Size: small to medium

  • Space Practising Tool Number Five

    Space Practising Tool Number Five

    Space practising tool number five is one of five space practising tools the artist made to explore the object nature of space in the book Space Practising Tools.

    Space Practising Tools

    by Gail Hastings
    with an introduction by Jon Roffe

    Edition: 300
    Format: Hardcover
    Pages: 128; xii, 116
    Dimensions: 240h x 170w mm
    Weight: 562 g
    Publication date: 26 Mar 2021
    Publisher: Pigment Publisher
    Place: Melbourne
    Language: English
    ISBN: 9780646835303

  • Space Practising Tool Number Four

    Space Practising Tool Number Four

    Space practising tool number four is one of five space practising tools the artist made to explore the object nature of space in the book Space Practising Tools.

    Space Practising Tools

    by Gail Hastings
    with an introduction by Jon Roffe

    Edition: 300
    Format: Hardcover
    Pages: 128; xii, 116
    Dimensions: 240h x 170w mm
    Weight: 562 g
    Publication date: 26 Mar 2021
    Publisher: Pigment Publisher
    Place: Melbourne
    Language: English
    ISBN: 9780646835303

  • Space Practising Tool Number Three

    Space Practising Tool Number Three

    Space practising tool number three is one of five space practising tools the artist made to explore the object nature of space in the book Space Practising Tools.

    Space Practising Tools

    by Gail Hastings
    with an introduction by Jon Roffe

    Edition: 300
    Format: Hardcover
    Pages: 128; xii, 116
    Dimensions: 240h x 170w mm
    Weight: 562 g
    Publication date: 26 Mar 2021
    Publisher: Pigment Publisher
    Place: Melbourne
    Language: English
    ISBN: 9780646835303

  • Space Practising Tool Number Two

    Space Practising Tool Number Two

    Space practising tool number two is one of five space practising tools the artist made to explore the object nature of space in the book Space Practising Tools.

    Space Practising Tools

    by Gail Hastings
    with an introduction by Jon Roffe

    Edition: 300
    Format: Hardcover
    Pages: 128; xii, 116
    Dimensions: 240h x 170w mm
    Weight: 562 g
    Publication date: 26 Mar 2021
    Publisher: Pigment Publisher
    Place: Melbourne
    Language: English
    ISBN: 9780646835303

  • Circular Painting

    Circular Painting

    – circular painting
    – where they wondered how to reach a room with actual space

  • The distance of doubt

    The distance of doubt

    ENCYCLOPAEDIA OF DOUBT IN ART
    ‘What’s the point of that’, exclaims one of four friends gathered in front of a framed watercolour floor plan that depicts only half the room they are in. Comforted by the unity of communal indignation, the others eagerly launch into their favourite topic: their card-carrying doubt of contemporary art.

    ENCYCLOPAEDIA OF DOUBT IN ART
    At last, the tea tray arrives. The friends sit back with a cup in hand to allow, with each sip, their troubles to ebb and their being to revive—when a silent realignment transpires. For with eyes wide as though previously blind, they now see the floor plan’s other half: so deep, before, was their doubt without cause.

    [floor plan details]
    watercolour floor plan of half the room
    chairs
    table
    Missing book
    rug
    entrance
    stairs
    stares
    Did you see the Missing book on the table?
    Yes. Inside, I’m told, there’s an encyclopaedia of doubt in art worth reading.
    I doubt it.
    I doubt it too.
    floor plan of the other half of the room
    tea tray
    exit

    Missing
    Four Sculptuations

    by Gail Hastings
    with a foreword by Richard Shiff

    Format: E-book
    Pages: 52; xi, 43
    Dimensions: Viewing device
    Publication date: 26 Apr 2014
    Publisher: Pigment Publisher
    Place: Sydney
    Language: English
    ISBN: 9780646915937

  • Space of a five page plot

    Space of a five page plot

    ENCYCLOPAEDIA OF LOOKING FOR THE PLOT IN ART
    On page one they search the room for figures in the work of art, its characters. Unable to find any they check under a couch that has a Missing book and behind the curtain for ‘hidden’ characters. Still, no one.

    ENCYCLOPAEDIA OF LOOKING FOR THE PLOT IN ART
    On page two they discover the couch has moved. They wonder who could have moved it if there are no characters. Perplexed, they sit on the couch for a while, then decide the answer must be on page three.

    ENCYCLOPAEDIA OF LOOKING FOR THE PLOT IN ART
    On page three both the couch and Missing book have disappeared. Here, they strongly suspect they have missed something integral in the work of art — its plot, for instance.

    ENCYCLOPAEDIA OF LOOKING FOR THE PLOT IN ART
    On page four they dread, without finding the plot, they will never reach the conclusion. They decide to backtrack through a margin’s passageway to search, again, page one for some clue in the Missing book.

    ENCYCLOPAEDIA OF LOOKING FOR THE PLOT IN ART
    Everything is in place as before, except the Missing book. Either the work of art is dodgy or, if reason prevails, this is not page one but page five. Confident in their understanding, they at last see the denouement’s door.

  • Corner caretakers

    Corner caretakers

    ENCYCLOPAEDIA OF TAKING CARE IN ART
    Forgotten, a corner caretaker awaits delivery of the upper left corner of the page.

    ENCYCLOPAEDIA OF TAKING CARE IN ART
    Diligent, a corner caretaker awaits delivery of the upper right corner of the page.

    ENCYCLOPAEDIA OF TAKING CARE IN ART
    Alienated, a corner caretaker awaits delivery of the lower right corner of the page.

    ENCYCLOPAEDIA OF TAKING CARE IN ART
    Steadfast, a corner caretaker awaits delivery of the lower left corner of the page.

    ENCYCLOPAEDIA OF TAKING CARE IN ART
    Upon delivery of their corner, each caretaker finds the door and joins the others in the unity room. Fellowship and good cheer abound as they recognise in each other their duty done.

    ENCYCLOPAEDIA OF TAKING CARE IN ART
    As they depart, their duty complete, they take the space of unity with them. Now a blank page left behind, it awaits the meaning someone might write.

    Missing
    Four Sculptuations

    by Gail Hastings
    with a foreword by Richard Shiff

    Format: E-book
    Pages: 52; xi, 43
    Dimensions: Viewing device
    Publication date: 26 Apr 2014
    Publisher: Pigment Publisher
    Place: Sydney
    Language: English
    ISBN: 9780646915937

  • 100% intersubjective space: caput mortum violet

    100% intersubjective space: caput mortum violet

    ENCYCLOPAEDIA OF 100% INTERSUBJECTIVE SPACE MADE OF 9.75% STARES AT 90.25% COLOUR

    Four strangers live in four corner rooms. Unbeknownst to each other, each shares a Caput-Mortum-Violet, Crimson-Lake, Scheveningen-Yellow-Light and Vandyke Brown watercolour in a black frame. They are unknown to each other, yet not alone.

    • 42% of an old trunk the colour of Caput-Mortum-Violet is filled with chocolate bars that A gives to visitors when they leave
    • 15% incomplete, a garment B plans one day to finish sewing is folded inside a sewing machine case the colour of Crimson-Lake
    • 10.5% of the images still unseen, C is disinclined to put an art catalogue the colour of Scheveningen-Yellow-Light away and so leaves it on the table
    • 22.75% full of tea leaves the colour of Vandyke-Brown, D opens the jar and scoops the tea sparingly to avoid going to the shops too soon
  • Encyclopaedia of an Idea

    Encyclopaedia of an Idea

    ENCYCLOPAEDIA OF WRITING DOWN AN IDEA
    Where best to write down an idea unhindered?
    [page 2]

    ENCYCLOPAEDIA OF WRITING DOWN AN IDEA
    In 1A the idea might appear too sure of itself.
    [page 3]

    ENCYCLOPAEDIA OF WRITING DOWN AN IDEA
    In 2B the idea might appear too middle of the range.
    [page 4]

    ENCYCLOPAEDIA OF WRITING DOWN AN IDEA
    In 3C the idea might appear without confidence.
    [page 5]

    ENCYCLOPAEDIA OF WRITING DOWN AN IDEA
    Or, in 4D: off the page — not an idea, but a reality.

  • truth works: orange and red

    truth works: orange and red

  • truth works: turquoise and green

    truth works: turquoise and green

  • truth works: brown and black

  • habit’s pattern: orange and black

    habit’s pattern: orange and black

    Text within the framed watercolour reads:

    • horizontal ledge with orange and black striped pattern
    •  double sided library shelves
    • reading couches
    •  books on the habit of patterns
    •  library complaints box on top of plinth, into which notes are cast expressing grievance with the library’s failure to find the orange and black pattern’s missing part
  • habit’s pattern: red and grey

    habit’s pattern: red and grey

    The text details within the framed watercolour read:

    • horizontal ledge with red and grey striped pattern;
    • where two conversed for three hours on how best to find the missing part of the ledge’s red and grey pattern;
    • red rug
    • grey rug
  • truth works: blue and grey

    truth works: blue and grey

  • difficult art decisions: wall seven

    difficult art decisions: wall seven

    <div title="Page 1"> <div class="page" title="Page 1"> <div class="section"> <div class="layoutArea"> <div class="column"> <p><strong>ENCYCLOPAEDIA OF DIFFICULT ART DECISIONS</strong><br /> We, the exhibition team, met at the assigned trolley (covered, incidentally, by a patchy yellow art-protector not only not up to museum standards but only partially protecting the trolley from works of art), and stumbled across an impediment: ‘wall seven’ is erroneously 300mm high, not the intended 300cm.</p> </div> </div> </div> </div> <p>Although painted yellow, as planned, its blue square, where we are to hang the blue painting (with a yellow square), is also mistakenly scaled. Now we are not authorities on art, but we fear that if we leave the painting next to the wall, viewers will waste time reading an artistic intention into the wall thinking it is a work of art or, vice versa, walk past the work of art thinking it is just a wall. Unable to decide where to place the painting to avoid this confusion, we have filed this ‘Difficult Art Decision’ report to request an art authority to solve the situation. The work of art will remain on the trolley from this time [time written] and day [day written] until such moment as the final decision is made.</p> </div>
  • primed canvas (charcoal grey)

    primed canvas (charcoal grey)

    ENCYCLOPAEDIA OF A WORK OF ART YET TO BE
    ‘Five secret intelligence officers are presently meeting to finalise what will be painted on the preceding, primed canvas; whereupon it will be painted and the work of art completed.’

    – while on the way to the meeting, this is where Secret Intelligence Officer 4 had looked into the magnifying lens of a carry-bag periscope, enabling a view behind so as to check no one was following   x

    – where Officer 2 had felt pressured to reach a decision at the approaching meeting  x

    – where Officer 3 had despaired it would not be agreed at the meeting that the canvas be painted a charcoal grey    x

    – where Officer 1 had hoped no one had blown the cover of Operation Vacant Space by attending this clandestine meeting  x

    – where Officer 5 stood to look at the primed canvas

    – entrance to the Vacant Space

  • primed canvas (Naples yellow)

    primed canvas (Naples yellow)

    ENCYLCOPAEDIA OF A WORK OF ART YET TO BE
    Five secret intelligence officers are presently meeting to finalise what will be painted on the preceding, primed canvas; whereupon it will be painted and the work of art completed.

    [floor plan headings]
    – while on the way to the meeting, this is where Secret Intelligence Officer 4 had checked a wristwatch monitor, connected to a minuscule back-collar camera, to make sure no one was following   
    – where Officer 2 had reread the secret-writing to recheck the time of the approaching meeting 
    – where Officer 3 had felt a tantrum mounting if it were not agreed at the meeting that the canvas be painted Naples yellow   
    – where Officer 1 had flinched at the degree of covert information at risk in Operation Vacant Space if the wrong decision is made at this meeting 
    – where Officer 5 stood to look at the primed canvas
    – entrance to the Vacant Space

  • Untitled discussion no. 3

    Untitled discussion no. 3

    Encyclopaedia of Interference in Art
    After installing and taking a second look at this artwork, our attention was distracted by an object left behind on a table near-by. Fearful that this object might be mistaken as a part of the artwork, for it was made of the same material, we discussed whether it should be removed when somehow

    [floor plan]

    the discussion turned. Rather than distracting our attention from the artwork, we now saw that this object of interference focussed our attention. We therefore concluded not to remove the object and henceforth assume, on this day [Friday 6 Feb 1998] and hour [4:12 pm] , all responsibility for its remaining.

    ~page 6~

    [floor plan details – NB: The complex comprises three areas without an entrance to the overall complex. The central area is an indoor swimming pool through which one can enter and leave areas on either side]
    – chairs
    ===
    – indoor swimming pool
    ===
    – tables

  • Untitled discussion no. 2

    Untitled discussion no. 2

    Exhibition invitation, reception, Friday 6 March 1998, Anthony Meier Fine Arts

    Encyclopaedia of Missing Art
    Rumour spread that one of the four horizontal, orange rectangles from the artwork untitled discussions no. 2 had ‘gone missing’. The Art Authorities met in front of the artwork to discuss whether this was so. One Authority proposed that the artwork had always consisted of a component that was ‘missing’ by being the ‘negative’ or ‘missing space’ of one of the other orange rectangles. ‘But this could not be’, argued another, for I distinctly

    [floor plan]

    remember passing by the other day and seeing four “positive” rectangles”. ‘But memory can play a funny trick in giving an object a certain “presence”, even though it might be missing.’ ‘What rot’, exclaimed another. We are Art Authorities, not Psychoanalysts. What sort of corner are we getting into?’ But before discussing the missing rectangle further, they commenced this report by noting here the date [Friday, 29 January 1998] and time 11.52 pm .

    ~page 2~

    [floor plan details]
    – window [opposite entrance]
    – corner b: acute
    – shelves of books that list all the missing corners
    – corner e: missing
    – corner a: obtuse
    – shelves of books that list missing books
    – discussion area
    – chairs

  • Untitled discussion no. 1

    Untitled discussion no. 1

    Encyclopaedia of Art Historical Documents
    Entrusted to me was the task of carrying the important Art Document below, to a meeting of today’s most qualified art historians gathered to discuss how ‘Art changes Life’. I put the document

    [art document]
    figure 1: The important Art Document that was to be presented at the discussion on how ‘Art changes Life’

    into my executive satchel (purple front with a blue rectangle) that you can see on the coffee table over there, and promptly made my way. After signing the day [Friday 6 Feb 1998] and hour
    [4:14 pm]
    in the registry,

    ~page 1~

    Encyclopaedia of Art Historical Documents
    I entered the meeting and took the Art Document out from my satchel when suddenly a deafening silence fell. Everyone at the meeting went quiet as they observed that my satchel had changed

    [floor plan]
    figure 2: The important Art Document now changed

    the Art Document, that the blue rectangle on my satchel was now on the Art Document too, and that it was perhaps not ‘art that changed life’, but more intriguingly, ‘life that changed art’.

    ~page 2~

    [floor plan details]
    – registration desk for noting the times that a room falls silent
    – chairs

    ===
    – coffee table for executive satchels
    – registration desk for noting the parts of documents that have gone missing

  • art opinion no. 635

    art opinion no. 635

    Encyclopaedia of an Art Opinion
    An authority on art gave me the job, one day, of completing the artwork ‘art opinion no. 635’. All I had to do was line up the chair with one curved corner with the painting with one curved corner found in this room on the adjacent floor plan. ‘Simple’, I’d thought, but simple indeed. Oh I tried, but hopelessly failed. I followed my instructions and took the stairs to this room, but not once in twelve times did they lead me to its entrance. Finally, feeling too fatigued to continue, I completed the following art opinion job report.


    ART OPINION JOB REPORT
    ART OPINION NO. 635
    IN YOUR OPINION, HAS THIS ARTWORK BEEN COMPLETED? YES / NO [circled]
    ANY COMMENTS? It was impossible to find the entrance to ‘this room’.
    (cont’d) I believe someone has made a mistake with the stairs.
    TIME 2:28 pm
    AND DATE Wednesday, 8 October 1997

    Then, after filing it away, a most alarming number of people began to claim that they have been to this room and have seen ‘art opinion no. 635’ completed. ‘Impossible’ replied the Art Authorities ‘our art opinion job reports are never wrong’. Yet no matter the degree of authority invested in my opinion, people have, most oddly enough, continued to disagree.

    page 635

  • a silent cube

    a silent cube

    Individually stamped exhibition announcement card that Galerie Köstring/Maier, München
    sent through the post to regular gallery visitors

    Encyclopaedia of Silent Art

    To make this work of silent art you must first enter a room in which there is a telephone. Wait for the telephone to ring, answer it and note the date and time of the ensuing conversation. _______ at _____ am/pm. Wait for a second call and again note the date and time. _______  at  _____ am/pm. Now calculate the length of time that passed between these two conversations by making every 60 minutes equal 3 centimetres: ______hrs. _______min. = _______cm

    Take out this length of silence from the yellow rectangle above and place it on a white rectangle. You have now completed this work of silent art.

    ~ page 44 ~

    Announcement card:

    The Bureau wishes to advise that silence can be saved and turned into substance by following these simple directions. Enter a room in which there is a telephone, wait for it to ring, answer it and note the date and time of the conversation: _______ at _____ am/pm. Now wait again for a second conversation: _______  at  _____ am/pm. Calculate the length (substance) of time (silence) that passed between these two conversations by making every 60 minutes equal 3 centimetres: _______min. = _______cm. Results are to be recorded in the ‘Encyclopaedia of Silent Art’ at the room for two corners and a cube. Thank you.

    Stamped by the Bureau of Calculating Silence © 1965

    ————————————————

  • a silent corner 2

    a silent corner 2

    Individually stamped exhibition announcement card that Galerie Köstring/Maier, München
    sent through the post to regular gallery visitors

    Encyclopaedia of Silent Art
    To make this work of silent art you must first enter a room in which there is a telephone. Wait for the telephone to ring, answer it and note the date and time of the ensuing conversation. _______ at _____ am/pm. Wait for a second call and again note the date and time. _______  at  _____ am/pm. Now calculate the length of time that passed between these two conversations by making every 60 minutes equal 3 centimetres: ______hrs. _______min. = _______cm

    Take out this length of silence from the red rectangle above and place it on the adjoining corner wall. You have now completed this work of silent art.

    ~ page 565 ~

    Announcement card:
    The Bureau wishes to advise that silence can be saved and turned into substance by following these simple directions. Enter a room in which there is a telephone, wait for it to ring, answer it and note the date and time of the conversation: _______ at _____ am/pm. Now wait again for a second conversation: _______  at  _____ am/pm. Calculate the length (substance) of time (silence) that passed between these two conversations by making every 60 minutes equal 3 centimetres: _______min. = _______cm. Results are to be recorded in the ‘Encyclopaedia of Silent Art’ at the room for two corners and a cube. Thank you.

    Stamped by the Bureau of Calculating Silence © 1965

  • a silent corner

    a silent corner

    Individually stamped exhibition announcement card that Galerie Köstring/Maier, München
    sent through the post to regular gallery visitors

    Encyclopaedia of Silent Art
    To make this work of silent art you must first enter a room in which there is a telephone. Wait for the telephone to ring, answer it and note the date and time of the ensuing conversation _______ at _____ am/pm. Wait for a second call and again note the date and time. _______  at  _____ am/pm. Now calculate the length of time that passed between these two conversations by making every 60 minutes equal 3 centimetres: ______hrs. _______min. = _______cm

    Take out this length of silence from the orange rectangle above and place it on the adjoining corner wall. You have now completed this work of silent art.

    ~ page 212 ~

    Announcement card [posted as the exhibition invitation]:
    The Bureau wishes to advise that silence can be saved and turned into substance by following these simple directions. Enter a room in which there is a telephone, wait for it to ring, answer it and note the date and time of the conversation: _______ at _____ am/pm. Now wait again for a second conversation: _______  at  _____ am/pm. Calculate the length (substance) of time (silence) that passed between these two conversations by making every 60 minutes equal 3 centimetres: _______min. = _______cm. Results are to be recorded in the ‘Encyclopaedia of Silent Art’ at the room for two corners and a cube. Thank you.

    Stamped by the Bureau of Calculating Silence © 1965

  • Encyclopaedia of forgetfulness

    Encyclopaedia of forgetfulness

  • Encyclopaedia of Straight Lines

    Encyclopaedia of Straight Lines

    Encyclopaedia of Straight Lines
    page (straight line ———— submitted on) Sat. 30th Sept at 12.29pm

    • table for recording in the Encyclopaedia the submission time of each straight line
    • table for qualifying the straightness of each straight line
    • table for grouping the straight lines into shared histories for storage
    • table for teapots, teacups, tea things and biscuits
    • table for dipping each straight line into preservation liquid
    • room for receiving straight lines
    • room for the storage of straight lines
    • shelves of the Encyclopaedia of Straight Lines
    • shelves for straight lines
  • Movie Set, The New Exhibition Centre, Southbank, Melbourne

    Movie Set, The New Exhibition Centre, Southbank, Melbourne

    <p><strong>Encyclopaedia of a Movie Set<br /> </strong>I see, you’re just visiting Melbourne, a tourist, I understand, you’ve come to see where all the movies are made. Such passionate ones too don’t you think? We Melburnians little fear the struggles of love. Well, what have we got before us, ah yes, the Movie Set called the <em>New Exhibition Centre</em>. Yes yes yes, such a big controversy, but do you know how it began? Ah, well, not the Actors but the Architects. You see, the Directors</p> <p>page 5</p> <p><strong>Encyclopaedia of a Movie Set<br /> </strong>instructed the first Architect to base the Movie Set on the measurements of ‘guilt’. She agreed, of course, but little did they suspect that secretly she would base the measurements on, instead, ‘tenderness’. When the first stages of the Set were built the Directors realised, oooh, and did gloom besiege our hearts that day. The Architect was sacked, told that what she’d built ‘was <em>not</em> architecture’.  The second Architect assigned was not</p> <p>page 10</p> <p><strong>Encyclopaedia of a Movie Set<br /> </strong>informed of these misfortunes, nor that the Set was so far based on ‘tenderness’. Needing the prestige from such a job, this Architect agreed emphatically that the Movie Set would speak of <em>guilt</em> and <em>guilt</em> alone. However, her job was beyond difficulty as you can well imagine; for how does one build ‘guilt’ ion ‘tenderness’? Yes it does occur I’m well aware, but after many restless nights, feeling troubled, still unaware of the mea-</p> <p>page 15</p> <p><strong>Encyclopaedia of a Movie Set<br /> </strong>sured ‘tenderness’, she decided that her only recourse was to base the Movie Set’s measurements on the ‘overwhelming sensations of tickles’. This was soon extremely obvious, as was the wrath reeked by the Directors. And so a third Architect was employed. She, too, disobeyed – but hers became a final sentence – for the Directors, wearied by perpetual disobedience, had little strength to refrain. And so before us stands the Movie</p> <p>page 20</p> <p><strong>Encyclopaedia of a Movie Set<br /> </strong>See, its measurements based on ‘tenderness’, the ‘overwhelming sensations of tickles’ and then, finally, the ‘intimate whispers beneath the dark of midnight’. Oh, yes, we Melburnians know the struggles of love.</p> <p>page 25</p> <p>—————</p> <p>[floorplan details]</p> <p><em>room for tenderness</em></p> <p><em>room for tickles</em></p> <p><em>room for the touch of a whisper</em></p> <p> fig. 5 – library: The New Exhibition Centre (once to have been a Museum), Southbank, Melbourne</p> <p> </p>
  • Spatial Specifications, Fitzroy Street St. Kilda, Melbourne

    Spatial Specifications, Fitzroy Street St. Kilda, Melbourne

    <p><strong>Encyclopaedia of Spatial Specifications<br /> </strong>Arriving late at the cafe, apologetically approaching him waiting, she sees the camera resting on the table. They launch into a familiar patter of conversation: she forgets to ask about the camera.</p> <p>page 5</p> <p>——————</p> <p><strong>Encyclopaedia of Spatial Specifications<br /> </strong>Chatter, ground coffee, taped music – a piano – ascending descending staircases somewhere else, tables dragged along the bare concrete floor, ‘excuse me, will you be using this chair’, bottles of gold and blackened wine in rows along the white walls, glistening.</p> <p>page 5</p> <p>——————</p> <p><strong>Encyclopaedia of Spatial Specifications<br /> </strong>They are talking, he picks up the camera and unannounced, unexplained, he takes a photograph. He does this once, twice, many times; noting down the time of each in a pad.</p> <p>page 5</p> <p>——————</p> <p><strong>Encyclopaedia of Spatial Specifications<br /> </strong>She is bemused, but refrains from asking – he from telling.</p> <p>page 5</p> <p> </p> <p>——————</p> <p><strong>Encyclopaedia of Spatial Specifications<br /> </strong>Time to depart, she refrains no longer, begins to ask – but falters: ceased by thoughts whispering ‘hopefully’. It was whenever she’d said ‘hopefully’ amidst speaking that he’d taken a photograph.</p> <p>He says: ‘Sorry, what did you say’. She says: ‘Oh, I’ll tell you tomorrow’. They pay their bill and leave.</p> <p>——————</p> <p> fig. 5 – library: Fitzroy Street St. Kilda, Melbourne</p> <p>[floorplan details]</p> <p><em>rooms for viewing the photographed spaces of spoken words beginning with … b. c. d. e. f. , i. j. k. l. m. o. p. q. r. s. u. v. w. x. y.</em></p> <p><em>rooms in which art indexed the time and place of spoken words beginning with … b. c. d. e. f. , i. j. k. l. m. o. p. q. r. s. u. v. w. x. y.</em></p> <p><em>loans desk</em></p> <p> </p> <p> </p>
  • Movie Directions for Secret Agents

    Movie Directions for Secret Agents

    <p><strong>Encyclopaedia of Movie Directions for Secret Agents<br /> </strong>TO THE MOTION PICTURE DIRECTOR OF THE <em>AUSTRALIA SECRET INTELLIGENCE SERVICE</em> – A REPORT FORM ACTOR: AGENT PURPLE<br /> At time 19:74 precisely, she folded the Governmental document <em>Memorandum of Understanding</em> into her handbag. My surveil-<br /> ~ page 1974 ~</p> <p><strong>Encyclopaedia of Movie Directions for Secret Agents<br /> </strong>lance of her remained undetected as she proceeded towards the assigned meeting place without hesitation. When passing St. Leonards Ave at 19:73pm, she looked down the street and waved to somebody. Upon immediately inspecting the street so to ascertain to whom<br /> ~ page 1973 ~</p> <p><strong>Encyclopaedia of Movie Directions for Secret Agents<br /> </strong>she waved, I discovered that in her view, she waved to ‘somebody’, but in my view, to ‘nobody’. This, dear Director, creates frailty in the plot; an incongruous reality where exists two versions at the same time: hers and mine. I report so to alert you to this lack of<br /> ~ page 1972 ~</p> <p><strong>Encyclopaedia of Movie Directions for Secret Agents<br /> </strong>credibility; a lack likely to be scoffed at by the audience.<br /> We, the cast, await, at this moment in the movie, for your corrected version before continuing. It is at present 19:71pm.<br /> ~ page 1971 ~</p> <p>————</p> <p>[details – the same in each]<br /> <em>signal room no. 1<br /> </em>fig 4 – library: Memorandum of Understanding, Australia</p>
  • Movie Movements, Secret Intelligence, Canberra

    Movie Movements, Secret Intelligence, Canberra

    <p><strong>Encyclopaedia of Movie Movements<br /> </strong>Now, remember, the camera will follow your every action, panning from the moment you step through the left door.</p> <p>page 3</p> <p><strong>Encyclopaedia of Movie Movements </strong></p> <p>Cautiously, make your way to the left passage, opening the door while looking over your shoulder with anticipation and fear. After five steps along the passage, stop, listen for footsteps, lay flat against the wall. Nothing happens, all is clear.</p> <p>page 9</p> <p><strong>Encyclopaedia of Movie Movements </strong></p> <p>Proceed toward the seated woman who is keeping surveillance over the man reading in chair b. Whisper the message to her. Depart, striding with an air of frantic relief, through the remainder of space.</p> <p>page 27</p> <p>————</p> <p>[details]</p> <p> fig. 3 – library: Australian Secret Intelligence Service, Canberra</p>
  • Movie Plots, public sculpture ‘Vault’

    Movie Plots, public sculpture ‘Vault’

    Encyclopaedia of Movie Plots
    Closer, just a little closer so that I might whisper to you a secret; a secret about a movie plot banished from the City Square. A plot tenuously placed at the juncture of geometric planes taut by touching while falling apart. Industrial geometry lifted from the City’s grid, made tragic. At 5:00pm, amidst these tumbled rays of

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    steel, there occurred a passage to a room. Lovers, the loveless and the disappointed would gather in this room; billowing it with speech as sensuous as the juncture of planes. They struggled as their speech sought other paths through the city: paths which render the complexity of human actions. Paths of discussion

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    effused with memory, where contradictions aren’t shunned. Paths which breath: junctures that form while falling apart. The Council condemned this struggle as not ‘civic’ enough, and, you perhaps know the rest of the movie. You perhaps don’t know that somebody stole one night, after 5:00pm, and installed a

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    plaque in the City Square. It reads: for lovers, the loveless and the disappointed: a whisper. The council put up a reward for information regarding the theft; yet the night was never returned. As for the plaque, unbeknownst to  council, it remains: a memory; a whisper.

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    [Deatails]
    – fig. 5:00pm — library: public sculpture ‘Vault’, 1980, by Ron Robertson-Swann

    Watercolour 1
    – shelves full of tumbled books

  • flower power 1960s/1990s

    flower power 1960s/1990s

    A complex of seven rooms in which six of the rooms circle a central seventh room. Entry to any of the six outer rooms, even from one to another, is through the seventh central room. The only openings are doors onto the central room. There are no windows through which to look outside the spatial complex.