ARTLAB TIMELINE

The Artlab was completed in May 2012. (See overview video here)

LAB 1The Urmadic City, Brisbane, mid - late 2010

LAB 2The Bat Human Project, Sydney, November 2010

LAB 3Remnant Breath as part of EcoSapienz, New Plymouth, New Zealand – 13-30 January 2011, optional:

LAB 4Refocus with Tony Fry, @ Brisbane / Ravenbourne, Qld, Feb 24-25th 2011 (1.5 days)
[Satellite Event 1] Bat/Human Problem Public Event, Sydney, April 29th, 2011
[Satellite Event 2] Water Culture Lab, Noosa, Qld, [Satellite Event] as part of the 'Floating Land Festival organised by Leah Barclay. The event will include a short symposium/workshop on the last weekend with optional collaborations during the ten-day festival. 27th May – June 6th 2011.
LAB 5: South India (Cochin and the backwaters, Kerala), Nov 2011

LAB 6: Artlab debrief – Feb 2011, Brisbane.

The discoveries through these labs are intended to be translated into each member’s discipline/practice evolving into a methodology that is both increasingly sensitive to intangible cultural heritage and that forges new processes that seek to target the roots of our collective ecological crisis.

Australia Council Funded Artlabs are substantial, long-term awards of high esteem awarded through a highly competitive process They are funded to allow established artist researchers the opportunity to re-new, re-think and reflect upon their practices – as a means for establishing future approaches, new practices and directions. Whilst outcomes in terms of artworks are possible, experimentation with process is similarly valued. By often avoiding length production components Artlabs offer a rare opportunity to work with less rigidly defined goals that would be typical of many other production-led projects. Consequently the Australia Council state them as an opportunity to engage in a ‘very high degree of risk taking’ to ‘experiment with radical creative processes and be flexible to outcomes that cannot be predicted in advance’.

This open and experimental intention means that the team cannot always maintain a distinct structure at each stage or set unequivocal long-term goals as might be the case in other projects – or indeed modalities of research that are much less ‘practice-led’ - because to do so would invoke a different type of process and outcome possibility. Furthermore the project requires reflective ‘learn as it goes’, this means the composition of the team of artists’ may change in response to the brief and changing priorities.