Exhibition Dates:
20 September - 26 October 2014
Exhibition Venues:
Pinnacles Gallery Riverway Arts Centre, 20 Village Blvd
Pinnacles Gallery Riverway Arts Centre, 20 Village Blvd
Opening Hours: Tuesday - Sunday: 10am - 5pm
eMerge Gallery Building 300, JCU Douglas Campus, Townsville
Opening Hours: Monday - Friday: 8.30am - 4pm
2014 Finalists
Artist/s
|
Title
|
Year
|
Country
|
Venue
|
Andrew Chalmers & Oliver Ellmers
|
godComplex
|
2013
|
New Zealand and Australia
|
Pinnacles Gallery
|
David Chesworth and Sonia Leber
|
We Are Printers Too
|
2013
|
Australia
|
Pinnacles Gallery
|
Coalfather Industries
|
Seem
|
2014
|
USA
|
Pinnacles Gallery
|
Maia Conran
|
Trace
|
2014
|
United Kingdom
|
eMerge Gallery
|
Callum Cooper
|
Constant and the Flux
|
2012
|
United Kingdom and Australia
|
Pinnacles Gallery
|
Will Copps
|
Target
|
2014
|
Germany
|
eMerge Gallery
|
Zlatko Ćosić,
Eleanor Dubinsky
and Laura Ferro
|
Shifted
|
2014
|
USA
|
Pinnacles Gallery
|
Francesca Fini
|
WHITE SUGAR
|
2013
|
Italy
|
Pinnacles Gallery
|
Parisa Ghaderi
|
Keep Calm
|
2014
|
USA
|
Pinnacles Gallery
|
Brooke Griffin
|
Instruction to Hearing Persons Desiring a Deaf Man
|
2014
|
USA
|
Pinnacles Gallery
|
Paul Harrison
|
Deviant Dream: Part I
|
2014
|
United Kingdom
|
Pinnacles Gallery
|
Stephen Hilyard
|
Waterfall
|
2013
|
USA
|
eMerge Gallery
|
Iaroslav Ianovskyi
|
On the Horse
|
2014
|
Ukraine
|
Pinnacles Gallery
|
IOCOSE
|
Spinning the Planet
|
2013
|
Italy, Germany and United Kingdom
|
Pinnacles Gallery
|
Anantha Krishnan
|
My Internal and External World
|
2014
|
India
|
Pinnacles Gallery
|
Tang Kwok-hin
|
Present <
|
2012
|
Hong Kong
|
Pinnacles Gallery
|
Mauri Lehtonen
|
Jump
|
2014
|
Czech Republic
|
Pinnacles Gallery
|
Justin Lincoln
|
One Image After Another
|
2014
|
USA
|
Pinnacles Gallery
|
Justin Lincoln
|
SlipStream 2
|
2014
|
USA
|
eMerge Gallery
|
Malcolm Litson
|
SYNTAX
|
2012
|
United Kingdom
|
Pinnacles Gallery
|
Emily McFarland
|
Zabriskie Point Reversed
|
2014
|
United Kingdom
|
Pinnacles Gallery
|
Lawrence F Mesich
|
A Building Explains Itself
|
2014
|
USA
|
Pinnacles Gallery
|
Jonathan Monaghan
|
Office
|
2013
|
USA
|
Pinnacles Gallery
|
Katarzyna Parejko
|
WIATR/ODDECH [WIND/BREATH]
|
2014
|
Poland
|
Pinnacles Gallery
|
Stuart Pound
|
Shooting Loops
|
2013
|
United Kingdom
|
Pinnacles Gallery
|
Silja Puranen
|
Pigwalk
|
2014
|
Finland
|
Pinnacles Gallery
|
Arya Sukapura Putra
|
Passage (loco-motion)
|
2014
|
Indonesia
|
Pinnacles Gallery
|
Johan Rijpma
|
Descent
|
2014
|
Netherlands
|
Pinnacles Gallery
|
Dénes Ruzsa and Fruzsina Spitzer
|
Job Interview
|
2014
|
Hungary
|
Pinnacles Gallery
|
Antoine Schmitt
|
7 billion pixels
|
2013
|
France
|
eMerge Gallery
|
Joana Silva
|
Black Horse
|
2013
|
United Kingdom
|
Pinnacles Gallery
|
Billy Sims
|
Tempo Rubato
|
2014
|
USA
|
Pinnacles Gallery
|
Rose Staff
|
The Space Between Us
|
2014
|
Australia
|
eMerge Gallery
|
Theodore Tagholm
|
Plain Sight
|
2013
|
United Kingdom
|
Pinnacles Gallery
|
Luhsun Tan
|
Twilight Shimmer
|
2014
|
Australia
|
Pinnacles Gallery
|
David Theobald
|
Jingle Bells
|
2013
|
United Kingdom
|
Pinnacles Gallery
|
Jurgen Trautwein
|
DeadPlanetFine*
|
2014
|
USA
|
Pinnacles Gallery
|
Anna-Lena Tsutsui
|
Loops
|
2014
|
France
|
eMerge Gallery
|
Ivar Veermäe
|
Crystal Computing (Google Inc., St. Ghislain)
|
2014
|
Germany
|
Pinnacles Gallery
|
Yandell Walton
|
Remains
|
2013
|
Australia
|
Pinnacles Gallery
|
2014 Theme: Velocity
Change. At speed. Everywhere.
image: NASA & ASF (2000) Lambert Glacier Velocity Map (asf.alaska.edu)
The rushing up of the earth from below as we leap into
the unknown is a strong pervasive force.The comings and goings of
objects, the rhizomatic fever of life - of memories and of perception -
is the stuff of both nature and the machine but also the stuff of change
- of a compelling need to move forward, at pace. Since the millennium
we have been moving away in linear time from the trauma of the 20th
century, history accumulating behind us as we hurtle towards an
undefined future.Yet there also seems to be a reductive velocity at
work, the future appears to be expanding only in our mind’s eye - in the
stories we tell ourselves, in the frames of the cinematic moment and
the pixels of our most fantastic dreaming. If we stand still long enough
the hyper-reality becomes apparent. Information is expanding at an
exponential rate – images, sound and text – authoring a new
present-future space of mobility, of interconnectedness and most of all
of rapid accelerating change. Equal parts chaos and perfection – of
truth and of fiction - a dark and light exposure.
It is the making of us, this velocity of things. It is
both our return to Earth and our mastery of its physics. Our identity
and our collective history is fast becoming a vast data repository of
machine vision - a rapid prototyping of our future selves.Financial
transactions, personal communications, intimate moments exist inside
this simulation of machine speed.Artificial intelligence observes,
correlates, measures and makes split second decisions on our
behalf.Notions of surveillance, fears for our privacy, the dilution of
our identity and the voyeuristic connotations of relational databases
make up the machine’s vision of us and our world. Can we keep apace of
these algorithmic patterns? Can we author new vistas new dreamscapes new
directions?
Meanwhile history keeps up a steady persistent pace:
the image loops, the velocity increases and the hyper-real resumes its
seductive play.
DeadPlanetFine*
DEADplanetFINE*
An Uber-Wahnsinn paranoid trembling project
DEADplanetFINE*, is a web 1.0 retro-renaissance remixology project consisting of looped animated mouseover-gif-film-crawls.
DEADplanetFINE*,
are animated acid humorous social-commentary-line-drawings interwoven
with abstract blink-scrolls, that reflect on the nightmarish state of
the world.The project touches
issues of war, race, rape, violence, loneliness, torture, sexism, porn,
gadgetism, obsenity, power, greed, intoxication, pollution and the human
folly in general.
Depending on the movement of the mouse the animations take on various speeds and directions of motion.
DEADplanetFINE*,
uses a poly-linguistic-sound-blur-drone. The languages are used for
their phonetics and not for the meaning of the words.
