experimenta media arts festival 1996
MESH speaks with festival director, Peter Handsaker,about this year's event
Q. The festival seems to have moved its focus from experimental film and
video to digital and other artforms. Has this been a deliberate curatorial decision?
A. I don't think that we have changed our focus as such. Really, there's no such
thing as new technology, or new art. Multimedia, for example, isn't a radical
new departure; it's part of a process of making experimental art that has been
evolving throughout this century. My understanding of experimental art practice
is that it embraces a commitment to ideas over methodology. A painter is always
a painter, but within experimental art, practitioners often move from one medium
to another. That's what makes their art so stimulating.
Many Australian artists who were making 16mm films or working in sound art
ten years ago are now experimenting with digital art forms. Equally, many artists
who are currently working with interactives may be making sound art or 16mm
films in the future. They may even be using a technology that isn't developed
yet. As long as the ideas are present, experimental art practice will be alive
and kicking. We just don't know what forms it may take in the future. What we
are trying to do this year is give audiences a low-down on the current 'state
of play' in the whole experimental art area, and not just in the area of experimental
film and video.
Q. Is there any one word that you would use to sum up this year's festival?
A. I don't normally like using neat tags, but I suppose if I had to use one word
it would have to be 'convergence'. The notion of convergence has been intrinsic
to the development of this year's festival. By this, I mean the coming together
of disparate art practices such as film, video, digital media, sound art, performance.
The intermingling of art and technology. I believe that converging arts and technologies
will form the basis of the art of the next millennium
Q. Why have you chosen to use the Lonsdale Street power station as your central
venue?
A. Although some parts of this year's festival are being show-cased within 'traditional'
gallery environments, we thought that it was important to find a new type of venue,
a new way for audiences to experience the festival. Within the power station,
audiences will be given the opportunity to navigate their way through a multi-storied,
multi-sensory, multi-disciplinary environment. Works can be experienced at different
levels (of skill, of interest and of interactivity). We are trying to create a
truly exciting art experience where we are all characters in an interactive environment.
This environment will include performance pieces, sound art, installations, photography,
film and video presentations, interactives and digital art. There's even a festival
club (with a bar!). It should take our audiences a while to navigate themselves
through such an abundance of art/experience/information!
I should say here that we are also excited about the shows in other venues. The
Body Remembers at ACCA, Domestic
Disturbances at the VicHealth Access Gallery at the National Gallery of
Victoria, Burning the Interface at the Centre for Contemporary Photography,
and the inaugural ATOM International Multimedia Awards Exhibition at Linden
Gallery are all strong shows that highlight different facets of current experimental
art practice.
Q. You have a strong retrospective film and video program in this year's
festival. Why?
A. For this year's festival, we've focused on three major retro-spectives: two
from overseas and one from within Australia. We chose to highlight the career
of Stan Brakhage because he is, quite simply, the most important experimental
filmmaker of the post-war era. We are really proud to present the most comprehensive
overview of his work ever seen in Australia.
The Guy Maddin program came about because we see him as one of the most
exciting filmmakers working today. His work uses the framework or constructs of
experimental film but turns its back on the traditionally limited audience base
of this genre. Maddin makes experimental films in the 35mm feature format and
these films get commercial cinema releases! His work is important because it proves
the point that experimental work doesn't have to be ghettoised-it can speak to
a broader audience. I also should make the point that he's one of my favourite
filmmakers. His work is fabulous!
The two programs comprising our retrospective of Australian film and video (Silver
Delirium and Crimes and Confessions) have been curated by Marie Craven.
It really is a wonderful experience to see such an impressive body of experimental
work showcased. I truly believe that to make an informed judgement about the state
of current media arts practice, one needs to be given an historical perspective,
and this program aims to this from the personal viewpoint of a film-maker who
also happens to be a film curator.