, video games increasingly find themselves the subject of that age old question: is it art? Play itself has a strong presence in the artworld, from Yoko Ono's all-white chess set Play It By Trust to the amusing interactions possible with Franz West's Adaptives, but video games are often regarded with suspicion. Aren't they all just shooting and looting? And even if they're not, how can you tell if they're art?