SUPPORT MATERIAL

This page contains images and captions for a selection of 10 works by Gabrielle de Vietri in support of the funding application for Weeping Women. As this page is a private page, if you navigate away it, please re-enter the address in the address bar to return.


 In 2013, the Bureau of Meteorology added a new colour—deep purple––to indicate temperatures above 50 degrees in its weather forecasting map. This colour acts as an alarming backdrop to a series of multiple choice answers to undisclosed questions about climate change, activating critical thinking in relation to individual, corporate, institutional and governmental decision-making around urgent environmental issues.

In 2013, the Bureau of Meteorology added a new colour—deep purple––to indicate temperatures above 50 degrees in its weather forecasting map. This colour acts as an alarming backdrop to a series of multiple choice answers to undisclosed questions about climate change, activating critical thinking in relation to individual, corporate, institutional and governmental decision-making around urgent environmental issues.

CLIMATE QUESTIONS FOR A NEW CAR PARK (2017)

synthetic polymer paint, LED screens with content changing daily

Photo: Christian Capurro

Monash University Collection
Monash University Public Art Commission 2017


 In 2017 the Artists' Committee shrouded Picasso's Weeping Woman with a black veil emblazoned with Wilson Security's logo. This unsanctioned collaborative action highlights the commercial relationship between the National Gallery of Victoria, Wilson Security and the immigration detention industry. See   A rtists' Committee  website for more information.

In 2017 the Artists' Committee shrouded Picasso's Weeping Woman with a black veil emblazoned with Wilson Security's logo. This unsanctioned collaborative action highlights the commercial relationship between the National Gallery of Victoria, Wilson Security and the immigration detention industry. See Artists' Committee website for more information.

Weeping woman (2017)

Collaboration with Artists' Committee
Performative intervention
Photo: Tatjana Plitt


INTervention with cello (2017)

Collaboration with Artists' Committee
Performative intervention
Photo: Tatjana Plitt

 Performative intervention at the National Gallery of Victoria in protest against their support of the immigration detention industry through their contract with Wilson Security.Song composed by Behrouz Boochani on Manus Island.

Performative intervention at the National Gallery of Victoria in protest against their support of the immigration detention industry through their contract with Wilson Security.Song composed by Behrouz Boochani on Manus Island.


A CENTRE FOR EVERYTHING (2012-17)

Collaboration with Will Foster
Alternative Education, t
he Nailhouse & Party Food Politics (2013) 
Commissioned for Direct Democracy at Monash University Museum of Art
Photo: Caitlin Littlewood

 Founded in 2012, A Centre for Everything is a collaborative project that brings together people and ideas. Each event groups a triad of topics that manifest as workshops, readings, site-responsive investigations, performances, lectures, discussions and communal meals. A Centre for Everything is an ongoing experiment in socially-engaged, creative pedagogy. For more information visit   A Centre for Everything  website .

Founded in 2012, A Centre for Everything is a collaborative project that brings together people and ideas. Each event groups a triad of topics that manifest as workshops, readings, site-responsive investigations, performances, lectures, discussions and communal meals. A Centre for Everything is an ongoing experiment in socially-engaged, creative pedagogy. For more information visit A Centre for Everything website.


VISIBLE HANDS (2016)

Collaboration with Will Foster
Temporary participatory public artwork

45 minutes
Photo: Bryony Jackson

Commissioned by Public Art Melbourne for the inaugural Public Art Biennial Lab and Melbourne Festival.

Full credits and further images here.


 A temporary public artwork for Public Art Melbourne and Melbourne Festival. Through a process of embodied research, Gabrielle de Vietri and Will Foster discovered and developed the unspoken language used by traders at Melbourne's Vic Market. From everyday dealings to embedded cultural codes, hand gestures are used to direct, connect, communicate and play across the stalls of the marketplace. Participants are invited to explore the contested past, present and future of the site in a hands-on self-guided tour.

A temporary public artwork for Public Art Melbourne and Melbourne Festival. Through a process of embodied research, Gabrielle de Vietri and Will Foster discovered and developed the unspoken language used by traders at Melbourne's Vic Market. From everyday dealings to embedded cultural codes, hand gestures are used to direct, connect, communicate and play across the stalls of the marketplace. Participants are invited to explore the contested past, present and future of the site in a hands-on self-guided tour.


THREE TEAMS (2013)

Two channel video installation with sound
39 minutes
Photo: Tarni Rees

Supported by Arts Victoria and by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, and by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.

Three Teams is a project to develop and hold a new game based on Aussie Rules Football with three teams playing simultaneously. The rules were created in consultation with the sporting and creative community in the Wimmera region of Victoria and the first game was played at Dock Lake Reserve in Horsham on October 5 2013. Online resolution videos available here.


A HAWK CAN READ A NEWSPAPER A MILE AWAY (2013-16)

lecture-performance
40 minutes
Photo: Timothy Hillier

 A Hawk Can Read a Newspaper a Mile Away is a lecture-performance about the site of speech, openings, the etymology of understand, the bust of Nefertiti, missing Egyptian noses, the act of reading, the meaning of methinks, divine intervention, haptic communication, kissing, tree planting, windsucking, rabies and some things that may or may not be true. Documentation at MPavilion as part of Interval lecture-performance series.  Video documentation available  here  .

A Hawk Can Read a Newspaper a Mile Away is a lecture-performance about the site of speech, openings, the etymology of understand, the bust of Nefertiti, missing Egyptian noses, the act of reading, the meaning of methinks, divine intervention, haptic communication, kissing, tree planting, windsucking, rabies and some things that may or may not be true. Documentation at MPavilion as part of Interval lecture-performance series. Video documentation available here.


GARDEN OF BAD FLOWERS (2014)

18 planter boxes, dimensions variable
Photo: Lucy Parakhina
Supported by Arts Victoria

 The Garden of Bad Flowers is a garden installation of plants that have been given negative symbolic meanings according to the 19th century publication "The Language of Flowers". In the world of floriography, lavender means distrust, lobelia represents malevolence, cypress symbolises mourning, basil, hatred and mandrake, horror. Based on mythical, medicinal, political, anecdotal, religious and literary sources, the plants and their attributes are arranged over 18 garden beds with in-built seating in Sydney’s Earlwood Farm.

The Garden of Bad Flowers is a garden installation of plants that have been given negative symbolic meanings according to the 19th century publication "The Language of Flowers". In the world of floriography, lavender means distrust, lobelia represents malevolence, cypress symbolises mourning, basil, hatred and mandrake, horror. Based on mythical, medicinal, political, anecdotal, religious and literary sources, the plants and their attributes are arranged over 18 garden beds with in-built seating in Sydney’s Earlwood Farm.


CAPTCHA (2012)

Single-channel video projection with sound
29 minutes

Installation view at Künstlerhaus Bethanien, Berlin
This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. 

 A four-part fantasy fairy-tale and a new language elicited from the perverted non-words of the online turing test, CAPTCHA (Completely Automated Public Turing test to tell Computers and Humans Apart). The story of Desmodowe is narrated as non-sensical words flash across the screen to tell a steamy sci-fi romance in which context, intonation, and music prompt the viewer to read meaning into meaningless words.  Chapters one to three are available  here  . Chapter four is exhibition for only.

A four-part fantasy fairy-tale and a new language elicited from the perverted non-words of the online turing test, CAPTCHA (Completely Automated Public Turing test to tell Computers and Humans Apart). The story of Desmodowe is narrated as non-sensical words flash across the screen to tell a steamy sci-fi romance in which context, intonation, and music prompt the viewer to read meaning into meaningless words. Chapters one to three are available here. Chapter four is exhibition for only.


 Things I've learnt was the result of a residency with Horsham Regional Art Gallery, during which inter-generational interviews, workshops and discussions led to a list of maxims about how to live together. The youngest generation of participants took these phrases to workshop them with the artist in the divisive park land between north and south Horsham.

Things I've learnt was the result of a residency with Horsham Regional Art Gallery, during which inter-generational interviews, workshops and discussions led to a list of maxims about how to live together. The youngest generation of participants took these phrases to workshop them with the artist in the divisive park land between north and south Horsham.

THINGS I'VE LEARNT (2011)

performance documentation
single channel video, sound and spoken performance

8 minutes 25 seconds
Participants: Caleb Bolwell, Molly Bolwell, Makeali Clarke, Jackson Clarke, Rain Rathjen, Narayan Rathjen, Sapphira Williams, Yash Sood, Adit Sood
Camera: Brigitte Muir
Project Assistant: Renae Fomiatti
Filmed at The Vulcan, Horsham, 2011
Commissioned for ACCA Regional Touring #2

 

 

 


IDEAS CATALOGUE (2006)

68 and 93-page artist's publication, 22x21cm each

A dual issue publication that draws together left-overs of artistic practice, dreams of political resistance, and ideas of a better world; neatly packaged and priced for consumption.

IdeasCatalogues.jpg