“The mechanism of rehearsal proposes a nonconsecutive chronological structure. No conclusion is necessarily reached, but nor is the rehearsal a rigidly sequential process. Instead the performers, and we as the audience, can go back and forth in time, starting and stopping and beginning again.” – Francis Alys in Politics of Rehearsal

Part one: physical spatial practice (h): dancing in the kitchen at 135 Union Street – consists of Phoebe Robinson and Jude Walton making and rehearsing movement material in response to the interior architecture and domestic setting of the kitchen between 1 – 5pm Sunday 29 March.

Part two: physical spatial practice (i): dancing in the garden at 135 Union Street – consists of Phoebe Robinson and Jude Walton transferring and rehearsing the movement material made in the kitchen to the backyard between 1 – 5pm on Sunday 5 April.

People are invited to observe the activity at any time between 1 – 5pm on either or both Sunday 29 March and Sunday 5 April for as long as they wish.

A scaffolding structure designed by Helen Walter will be assembled in the long grass of Anstey & Ashton for the wBST. This structural furniture, consisting of a modular system of tubes, couplers and boards, will provide multiple, adaptable permutations to stage and facilitate artworks, performances, screenings and events.

Created in accordance with geographic and recording parameters predetermined by the artists, this video ‘call and response’ uses spatial observations, arrangements, interventions and movement to establish an informal dialogue about form, light and time.

The footage was recorded within each artist’s local surroundings – more specifically their home boundaries – and the work was sequentially created in the months preceding the triennial.

Rizkalla comments:

My praxis is based on an inquiry into language as it folds into objects and images, informed by curatorial practice in museology and constructed narratives in museum collections. Currently my project explores a series of propositions concerned with contemporary ecological issues and the problematisation of collecting and archiving natural and ethnographic objects. All objects used in the collection are sourced from opportunity shops, car boot sales and trash dumps. Many collections are dispersed after the compiler of such dies, and circumstances force the beneficiaries to dispose of them. Many objects end up as decorations completely out of context, this is particularly true of natural history and ethnographic items taken as souvenirs. My work rescues, retrieves and re-contextualises these objects as a sort of record / archive of lost diversity both natural and cultural.

Nikos’ Rear Entrance is a garage a gymnasium and a studio – it will be in construction there will be running and jumping music mixing cleaning renovating preparing production stretching squatting pointing pushing pulling flexing parking yoga there will be repetition supersets muscle stimulation core isolating strength training bench presses routines salutations down dogs warrior poses techniques tips programmes bike worshipping cars pulling in skipping neck rolls ab-throws calf raises shoulder grips cubian presses dumb bell rows freestyle training warm ups warm downs optimisation super sets to failure skipping till exhaustion running on the spot star jumps knee tucks ab cycling stretching muscle aches grunting deep inhalations deep exhalations push ups planks chin ups 3×20 3×15 3×10 5kilos 10kilos 15kilos 20kilos 30 second intervals spotting strength training cardio vascular and resistance training drills clean jerks crunches falling resting floor work endurance work personal training group exercises the garage will be used as a space for exercise a parking spot a studio and a hang out space

all welcome please contact niknokstudios@gmail.com to participate in group exercise.

I like pouring.
Colour is problematic.
I hate making decisions.
I’d like to have made Carlo Scarpa’s glass.
My favourite tool is a Japanese pull saw.
I also love my lathe.

I have come to view objects themselves as tools or conduits existing in the realm between the physical and cerebral world. By rewiring this bridge a plethora of new possibilities can be accessed. I am interested in the reinterpretation of the function of the object and the possibility that it can function against the use value intended for it. The Colony produced in 2005 – was an investigation into how Polynesian souvenirs – produced for the tourist market – hover between two paradigms. There is a whole history embedded in these objects that belongs to early European colonization that established notions of the exotic, the primitive and the savage. What I find interesting is that the cultures that produce these objects are aware of the myth which they are perpetuating. The result is a cultural signifier that hovers somewhere between the host culture and the guest culture, but belongs to neither. This process forms an interesting loop or feedback, but gets distorted in the middle. Somewhere along the way, it seems that these hollowed out vessels have become lost at sea.

Not that I know exactly what to do with it, or even where to go to borrow one. So my wBST contribution is necessarily modest.  I plan, simply, to go for a walk with a goat through West Brunswick. Perhaps we will visit some yards, kerbs and median strips; it’s likely we will eat some weeds. I imagine we’ll have a few conversations along the way.

See related site at: www.lucazoid.com/bilateral/projects/gruffling/
and blog at: www.lucazoid.com/bilateral/get-my-goat/

Find Lucas walking the goat (Bob) between the wBST sites (and elsewhere) on Saturday 21st March.

Gardening for me is a peculiar practice, and one that necessarily involves a certain degree of violence in its implementation. For sometime I have been exploring this violence through my own dark impulses. This exploration has taken the form of vast indoor hanging gardens, where each plant is isolated in its own transparent microsphere. The ground is suspended, and the plants and their life force gently tortured into adapting to their new lonely worlds. However independent they seem in there isolation they still need care – very, very occasionally a little water is given.

Starting Location: wBST base camp, 135 Union Street Brunswick
Time: 5.30pm Saturday 28 March
First to roll up, first for dinner.
Details: www.ride-on-dinner.net

1. untitled (two point perspective), 2009
laser print on paper, A4

2. untitled (two point perspective), 2009
laser print on paper, A4

Madrigal linings and epigraphy in-situ of the film bio-box: A series of film screenings coordinated by Marcus Bergner for the west Brunswick Sculpture Triennial

All the films presented in these screenings subsume in one-way or another to the generic and familial label: experimental film. Expectations of difficulty and impenetrability are often associated with this label and the films that it is attached. Yet such expectations and responses are based on comparing these films to, and in opposition with, narrative and documentary film. This represents an essentially ineffective and misleading way of encountering these films. It is more effective to recognise how experimental film draws on elements of suddenness and contradiction to mimetically and mutinously evoke process of imagination and radical questioning usually not encountered in film. Madrigal and marginal at once, the aesthetic and artistic function of experimental film remains unrepentantly and actively directed towards providing an experience of immanence and uncertainty. A bio-box is an anachronistic or insiders term for the projection room or boxed in space within a traditional cinema, and from which the films are projected. For these screenings the bio-box takes over the entire screening space, and as such invites both imaginary and participatory feats of auspicium in-situ. A medley of Super8, 16mm, 35mm films and digital videos will be projected in industrial and domestic locations, and often outdoors. By bringing together an international selection of films unexpected connections and perspectives are intended. Many of the films have not been shown in Australia before and filmmakers have provided work especially for these screenings.

SUN 29th March, 8.30pm:  135 Union Street (outdoors)
Screening includes:
Perforce by Gianfranco Baruchello. 1968, 16mm, colour, sound, 12mins. Mythology and teleology combine within this legendary film. Since 1962, Baruchello has exhibited objects, films, paintings and performances extensively throughout Europe and America. With Henry Martin he produced the artist books: Why Duchamp, How To Imagine, Fragments of a Possible Apocalypse.
Australia by Ken Shepherd. 1964, 20mins, 16mm, b /w, silent. The warring state and statelessness in Coburg, Melbourne during the 1950’s. Ken Shepherd left Australia to establish and run with June Shenfield, the first Australian art gallery in France. Situated in Saint Denis, on the outskirts of Paris, Cannibal Pierce Gallarie mounted uncompromising and innovative exhibitions and publications throughout the eighties and nineties.
Le Mans by Andreas Wutz. (Dvd/16mm, b/w, sound, 8mins, 2003)  “About an extremely ambient feeling. A mixture of fear and elation, experienced during the loneliness of a night race (The 24 Hours of Le Mans, France).”
People Reading by Robin Plunkett. 1999, 35mm, colour+black/ white, sound, 20mins. Real time documentary about reading situations. Thought bubbles and thought music interlopes readers in the film with viewers of the film.
Quick Billy (reel two) by Bruce Baille 1967-70, 16mm, 17mins, sounds. This odd reel out of five other reels that make up this epic experimental film.  Thoreau or Rousseau meet Karl Dreyer and Billy the Kid. The other parts of the film consist of superimposed nature studies and sanguine diary footage of life on the farm.
Untitled by Doris Lasch and Ursula Ponn.  2003, super8, b/w, 3mins. Borges’s suggestion that “Reality is always anachronous” appears to be true within the view onto the location for the Battlefield of Waterloo. Currently Doris Lasch and Ursula Ponn are exhibiting: If you don’t create your own history someone else will @ Frankfurter Kunstverein 27^th March to 31 May 2009.
Standard Time by Michael Snow and Joyce Wieland. 1967, 16mms, 9mins, sound. Muted home movie that includes zoological appearances.
BATHGIRLS ‘84, by Janet Burchill and Jennifer McCamley. 1984, Super 8, colour, sound, 12minutes. “Bathgirls’ 84 is the staging of an encounter between Warhol’s Tub Girls and Genet’s Papin sisters………”
Birth of a Nation/Gerburt der Nation by Klaus Wyborny. 1973, 16mm, sound, colour, 67mins. Like his German contemporaries Polka and Kiefer, Wybong mixes cheesy histrionics with ironic forays into mythology and new narrative constructions. Based on the original Birth of a Nation with this version involving coruscating and anacoluthic snatches or leaps into wild colorization and poetic ruination.
Eye-Step by Dore O. 2000, 16mm, sound, 25mins. A collage of steps constructed around a phenomenology of  perception and of reality. Rebuilding notion of memory and anticipation as an intrinsic logic for the present moment.

SUN 5th of April 7 pm: Ocular Lab (indoors).
Warning: space is limited, book your seat by emailing wbst@osw.com.au
As a relatively high number of bookings have been received, a second screening may take place at 9pm if required on the night.
Screening includes:
Four films by Kurt Kren. 1960-1978, 16mm, silent, b/w and colour, 20mins. During the period these films were made Kren was involved in the Destruction in Art Symposium in London (1966), participated in documenta 6, lived and worked in Vienna and Texas. The films include: 2/60 48 Kofte aus dem Szondi-Test (1960, b/w, silent, 5min) relates to an early method of psychological profiling; 15/67 TV (1967, 16mm, 4mins, silent) Inexhaustibly intriguing construct for contrapposto and new perceptual plasticity. Adorno stipulated and Kren’s films and other film in this programme demonstrate: “what crackles in art works is the sound of the friction of the antagonistic elements that the art work seeks to unify.” 31/75 Asyl (1975, 16mm, col, silent, 9mins) Immanence and luminosity seasonally matted/ carved directly into the film coating.
Solidarity by Joyce Wieland. 1973, 16mm, colour, sound, 11mins.  The virtual and immobile flaneur and flaneuse of cinema spectatorship is enigmatically politicised by the direct and unfettered imagination of linguistic gesture. Wieland was a Canadian painter and experimental filmmaker whose innovative and original work in film is only recently starting to be fully recognised and considered.
Dante Quartet by Stan Brakhage. 1987, 16mm, colour, silent, 6mins. Virtuoso acts of calligraphy and pellucid like painting over the film surface and delivering a Dantesque system for closed-eyed visions and abstractive bacchanalia.
Light and Dark by Lindsey Martin. 16mm, sound, 12mins. (Separate film notes provided)

(Short Intermission)

All my Life by Bruce Baille. 1966, 16mm, colour, sound, 3mins. Cyclopean and ebullient slice or sluice of histrionic light. Atmospherically, architectonically and even chromatically connections can be made between this film and classical paintings like Triumph of Galatea by Carracci or Poussin.
Roll Film by Neil Taylor. 1998, 16mm, silent, colour, 10min.  In this film the Romanesque Bayeax Tapestry combines forces with Oskar Fischinger’s process based animations. The sculptor, Neil Taylor, develops a method of collusion and metamorphosis that kinaesthetically and graphically draws from the essential non-singularity, mutuality and performative energy of images.
O.K. by Moucle Blackout. 1987, 16mm, colour, sound, 5mins. Tactilely and errantly the film screen can also be a gripping device. Moucle Blackout is a photographer and founding member of the Austrian Film Co-Op. Has organised and participated in a wide range of feminist based exhibitions/ projects including: “Frauen sehen Frauen” in Salzburg, “Identitsbilder” in Bonn.
The Room of Chromatic Mystery by Arthur and Corrine Cantrill. 2007, 16mm, CD stereo sound, colour, 8mins. Colour separation film methods are explored to aesthetically measure and reconfigure the madrigal like nature of light and colour within cinema. This is the most recent film from these prolific film artists and long-term editors/ publishers of Cantrills Filmnotes.
Moment by Gregory Markopoulous. 1970, 16mm, colour, 7mins. Sixteen-century portraits by Lotto and Giorgione activated and included instants of transubstantiation and presence. Similar qualities and effects are provided in this cinematic portrait of the maverick English sculptor Barbara Hepworth (1903-1975).
Cuna Soma by Lee Smith. 2001, 16mm, CD sound, colour, 8mins. Lee Smith’s remarkable handmade and plaited films combine raw plasticity with a state of visual dynamism rarely encountered in cinema. Parallels and associations with the art and spirit of his namesakes, Jack Smith and Harry Smith, appear subliminally and compellingly recognisable within this film.  Music by the filmmaker and Piers Morgan.

SAT 11th April. 7.30pm: Anstey and Ashton (outdoors)
Please note: due to weather conditions and the end to day light savings this screening has been re-scheduled to start at the earlier time of 7.30pm. Also the screening of Baruchello’s Un Altro Giorno is brought forward in the program. Please bring warm clothing etc.
Screening includes:
Musical Four Letters by Marcus Bergner. 1989, 5mins, sound, colour. A cinema poeme of Mexican argot and four lettered musical words.
Un Altro Giorno by Gianfranco Baruchello. 2007, dvd, sound, colour, 42mins. Premier Australian screening. Using a series of interviews to reveal the exilic “reality” of being in prisons in Rome and Lazio. To do time involves the production of subjectivity from the immeasurable void and blankness of time itself. It requires, as the prisoners explain, recomposing and reconstituting oneself through one’s own stories. Imaginative acts of resistance counter biopolitical structuring of temporality both in prison and in society generally. The Italian poet Emilio Villa writes: “…It is in the word of the world this fruit that moulds you/ that flays you that invents your story” [...e nel mondo del mondo questo frutta che ti plasma/ che ti scortica che ti inventa la tua storia... Omaggio ai sassi di Tot].
Seeing As by Esther Stocker (dvd, silent, b/w, 1min, 2001) Disconcerting moment of aspect dawning: “Die Lautbildung erfolgt [...] gelentlich auch bei Einatmung (inspratorische Laute)” [trans: Articulation also occasionally occurs [...] when inhaling (inverse sound)- Anjar Utler Marsyas Encircled.]
Fear by Tony Woods. 1996, Super 8, colour, 14mins, sound. Two films divided by a thirteen-year apercu come together as the movie camera becomes a sketching machine and ground on which painting is fused with film.
Unter Schulzathmosphere verpackt by Doris Lasch and Ursula Ponn. 2001, Super 8, 3mins, silent, colour. Motioning and furnishing acts of apperception. “Thought is the mask of unthought: it dresses up in a form that itself disputes the finished.” Bernard Noel (Chemin de ronde)
A Dead Fly is worth more than Gold by Paul Rodgers. 1990, 16mm, 1min. Paean action flick or rout for extraordinary and immeasurable element of existence. Made for BBC Television (UK).
INLAND EMPIRE (Solar Neon) 21/06/08 by Janet Burchill and Jennifer McCamley. 2008, dvd, 2.32 mins. “During a residency in Kellerberrin, Western Australia we made a solar-powered neon, Inland Empire: light from light. As the sun went down, the light from the neon appeared brighter. The duration of the event was determined by the amount of energy that had been collected by the solar panels during the day. This is a time-lapse video of that sculptural event.”

(Short Intermission)

Caryatid Row by Andreas Wutz. 2008, dvd, colour, sound, 14mins. The habitual world in parallel to the world of reading. Cannery Row brought to the Prague of caryatids and its golden sands.
Blond Barbarei by Dore O. 1972, 16mm, 25mins, sound, b/w. “A film for the liberation of sensuality a film against the hospitalism of society.” Architectural and atmospheric dismantling of spatial and perceptual reference points in the cinema process extending and interacting with the screening situation itself.
Untitled by Doris Lasch and Ursula Ponn. Colour, silent, 2mins. A filmic masquerade framing the arbitrariness and collapsibility of space within of  the urban landscape. For more about these artists see: “When the story finishes light sadness grasps me” from www.janvaneyck.nl
223 by Dirk de Bruyn. 1985, 16mm, colour, sound, 5mins. Purloining and gluing together a mise en abyme of film frames so meteorically and fragmentally screen memories and other oceanic evocations become the in-between.
The Museum and Library Workers Film Society by Frank Lovece. 1991, dvd, colour, sound, 20mins. In New York they’re called micro-cinemas, and here they are called film societies.  This is an edited-in-the-camera and fly on the wall documentary with improvised and performative use of the movie camera much like the autobiographical and experimental videos of the American photographer Robert Frank. It documents a night in the life of a film society dedicated to showing experimental and artist made films and takes place in the historic but now demolished original cinema at the State Library of Victoria.
An Accompaniment to a Cinematographic Scene by Arnold Schoenberg by Jean Marie Straub and Daniele Huillet 1972, 16mm, sound, b/w, 17mins. “What interests us is how the text is embodied in human beings, dialogues, not the plot.” – Straub and Huillet in conversation with Francois Albera, Paris, 2001.

Notes.
- Thanks to: OSW, Ettore Sirucusa, Neil Taylor, Paul Rodgers, Piers Morgan as well to the filmmakers for generously providing film prints for these screenings.
- Screening Two in memory of Lee Smith. “…Une encore, translucide comme l’arconsom. Que l’on s’enchassera dans l’oeil d’un geste elegant…” [...And something else, translucid as the sunbow/ Which people will screw into their eye with an elegant gesture...] -Boris Vian (Un Jour).

Simon Taylor, James Deutscher, Liv Barret, Yin Lan-Dan for assistance, student volunteers from VCA and Monash University, Charlotte Day, Zara Stanhope, neighbors Penny, Matthew and Levi for their support and enthusiasm, Lara Stanovic, Brunswick Secondary College, and all the participating artists for their energy and contribution.

This project is supported by the Victorian Government through Arts Victoria.

1pm – 5pm: in the yard at 135 Union St

Accomodating Easter Sunday: Bianca Hester & Saskia Schut prepare an Easter Feast in a fire pit dug especially for the occasion! All welcome. This event marks the conclusion of the project.

8.30pm: at Anstey and Ashton FILM SCREENING: part three curated by Marcus Bergner (bring cushions, blankets, snacks, drinks etc!)

1pm – 5pm: 135 Union Street base camp: part two of Physical spatial practice (h) and (i) by Jude Walton (with Phoebe Robinson) dance performance in the backyard

7.00pm: at Ocular Lab (corner of Albert and Pearson Streets, Brunswick)

FILM SCREENING: part two: curated by Marcus Bergner

(bring cushions, blankets, snacks, drinks etc!)

11am – 8pm : at Anstey and Ashton: Sound program curated by Christopher LG Hill featuring performances by: Fabulous Diamonds, Wasted Truth, Matthew Brown & Simon Taylor, Justin K Fuller, Paeces, Hexagon Comet, Moffarfarrah, Faeces, I-Sufferaz (krump performance)

1pm-5pm: get my Goat by Lucas Ihlein

See related blog at: http://www.lucazoid.com/bilateral/get-my-goat/

details regarding the site of the departure of the goat walk will be posted shortly!

8.30pm: at the 135 Union Street base camp

FILM SCREENING: part one: curated by Marcus Bergner

(bring cushions, blankets, snacks, drinks etc!)

1pm-5pm: 135 Union Street base camp: part one of Physical spatial practice (h) and (i) by Jude Walton (with Phoebe Robinson)

5.30pm onwards: ride-on-dinner by Mick Douglas and friends: the location of where the ride departs will be posted shortly!

www.ride-on-dinner.net