Larissa Hjorth
Australia

Judith Dean

In Hard and N I've been making a point somewhere between the ends of a used pencil. Sometimes I've worked with the pencils as found/given, sometimes I've blunted or decapitated them, so ensuring their exposed state is difficult to use or useless. Many of the pencils I've chosen to work with have been stubs, of a length which would also impede familiar use. Some of them have been so old and dirty that their past is at least as present as their function, so I haven't needed to make these pencils any blunter: they might also have other indications of use over time, eg. chewing etc. For Camouflage, British version, I bought various sets of needles and threaded each set onto a single white cotton thread. In Camouflage, Australian version, I specified the parameters that I perceived to have informed my decisions for the British version and faxed these to exhibition organisers of h. who then followed them through.

Larissa Hjorth

Larissa Hjorth's installation Water tracks and white trash investigates the attempts to problematise a 'place' - that of the private and public - in a time where place - a space with people - has been translated by technology and communication into a space. Negotiating the rhetoric and actuality of 'modern life' as being a landscape fought with ambiguity and alienation, this project explores forms scarred with neoteric moments and memories. Through photographs of graffiti and not-right fridge magnets this exhibition negotiates between space and place, anonymity and identification, social memory and oblivion. The images - in the form of photographs, fridge magnets and video - seek to harvest the 'everyday' for its siting of ambiguity and parody in modern life. Rather than sycophantically celebrate or ignorantly fear and negate technology, this project explores the manifestations in terms of suburban distraction.

Lawrence Wallen

Venice 1991 - I fell unconscious into a canal in venice, I awoke in a dark space without sound and slowly rose to the surface dissolution/xanthosis occupies a spatio-temporal zone at the intersection of 2 histories. The unconscious body submerges into the waters of Venice, the physical body dissolves into the physical environment only to awake and reaffirm differentiation. In this scheme the intersection lies at the point where the individual and urban space become undifferentiated, a point I cannot recollect. Awakening under suspended underwater, a process of regaining differentiation occurred and as I rose to the surface the intersection, was as such, passed.

Dissolution as a series of works gives physical form to the subjective memory of spatial experience and investigates how the past is remembered and fictionalised. Dissolution is a series of installations and video works recently realised at film+arc.graz, Museum of Contemporary Art Zagred. Eclat Festival, Stuttgart. SOMA Gallery Berlin. xanthosis is a fragment. The nine wax on canvas sheets are fragments not only in terms of their production (video stills) but also in terms of their content and intent.

Larissa Hjorth, Water tracks and white trash, detail, video, photographs, fridge magnets, talking bins, dim. var., 1998

Larissa Hjorth, Water tracks and white trash, installation view, video, photographs, fridge magnets, talking bins, dim. var., 1998