The Trouble with the Weather: a southern response

Bosscher, J; Miranda, MC; Neumark, N

The Trouble with the Weather: a southern response

Bosscher, J Miranda, MC Neumark, N

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Field	Value	Language
dc.contributor.author	Bosscher, J	en_US
dc.contributor.author	Miranda, MC	en_US
dc.contributor.author	Neumark, N	en_US
dc.date	2007-07-03	en_US
dc.identifier.citation	UTS Gallery	en_US
dc.identifier.uri	http://hdl.handle.net/10453/12311
dc.description.abstract	Research Background At a time when global warming was both urgent and overwhelming, there was a dearth of exhibitions dedicated to the issue that made room for audiences to engage in new ways. There was a need to bring together a range of art works that spoke to the issue, to an exhibition space, and to each other in ways that allowed people (new) ways to engage with global warming, to find their own ways of thinking and responding. As global warming was an emotionally and politically overloaded topic, there was a need for non-didactic exhibitions that opened thinking up as to how the uneasy relationship between technology, nature and culture was being unsettled once more. Research Contribution The artists in the Trouble with the Weather responded to weather events and to the weather as event -- psychically, 'pataphysically, emotionally and aesthetically in ways that opened the issue up for audiences. It featured a range of significant southern hemisphere artists including Elizabeth Day, David Haines & Joyce Hinterding (Aus), Jonathan Jones, Zina Kaye, Dani Marti, Janine Randerson, Te Vaka, John Tonkin and H J Wedge. Research Significance The importance of the exhibition (and its catalogue) was demonstrated by the funding it gained from Luca Belgiorno-Nettis, UTS, City of Sydney and the Australia Council for the Arts. It was featured and reviewed in SMH, RealTime and Loop Magazine. "Despite the undercurrent of urgency and desperation in the subject matter, many of the works took a whimsical approach, from Dani Marti's suburban kitsch sculpture made from pool noodles to Joyce Hinterding's beautiful ink splattered diagrams for cloud engineering and, of course, Neumark and Miranda's own contribution. Consequently, and without stridency, the overarching issues operate as a kind of climate in which the works can dwell and evolve." Gail Priest, RealTme 80, 2007. The catalogue was acquired by the Guggenheim Museum, NYC.	en_US
dc.relation.ispartof	UTS Gallery	en_US
dc.title	The Trouble with the Weather: a southern response	en_US
utslib.location.activity	Australia	en_US
utslib.for	1905 Visual Arts and Crafts	en_US
utslib.for	1902 Film, Television and Digital Media	en_US
dc.location.activity	Australia	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
utslib.copyright.status	open_access
pubs.start-date	2007-07-03	en_US

Abstract:

Research Background At a time when global warming was both urgent and overwhelming, there was a dearth of exhibitions dedicated to the issue that made room for audiences to engage in new ways. There was a need to bring together a range of art works that spoke to the issue, to an exhibition space, and to each other in ways that allowed people (new) ways to engage with global warming, to find their own ways of thinking and responding. As global warming was an emotionally and politically overloaded topic, there was a need for non-didactic exhibitions that opened thinking up as to how the uneasy relationship between technology, nature and culture was being unsettled once more. Research Contribution The artists in the Trouble with the Weather responded to weather events and to the weather as event -- psychically, 'pataphysically, emotionally and aesthetically in ways that opened the issue up for audiences. It featured a range of significant southern hemisphere artists including Elizabeth Day, David Haines & Joyce Hinterding (Aus), Jonathan Jones, Zina Kaye, Dani Marti, Janine Randerson, Te Vaka, John Tonkin and H J Wedge. Research Significance The importance of the exhibition (and its catalogue) was demonstrated by the funding it gained from Luca Belgiorno-Nettis, UTS, City of Sydney and the Australia Council for the Arts. It was featured and reviewed in SMH, RealTime and Loop Magazine. "Despite the undercurrent of urgency and desperation in the subject matter, many of the works took a whimsical approach, from Dani Marti's suburban kitsch sculpture made from pool noodles to Joyce Hinterding's beautiful ink splattered diagrams for cloud engineering and, of course, Neumark and Miranda's own contribution. Consequently, and without stridency, the overarching issues operate as a kind of climate in which the works can dwell and evolve." Gail Priest, RealTme 80, 2007. The catalogue was acquired by the Guggenheim Museum, NYC.

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http://hdl.handle.net/10453/12311