connected (installation view)

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connected flier

Connected was a collaborative and playful project between Lucy Quinn, Bettina Hill and Benjamin Forster, where each work of art evolved into a growing string of others. The results were exhibited at the ANU School of Art Foyer Gallery in Feb 2010.

This is a selection of images from the final installation of Connected. Each work was positioned in relation to the work that influenced its own construction. Small notes in pencil on the wall of the gallery provided further insight into the relationships between the three artist’s work. Connected was reviewed by Canberra-based critic and curator Yolande Norris. Read her reflections here.

relevant [ Connected ]

In search of where others find meaning, 2011

process: Searching through the catacombs of text for any book that could possibly be meaningful. I flip through the pages of random books, tending towards anything that shows signs of wear and tear. Using only the traces left by other travelers as an indication of value, I slowly gather a collection of potentially meaningful books. I take them back to my desk. Sift through the pages and digitally scan any containing marks left by human hands. These are marks of distinction – this is all meaningful. Still cloudy, I try distilling this meaning by erasing all the irrelevant symbols. Leaving only those precious words that are underlined or circled by another’s hand. This is important. There is something here. This is meaning.

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Notes on the Particulates, 2012

In ‘Notes on the Particulates’ (2012) an old dot-matrix printer has been hacked to print tiny constellations of text on a loop of paper. This generates an automatic essay and demonstrates an ill-formed and unrelenting struggle to understand language through language, in language . All my machine-based works are thought experiments. Notes on the Particulates explores the role of accumulation in the formation of meaning. Starting as an empty loop of paper, the printer endlessly re-distributes fragments of Gilles Deleuze’s writings on language from Difference and Repetition and The Logic of Sense. At first fragmentary, as the text builds up it shifts into legibility. As time progresses this legibility is superseded by nonsense, which is in turn transformed into visual forms, reminiscent of clouds. Eventually, the pulverised and ink soaked paper gives way to its frail materiality: The paper jams – breaks – halts – spasms… Silence. Repeat. The ideal perfection of machines and words is betrayed.

Primavera 2012, Museum of Contemporary Art Australia
Image courtesy Museum of Contemporary Art Australia
Photography: Robbie Karmel

Working Systems (diagrams)

Three working diagrams that underpin the working process of this collaborative project.

1. A M D

An illustration of the in-flux relationships between architecture, movement and drawing, operating in both constraining and generating modes.

2. Constraining to Generating

In the initial point of occurrence Architecture, Drawing and Movement are each present in a constrained relationship (each one is equivalent to the others). As information is lifted from this initial point the system moves from a constrained relationship to a generative relationship. The generative capacity of the system increases as detail is reduced.

3. A / B

Pay attention to the areas of overlap between two identities. There is a slippery futility to naming and an impossibility to clearly defined boundaries. Our neat labels will always shift and change gradually. Where are the edges of our own body?

This is an ongoing collaboration between Benjamin Forster and contemporary dancer Rhiannon Newton, this project is a series of experiments investigating the relationships between architecture, drawing and movement. This project is currently in development.

Archival information. Redundancy. 2011

Drawing Machine (Output = Screen)

Film demonstrating the general progression of the screen-based version of Benjamin Forster’s Drawing Machine.

“…a digital environment is an abstract projection supported and sustained by its capacity to propagate the illusion (or call it a working model) of immaterial behavior: identification without ambiguity, transmission without loss, repetition without originality.”

— Kirschenbaum, Mechanisms: New Media and the Forensic Imagination (2008)

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Installation View

A one day exhibition as part of CTRL-Z: Writing in the Age of New Media at the Fremantle Arts Centre in late 2011. This body of work is a continuation and development of Benjamin Forster’s solo exhibition )(.

The catalogue essay by Robert Briggs and Niall Lucy (Curtin University) is available here.

Read an extended essay in issue two of the CTRL-Z Journal here.

( sms selection )

A selection of SMS’s sent from Short Message Service, 2012.

Attempting to find the intersections between multiple market places, 2011

Installed as part of the 2011 Joondalup Invitation Art Award, this work repurposed a receipt printer and electronic door chime. As the shoppers moved through the space, their passing triggered the receipt printer to vomit a unique star shape onto the floor. As the exhibition progressed the waste built up – at first innocuous, then a cordoned off trip hazard, and finally shutdown.

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