Jondi Keane
2010s Creative Works
Technics & Touch

(2015-2016) Jondi Keane & Charles Anderson in residence.
The Hub, RMIT Gallery, Melbourne. 11 Dec 2015 - 30 Jan 2016.


Photograph by Tobias Titz

Photograph by Tobias Titz

This exhibition project tested the limits of human and robot proficiencies through a series of experimental scenarios. The project explored methods of producing feedback systems through perception and action cycles.


Photograph by Tobias Titz

Photograph by Tobias Titz

The exhibition consisted of two parallel events: a laboratory space where the artists were 'in-residence', producing drawings in conjunction with the robot; and a procedural drawing exhibition in an adjoining space, where the outcomes of this human/non-human team were exhibited alongside the work of practitioners who have been exploring rule-based drawing for some time. The aim was to make and to discuss approaches to embodied, expanded and autonomous intelligent systems.

During the exhibition we encountered many issues arising as a function of the interactions with the robot and the new human-non-human system that were constructed and evolved. We were exercised by and pursued issues such as machine embodiment, human-robot communication, translation and interpretation, the agency, extent and variance of human-non-human assemblages. It became evident we were part of an ecology or distributed mode of cognition, and by implication an emergent social robotic system often described as 'natural user interfaces' (NUI).

Two ideas that emerged from the project so far:
- The term 'Robot' actually encompasses an expanded space, which includes a complex human-non-human set of relationships that imprint upon the newly created network of the human-non-human (a better if more cumbersome word for the expanded space we currently call "robot") and,
- This expanded space ('robot) introduces a set of response parameters that were not aimed at duplication or fabrication but at exceeding the critical frameworks that filter and reduce what counts as 'real'. This makes the robot-system, Ela, a speculative robot, one that is thoroughly embedded in the process of co-creation.

For more on Technics & Touch See: http://designhub.rmit.edu.au/exhibitions-programs/technics-touch
Click here to see the Gallery Layout and Phase 2 (PDF opens in new window).

PAN & ZOOM

(2015) Jondi Keane & Kaya Barry.
Interactive performative installation of expanded image-making and viewing. Mick Douglas (curator). Performing Mobilities Exhibition, RMIT Gallery, Melbourne. Sep 24-Oct 26. Part of the Peformance Studies International (PSi) event.

PAN & ZOOM take the effects inscribed in the global language of cinema and turn them into performative and participatory image-making apparatuses. Jondi Keane and Kaya Barry's installation invites visitors to collaborate in the construction of the images in order to re-explore relations between media technologies and embodied experience. The result is an expanded, amplified and dilated experience of the performative power of image-making and image-viewing.

PAN activates an accumulating collection of moving panoramic images – provided by Kaya Barry and PSi Fluid States participants from around the world – that visitors may interactively inhabit. The visitor manipulates relationships between an image projector mounted upon a dolly track, and a trackpad that scrolls the projected panorama. The live event of constructing-perceiving panoramic tracking shots opens up in ways that expand sensory experience beyond usual peripheries.

ZOOM co-opts the 'dolly-zoom' effect in cinema – wherein the camera zooms in while moving backward or zooms out while moving forward – resulting in the image expanding to amplify an intense moment of realisation. Hitchcock developed this technique in Vertigo to show audiences how the protagonist experiences his fear of heights. Jondi Keane pulls apart the double movement of the camera effect by himself performing the pulling back and forth of a moving wall as a backdrop. Moments of realisation are created between visitors who take up the camera operation, and an improvising actor's role, to accompany Keane's durational wall moving. An updating collection of short videos were made over the exhibition period shown on one of the installation screens.

Over a hundred videos were made with participants. Some made one or two videos, others made several. Groups of gallery-goers also produced collective videos.

The relation of the two works - PAN & ZOOM - addresses the way movement relates to the notion of mobility and investigates the way spatial experiences is constructed by individuals as indicative of their qualitative relationship. While each part of the work explores different aspects of spatial experience, they both concern themselves with the difference within and across these experiences and the collective constructions involved.

See the Performing Mobilities website for further details (opens in new window).

2THHTS @ 1NCE

(2007 - present) 7 year blackboard drawing project on handedness and cognition.

Drawing with 2 hands simultaneously: a circle with the left and a square with the right. The aim is not to achieve this but to observe the way one allows, selects, inhibits, sequences, joins and separates thought patterns and processes of perception and action.

(2012) "Chalkdrummers: Embodied Practice and Bi-manual Drawing", Keynote Speech by Jondi Keane & Eiichi Tosaki. UTS Drawing Symposium, Sydney.

Seminar Sessions on Improvisation Practices

(2014) Jondi Keane & Andrew Moorish. As part of the Improvisation Practices Symposium. Critical Path Choreographic Lab, Sydney, Nov 27 - Dec 7.

Knots of Relation

(2014) Immediations group event/exhibition. Group devised processes, performances, installations, public discussions, artefacts and archiving activities. COFA gallery, UNSW, Sydney, Dec 8-15.

"The Proceeding Procedure"

(2014) Jondi Keane, Alan Prohm, Erin Manning (Organisers & Curators). Guided workshops as part of the Festival of In/Confluence in the Spirit of Arakawa and Gins. Glasshouse Project space, Brooklyn NY, June 4 – 7.

"Insights from Arakawa and Gins' Table"

(2014) Performative Reading at The Proceeding Procedure: Festival of In/Confluence in the Spirit of Arakawa and Gins. Glasshouse Project space, Brooklyn NY, June 4 – 7.

Handdunes

(2013) As part of workshop/exhibition: "Souviners of the Senses", Doha.

 

Handdunes is an installation of photography, hand-molded clay objects and 3D printing within the Group Exhibition "Sounvenirs of the Senses" at the Saffron Gallery (VCU) as part of the DOHA2013: Hybrid Making from March-April 2013. These objects address the conference brief of "Hybrid Making" and "Made in Qatar" which guided the workshop program (selected through a peer-reviewed process). Working with 8 local and international artists the aim was to investigate how place-based learning forges connection between sensation-perception and conceptual processing that links practice-led research to the life sciences (e.g. embodied cognition).

Exhibited in Doha, as part of the Hybrid making Exhibition - Souvenirs of the Senses
Saffron Gallery, VCU Qatar (Mar-April 2013).
All artworks resulting from a 7 day workshop in participatory making.
Jondi Keane, Patrick West and Valerie Jeremijenko: Workshop leaders, curators and exhibitors.
Click here to view the Souvenirs of the Senses exhibition booklet
(opens PDF in new window)
Conversations through Colour

(2013) Walker Street Gallery and Art Centre, Dandenong, August.

24 video works installed and presented on i-Pads and performative presentation. Curated by D. de Bruyn & G. D’Cruz.

 

Building Movements

(2013) RMIT Design Hub, Melbourne, July 17-18.

Participants in the workshop and symposium built installations and designed performative events. All works were designed specifically for sites at the Design Hub building at RMIT.

 

Conversing with Buildings, directed improvisation performance.

 

The brief was to activate spaces in the selected architecture, which in this case was the Design Hub at RMIT. Using materials brought by Keane to activate the outdoor stair area. Performers walk, run, stand in addition to finding ways to use the material to emphasise aspects of the space.

Assisted Falling, group improvisation performance.

The brief was to form groups of five, allowing one person to experience falling down the stairs in slow motion. The four assistants must at all times support head and neck to make the contact of shoulders, hips and knees with the concrete stairs as gentle as possible. The aim was to tumble and go head over heels at some point during the fall.

Time-Space Twister, collaborative installation with Pia Ednie-Brown.

The Rub, collaborative installation with Pia Ednie-Brown.

Ghost Muscle: stonewalling teams past and present

(2013) Participatory artwork, Warrnambool Art Gallery, Warrnambool, Vic.

 

The stone walling projects (Ghost Muscle & Migrant Stones) developed directly from Keane's and others' strong attachment to the basalt stones used to make the walls throughout SW Victoria.

Part of the Flows and Catchments research group (Deakin University, see website: http://flowsandcatchments.org.au/) and was supported by the Warrnambool Art Gallery and the Lake Bolac Eel Festival, winning the Regional Partnership awards in 2012 and 2013.

Migrant Stones: stonewalling with ghost muscle

(2013) Lake Bolac Eel Festival, Vic.

Writing workshop - imagining the life of the stones and telling the stories of connection with the stones

Part of the Flows and Catchments research group (Deakin University) and was supported by the Warrnambool Art Gallery and the Lake Bolac Eel Festival, winning the Regional Partnership awards in 2012 and 2013.

Stone Soup

(2012) Exhibition and community drawing workshop. Warrnambool Art Gallery, Vic, March.


Stone Soup comes from folk tales about travellers in search of food who invent the idea of a magical stone soup to induce cooperation by asking local residents to garnish the 'magical' stone soup with local produce.

Other forms of the folk tale from around the world include nail soup, button soup and axe soup.

Drawing a stone soup together: place, space, earth and memory

Retelling the soup story

Photographs by Dan Armstrong.

Part of the Flows and Catchments research group (Deakin University) and was supported by the Warrnambool Art Gallery and the Lake Bolac Eel Festival, winning the Regional Partnership awards in 2012 and 2013.

nonplus architecture

(2011) Co-founder of collaborative creative research practice with Pia Ednie-Brown

Architectures and Vitality

(2011) Workshop and exhibition. Jondi Keane, Pia Ednie-Brown, Scott Andrew Elliott. Ptarmigan Project Space, Tallinn, Estonia.
The workshop experimented with way sin which environmental surroundings might affect our sense of vitality. In the Ptarmigan Tallinn project spaces, we explored a range of different ways to inhabit, modify and imagine environments, and the production of vitality through architectural means.

The Human Bridge

(2011) Performance at Meekos and Montreal, Canada, July.

 

One of the collaborative projects that formed at "Generating the Impossible" workshop and symposia.
Participants were Jondi Keane, Jamie DelVal, Tony Pape, Saara Hanula, Lincoln Mudd, Mahasti Mudd.

Photographs by Pia Ednie-Brown.






Differential Equation

(2011) Jondi Keane &Pia Ednie-Brown. Presented at Prague biennale & Gwangju Biennale.

 

Image in response to curators brief produced by Keane & Ednie-Brown. Image presented alongside image by photographers Jack Dunbar & Tosh van Veenendaal.

"The differential problem is two non-intersecting roads lead from City A to City B. It is known that two bodies-of-work travelling from A to B over different roads and joined by a cord of a certain length were able to travel from A to B without breaking the cord. Is it possible for two circular bodies-of-work with a radius 1 whose centres move over these roads towards each other to pass without touching?"

 

Appears in hardcopy broadsheet produced by curators and online, documented at: http://website-n.com/n1/index.html





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