As the year comes to an end the serpent awakens and begins to devour its tail. With sharp tongues, hot licks and fertile minds we gather to slay ~ an illustrious cast of humans mobilise intent to create/destroy. From ethers tragic & glamorous we are born again…
Justin Shoulder is an interdisciplinary artist and events producer. His main body of work focuses on the creation of contemporary mythologies. He is inspired and fed by his subcultural community and archipelagic ancestral lineage. These stories are realised in the construction of full-body, highly sculptural avatars that Shoulder calls Fantastic Creatures. Each creature possesses its own gestural physicality and movement language, which is expressed in live performance, video and photographic works. For Ouroboros Shoulder performs as curator.
Atong Atem is a South Sudanese artist living in Melbourne. Her work explores migrant narratives, postcolonial practices in the diaspora and the exploration of identity through self-portraiture. She is committed to questioning and engaging with contemporary art, literature and academia through traditional, ancient and new media.
CHUN YIN RAINBOW CHAN
Chun Yin Rainbow Chan is a Sydney-based musician whose work explores popular music tropes, nostalgia and Chinese identity. Her compositions often play with sampling, looping and unrelenting layers of signal degradation.
Shanzhai (山寨) refers to the counterfeiting of Western brands by Chinese companies. Originally denoting a “mountain stronghold” for bandits, shanzhai has recently adopted several punkish connotations including anti-authoritarianism, parody, grassroots ingenuity and user-driven innovation. While popular discourse on this phenomenon has focused on its emancipatory potential, some have argued that shanzhai culture is more complex. Narratives of shanzhai are appropriated to construct a collective imaginary of resistance and democracy, but the transitional nature of contemporary Chinese society means that these acts of rebellion are often subsumed in the logic of neoliberalism, complicated further by state-market alliance. Shanzhai is a cultural myth, as scholars Zhang and Fung succinctly put it, and “is sustained by a parasitic relationship to the mainstream and the powerful.” Exploring the interplay between branding and functionality, Chan’s work is interested in the provocations around appropriation, commodity and cultural fantasy.
Eugene Choi is an artist whose work explores the nature of movement and habitual memory within the body and object. Choi’s practice travels between controlled and uncontrolled states, improvising with the ‘non-expert’ body in unfamiliar circumstances. Equilibrium is found within her sculptural structures and installations, which constitute her videos and performances.
Rakini is a choreographer, dancer and performance artist who incorporates her knowledge of Indian Classical Dance, and her visual arts practice to create highly stylized performance installations. Her work focuses on female iconography to address themes of age, misogynist violence, and racial and cultural stereotypes. For Ouroboros Rakini Devi will incorporate two of her highly iconographic personas, The Widow, and Kali Madonna. In fusing imagery of the Hindu Goddess of death, Kali, the Mexican Virgin Guadalupe, and the Black Virgin/Madonna, she represents the female as living mythology, embracing both the political and the spiritual, unfolding in a ritualised performance installation.
Angela Goh is an Australian dancer and choreographer presenting her experimental work in a range of different contexts. Her work explores dance and choreography as practices of speculation, approaching performance as an event which simultaneously produces reality and fantasy. ‘Uncanny Valley, Girl’ is a dance in which the female body and the machine unite to produce a new narrative for the fembot trope. Machine and body move one another, and move with each other, to work towards alternative forms and fantasies.
Jack Mannix is a self educated multi-disciplinary artist whose work explores ideas of self/identity, ruin/loss, trauma, vulnerability, innocence, pain and sexuality.
DR. CON FABULATOR
In this, his first Sydney recital Dr. Con Fabulator explains that museums should not be stasis chambers whose purpose is to simply inhibit the physical decay of a subject or object. Museum’s, Con Fabulator expounds, are not quite to Art what the Morgue is to a corpse a sort of cold storage, they are he believes hot topics. Using images from the collection of the Museum of UnNatural History and words from his recently published encyclopaedia of gardening Eros and the Pansy, Fabulator reveals the narrative potential of historical works of art if and when they finally escape the gravitational pull of race, gender and religiosity. The Museum of UnNatural History is more concrete poetry than concrete and its inadequately famous collection, not much more than a series of reflections in a very, very disobedient mirror. Con Fabulates and has been described as a incubus on the febrile imagination of Gary Carsley and “as being more like a shadow that has slipped the leash of subservience than anyone you sat next to on the bus recently while wishing you had walked.”