Tag Archives: Photography

Self-portrait with A Lady From 上海 Shanghai in Burwood Chinatown

Artist: Tatiana Pentes

Plasma display 1920 x 1080 pixels at 1080 dpi
Digital print 1920 x 1080 in a vintage gold bamboo frame

Highly Commended Award Burwood Art Prize 2022
View online 2022 Burwood Art Prize Catalogue
Watch ceremony https://youtu.be/qRXINGtz9gI

Exhibition

Friday 25 – 30 March 2022, Burwood Library and Community Hub (Level 1)
2 Conder St Burwood, Sydney, Australia.

Artwork


Artist Statement


“Self-portrait with A Lady From Shanghai in Burwood Chinatown” is a digital homage to my émigré (refugee) grandmother Xenia Vladimirovna from Shanghai  1930s. A contemporary self-portrait (Tatiana) collaged with a vintage portrait of Xenia by Josepho Schick in La Concession Française de Changhai juxtaposed with a classic Shanghai Calendar Girl poster pinup. Xenia’s ghostly image haunts the trompe-l’œil wall in Burwood Chinatown, outside an imaginary Paramount ballroom 上海百樂門 Shanghai, and oriental lanterns that light up the modern alleyways, serving traditional Chinese Street Food. An old Shanghai Seagull camera floating over the electric neon reflections illuminates rain.”

Coquette: Shànghǎi 上海 : Grandmother

a vintage portrait of Xenia by photographer Josepho Schick and a classic Shanghai Calendar Girl poster pinup

TATIANA PENTES


Further reading
Coquette: Shànghǎi 上海 : Grandmother
https://strangeblackbox.net/coquette-shanghai-grandmother


Burwood Art Prize 2022 Judges:

Danella Bennett
Manager Strategic Projects, Public Art
Create NSW, Department of Premier and Cabinet

Amrit Gill
Artistic Director/CEO
4A Centre for Contemporary Asian Art

Louise Zhang
Artist – a Chinese-Australian multidisciplinary artist


Artist Tatiana Pentes digital painting Self-portrait with A Lady From 上海 Shanghai in Burwood Chinatown won Highly Commended Burwood Art Council Prize 2022
Xenia Vladimirovna Shanghai French Concession 1936
Artist Tatiana Pentes digital painting Self-portrait with A Lady From 上海 Shanghai in Burwood Chinatown won Highly Commended Burwood Art Council Prize 2022
Digital print special thanks The Print Lab National Art School (NAS)

an imaginary Paramount ballroom 上海百樂門 

TATIANA PENTES
Artist Tatiana Pentes digital painting Self-portrait with A Lady From 上海 Shanghai in Burwood Chinatown won Highly Commended Burwood Art Council Prize 2022

“A digital homage to my Russe émigré grandmother Xenia Vladimirovna from Shanghai 上海 1930s.”

Tatiana Pentes

Scenes From A Shanghai Hotel (Film)

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PO Box 78
Glebe, Sydney, NSW, 2037, AUSTRALIA

Scenes From A Shanghai Hotel: cabaret neon

Image from SCENES FROM A SHANGHAI HOTEL
An experimental film by Geoffrey Weary. Production Company: Strange Cities Productions
Director/Producer: Geoffrey Weary
Produced in association with Screen Australia (AFC)
Cast: Tatiana Pentes, Rose Tang

SCENES FROM A SHANGHAI HOTEL
An experimental film by Geoffrey Weary

TIME WAS…….
Geoffrey Weary 


SCA Galleries
Sydney College of the Arts
University of Sydney, AUSTRALIA


PORTRAITS 

Production Company: Strange Cities Productions
Director/Producer: Geoffrey Weary
Produced in association with Screen Australia (AFC)

Cast: Tatiana Pentes, Leakhena Sy, Rose Tang

PORTRAITS is an experimental digital work that explores three contrasting experiences of war and conflict in the middle and late 20th century. A woman living in Shanghai is expelled from China after the Communist Revolution in 1949. The ghosts of the Cold War appear and disappear in the crumbling ruins of the Berlin Wall in 1990. A young woman suffers a crisis of identity around the circumstances of her birth at the end of the war in Cambodia in 1978


SCENES FROM A SHANGHAI HOTEL

An experimental film by Geoffrey Weary

A Russian woman living in Shanghai is expelled from China after the Communist Revolution in 1949. Her story begins in a hotel room in Shanghai and ends on a suburban street in Sydney, Australia. Performative, fictional, and documentary elements are blended into a work that is suggestive and open to multiple readings. Extensive use of film leader and scratchy film surfaces add to the sense that what we are seeing resembles something that is illusive, dream-like, just beyond grasp…..or is it just a newsreel playing in someone’s head? Cast: Rose Tang and Tatiana Pentes


CAPTIVE

An experimental film by Geoffrey Weary

CAPTIVE explores the themes of repression, confinement and escape. These themes are expressed through the incorporation of grainy VHS footage shot in Berlin at the time of the collapse of the Berlin Wall, hand-held camera sequences shot in a maze-like forest and slices of footage composited out of archival Cold War films. As the real historical Wall crumbles under the blows of street hawkers and souvenir hunters, ghostly specters from the past appear then dissolve back into the scratchy surface of a long forgotten newsreel.

Captive by Geoffrey Weary from Strange Cities Productions on Vimeo.


My Mother Told Me

An experimental film by Geoffrey Weary

A young woman tells the story of her family’s destruction during the war in Cambodia, 1975-1978. Later as a refugee living with her mother in Sydney, Australia she suffers an identity crisis that is linked to the unexplained circumstances of her birth and the mystery of the father that she has never known. Cast: Leakhena Sy

My Mother Told Me by Geoffrey Weary from Strange Cities Productions on Vimeo.
My Mother Told Me

Australia’s audiovisual heritage online Australian Screen http://aso.gov.au/titles/shorts/my-mother-told-me/

Чужие города Strange Cities: A Russian bandleader in Shanghai – Sergei Ermolaeff (Serge Ermoll)

Чужие города Strange Cities: Serge Ermoll Jr. Сергей Ермолаев birth certificate Mother of God, Russian Orthodox Cathederal French Concession, Shanghai, 1944.
Чужие города Strange Cities: Serge Ermoll Jr. Сергей Ермолаев birth certificate Mother of God, Russian Orthodox Cathederal French Concession, Shanghai, 1943, interface image from an interactive work.

This work is the transformation of a chapter my doctoral thesis, UTS, BLACK BOX www.strangecities.net. This interactive paper, an ensemble of image, sound, and textual research emerges from the ChineseBOX passage in BLACK BOX, exploring my hybrid cultural origins through discovery of the Russian jazz music culture from pre-revolutionary Shanghai and the Japanese occupation in China.

An examination of the documents left to me by my grandfather Sergei Lukyanovich Ermolaeff (Serge Ermoll) born 2 June 1908, Harbin Manchuria, reveals a rich insight into the cultural milieu of the Russians in Shanghai, (see V. D. Zhiganov Russians in Shanghai (1936), in particular the Chinese jazz world. Prior to his death, Sergei recorded an historical list of many significant acts (Russian, Chinese, Philippino, Japanese, American etc.) that performed in the nightclubs, cabarets, and ballrooms of quasi-colonial Shanghai.

Like Chinese cinema, Chinese jazz was a hybrid form. “Chinese cinema of the 1930s is believed to be a synthesis of indigenous art and foreign modes of production. (1) This point is best demonstrated by Ma Ning’s influential piece on a famous leftist classic, Street Angel (1937). (2) Ma argues that Street Angel exemplifies the practice of sinification among Chinese leftist filmmakers. During this period, Chinese filmmakers tended to view cinema as a specifically Western invention, yet they also felt compelled to incorporate indigenous forms appropriate for Chinese audiences.”

Yeh Yueh-yu , “Historiography and Sinification: Music in Chinese Cinema of the 1930s”, Cinema Journal, Vol. 41, No. 3 (Spring, 2002), pp. 78-97


SHANGHAI: Eastern Hollywood ?

Serge Ermoll Сергей Ермолаев and His Orchestra, the Astor House 礼查饭店 Hotel Ballroom/ Bandstand with peacock fan half shell and Pathe label collage – Peacock Hall the cities first ballroom, Shanghai, China,1930.

Serge Ermoll and His Music Masters was managed by Dick Hamilton-Mills Vaudeville Entertainments, Shanghai located in Hamilton House and enjoyed residencies at establishments such as the Tower Nightclub in The Cathay Hotel with trio, The Paramount Ballroom (1934-36), Ladlows Casanova, Lido (1936) Astor House Hotel (1930), the big band at Cercle Sportif Français (1938-1943 French Club) and signed with Dick Hamilton for exclusice cabaret the Arcadia club in the French Concession. It is at the Arcadia club (1937) that Sergei met the celebrated crooner, poet and singer/ composer Alexander Vertinsky, during his Shanghai sojourn. The collision produced the immortal A and B side of a record – Чужие города Strange Cities (Chuzie Goroda – music and words by Alexander Vertinsky, Serge Ermoll and Ira Bloch, and Над розовым морем Over The Rosy Sea/ The Pink Sea – (Nad Rosavuim Morem), music and words by Alexander Vertinsky, Serge Ermoll and George Ivanoff, [Registered Copyright Agency USSR & APRA]. Sergei claimed to have played with Whitey Smith’s band at Chiang Kai Chek’s wedding to Mei-Lie Soong, and held a residency at the Majestic Hotel

Strange Black BoxCharlie Chaplin’s sojourn in Shanghai visiting the Paramount Ballroom pictured with Russian jazz orchestra leader Sergei Ermolaeff (Serge Ermoll) c.1936 Paulette Goddard & mother in background.

Strange Black Box
Vertinsky was the originator of black Russian cabaret, where he embodied the figure of a dark Pierrot. His sojourn in Shanghai 1935 – 1943 via Harbin, China, before his return to soviet Russia (USSR) was a fertile ground. Vertinsky published in the Russian journal RUBEZH рубеж News of the frontier, Harbin, Manchuria, 1939, his great poem ‘Shanghai’.

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Чужие города Strange Cities a portrait of Xenia Vladimirovna (Ermolaeff) by Josepho Schick 1935.

This is a portrait of my grandmother Xenia Vladimirovna Ermolaeff. Xenia was a Russian émigré in China. She arrived with her mother Evgenia and sisters in Harbin after the Boshevik revolution in Russia. There are family stories that she met my grandfather Sergei in the Hotel Modern, or was it the Fantasie cabaret, Harbin where she was performing as a singer and dancer, early 1930s. The portrait was taken later in Shanghai by Josepho Schick, a photographic studio that documented many in the Russian émigré community living in Shanghai and Hong Kong. 

In 1996-97 I won a development grant to produce a script Чужие города Strange Cities, from Screen Australia, the Australian Film Commission (AFC). I traveled to Shanghai and Tokyo to conduct research and write an interactive script. In search of Xenia’s Shanghai, I became a voyeur, walking the city, writing and shooting photographs/film with Geoffrey Weary. We stayed in the Peace Fairmont Hotel, the former Cathay Hotel, Room 314, I was searching for traces of the old decadent jazz culture. The Чужие города Strange Cities digital media documentary work, was based on a tune by by Alexander Vertinsky, Serge Ermoll and Ira Bloch, a musical illustration, an imaginary vision of old Shanghai (looking back to motherland Russia – St Petersberg), composed and played in the old cabaret’s of 1930s Shanghai. I had found a vinyl record in Sergei’s music collection and the original musical score.

In 1999 with funding from Screen Australia, the Australian Film Commission (AFC), our team photographed the interior of the Peace Fairmont Hotel, the former Cathay Hotel, interior and architecture. We photographed the sound stage, Level 7, where Serge Ermoll and His Orchestra had played as resident band leader  and many photographs were taken, the golden dragons & pheonix design haunting the interiors. Looking out of the exquisitely ornamented window panes onto the Bund and across to the Pudong district and the oriental Pearl Tower, I imagined James Ballard’s bloody descriptions of the Battle of Shanghai or Battle of Songhu 淞滬會戰 the Japanese war ships in the harbour. A decade later these audiovisual fragments were shaped into a film Scenes From A Shanghai Hotel, 2008.

The interactive work would ultimately be Чужие города Strange Cities , as reviewed in Asiaweek based on the tune composed by Alexander Vertinsky, Ira Bloch and Serge Ermoll. Independent radio broadcaster Eurydice Aroney produced the work and Roi Huberman created the interactive sound design. This song and the lyrics, which spoke of the longing for motherland St Petersberg (Russia), encapsulated my search for origins. Later, another film score composed by the Vertinsky/Ermoll would be the signature tune in the Merchant Ivory Hollywood classic The White Countess, 2005. The strange music Serge played, a mix of Russian cabaret, Chinese pop, and American jazz, I would later understand to be the treasured hybrid genre of trans-pacific contemporary music, the renaissance of which is making many a million.(1) and (2) Whitey Smith and L. McDermott, I Didn’t Make a Million, Manila, 1956.

In my grandmother Xenia and the portraits she would show me, I saw a cosmopolitan Eastern woman of urban sophistication, paradoxically at odds with the Australian life we were surrounded by in the Sydney suburbs. Her black coiffured hair and gold jewelery provided endless fascination, she looked so different from the ladies at the local RSL. I wanted to be like her.

“The favoured past of shanghai is that of the ‘modern girl’ in a qipao, the feminine city of exquisite Russian refugees, decadent European expatriates, Chinese gangsters and marlene dietrich in Shanghai Express (dir. Joseph von Sternberg, 1932). These are clichéd character sketches of the city, but they resonate powerfully with the international imagination. Dietrich, in the person of Shanghai Lil, continues to produce affect in cinema-goers worldwide as a persona for shanghai…. if cinema has done nothing else for shanghai, it has convinced the world and the city itself that they are, simply and utterly, superior to any others. Shanghai woman is the epitome of modern China, and the image of 1930s is the enduring foundation of the magnetism of shanghai’s identity. [sic] ” (2)

(1) Donald, Stephanie and Gammack, John G. Tourism and the Branded City: Film and Identity on the Pacific Rim, London: Ashgate, 2007. http://www.iis.uts.edu.au/research/Shanghai_Ch6_Extract.pdf(2) Whitey Smith and .L. McDermott, I Didn’t Make a Million, Manila, 1956.

SHANGHAI NOSTALGIA: Old Shanghai Mood Board

Film star & songstress Li Xianglan (李香蘭) a hybrid matrix of Japanese and Chinese modern girl. Born Yamaguchi Yoshiko (山口 淑子) to Japanese parents in Manchuria, Remembered for 1940s film Shanghai Nights 上海の夜), the tune The Evening Primrose 夜來香

MECCA cosmetics corporation has recently launched its
“Shanghai Lil” make-up range, a homage to the high fashion
(haute couture) & make-up used in Von Sternberg’s Shanghai Express (1932).
Image source http://www.meccacosmetica.com.au/

Hui Fei (Anna May Wong) and Marlene Dietrich (Shanghai Lily) in Jospeh Von Sternberg’s SHANGHAI EXPRESS (1932).

Image source MOTO Nostalgia campaign 2004

The Parisian wave (coiffure) and the fur coat over the shoulder evoke the Shanghai gesture, a powerful imaging (and re-imagining) of the Shanghai advertising lady, her urban face charmed the packaging of a plethora of mass products from face powders to cigarettes. She is the face of Motorola’s 2004 mobile phone campaign. These evoke director Josef von Sternberg’s The Shanghai Gesture, 1941 an American film noir starring Gene Tierney, Walter Huston, Victor Mature, and Ona Munson. It is based on a Broadway play of the same name by John Colton.

Reminiscent of a 1930s Shanghai calendar girl, an evocation of the legendary film star Ruan Lingyu (阮玲玉), or perhaps Hollywood’s Orson Welles’ The Lady From Shanghai or Anna May Wong in Josef Von Sternberg’s Shanghai Express (1932) or Street Angel 馬路天使 (1937) starring Shanghai songstress Zhou Xuan (the “golden voice”) and pre-revolutionary film star. Perhaps Motorola’s Shanghai lady resembles the famous Li Xianglan 李香蘭 a hybrid matrix of Japanese and Chinese modern (modeng) girl (!) She was born Yamaguchi Yoshiko 山口 淑子 to Japanese parents in Manchuria, and became a famous Chinese and Japanese film star. She is remembered for 1940s film Shanghai Nights 上海の夜, made by Manchuria Film Productions and singer of the immortal tune The Evening Primrose 夜來香. Nostalgia for decadent old Shanghai and its hybrid brand of quasi-colonial East meets West is articulated in the plethora of contemporary Hollywood, Hong Kong and Chinese films devoted to the Shanghai gesture. Academy Award winning director Ang Lee’s offering Lust Caution (2007), a case in point, Merchant Ivory’s The White Countess (2005), to touch the tip of the iceberg.

The “Motorola advertisement appearing on billboards and in glossy magazines… means ‘MOTO nostalgia’ or ‘MOTO era’, highlighting the Shanghai 1930s feel of the image.” The evocation of the Shanghai lady in this MOTO campaign contains echoes of a contemporary Ballardian neo-landscape, the Bladerunner megalopolis that is Shanghai. This kitsch, pastiched, noirish sophistication is a parody without the humour and articulates Jameson’s postmodern and consummerist project of futuristic nostalgia (Jameson, 1985, p116).

Frederic Jameson, “Postmodernism and Consumerist Society”, in (Ed) Hal Foster, Postmodern Culture, Pluto Press, Great Britain, 1985.

Another confirmation of the currency and commodification of the old Shanghai lady as an aesthetic still capable of marketing a dream about a city that has entered into the postmodern vernacular in “Selling Cosmetics by vending machine ?”, Hong Kong Hustle: Hong Kong nightlife, streetculture, and cool www.hongkonghustle.com/shopping/389/cosmetics-vending-machine/#more-389.

Shanghai! …during the 1930s and 1940s was referred to internationally as the “jazz mecca” (1) of Asia, the Paris of the East, conjuring in the Western imagination a romanticised landscape of coolies, opium, and spies. In reality Shanghai was the pearl of China’s orient, occupying a unique political and cultural place as China’s modern Metropolis. Historically, China had granted concessions to the international powers in Shanghai, British, French, and Americans occupying colonial settlements in the treaty port.

At the level of representation, Shanghai was an appropriated “exotic” location, an orientalist back-drop, and the subject of a plethora of Western novels, literary and cinematic creations. The allure of Shanghai as a mysterious cultural locale wove its way into American Hollywood cinema and popular song as an orientalist fantasy and landscape upon which the West imagination could play out illusions. Shanghai as a colonial International settlement was inhabited and visited by passing Western entrepreneurs, government officials, tourists, traders, and entertainers. American actor Charlie Chaplin’s tour in Shanghai 1936 with actress Paulette Goddard and stay in the Fairmont Peace Hotel (Cathay Hotel) in Shanghai is well documented. He visited the famous Paramount Ballroom where Serge Ermoll and His Orchestra were the resident Russian jazz orchestra. A personal collection of family photographs pictures band leader Ermoll with Chaplin and Goddard. The first exhibition of cinema in China occurred in the Yu Yuan teahouse in Shanghai (2) , eight months after the “…Lumiere brother’s epochal unveiling of their new Cinematographe…December 28, 1895, in the basement of the Grand Cafe in Paris.” (3) The Yu Gardens was a place that I wanted to visit, and would take many photographs.

The black American jazz trumpet player Buck Clayton’s legendary journey to Shanghai was “precipitated by brisk trans-Pacific traffic in record music. Gramaphone records of the music of Duke Ellington and other artists had already reached Chinese shores, spurring a rage for black bands in the city’s nightclubs and dancehalls.”(4) The playing of this black American jazz and its local idiom performed by Russian, Filippino émigré and Chinese bands heralded the circulation of a hybrid trans-Pacific culture. Until very recently, the Chinese academies viewed “yellow music” and its Russian, black American and colonial precursors as not worthy of scholarship. Colonial modernity as articulated in pre-revolutionary Chinese film with its jazzy Chinese popular screen music was understood by its leftist critics as “decadent sound” (mimi zhi yin) (5) and opposed to the modern Republican ideology.

Sergei Ermolaeff (Serge Ermoll) Russian Jazz Orchestra leader on the cover of RUBEZ News of Harbin, Manchuria, 1937

In the contemporary context, this trans-Pacific culture and music is experiencing considerable attention and re-discovery by the Chinese government and international community, as Shanghai overtakes Hong Kong as China’s major trading port city. The cover of the American Time magazine proclaimed “Shanghai! Inside the most happening city in the world” and the accompanying article “Shanghai Swings! The long slumber is over, and Shanghai is grooving to an exuberant beat”(6) Hannah Beech, “Shanghai! Inside the most happening city in the world” and the accompanying article “Shanghai Swings!”, in Time magazine, September 20, 2004. The image of the contemporary Shanghai Bund skyline glittering with electric lights evokes the former glory of Shanghai’s jazz age when the colonial façade of the Bund housed China’s wealthiest banks and trading houses. Indeed it is no mystery a musical metaphor has been woven to paint a picture of the re-emergence of Shanghai as a global destination. The article chronicles the restoration and the re-opening of Shanghai’s most legendary nightclub the Paramount Ballroom. Another Time magazine article “Cholera, Cables, Piano’s”(7), alludes to a Chinese symphony of chaos to evoke the human crisis of colonial modernity in Shanghai. The dischord between images of extreme opulence and wealth, manifest in the architectural spaces of the colonial dance-halls at their zenith: the Paramount Ballroom, Majestic Hotel, the French Club, the Cathay Hotel, Astor House, the Canidrome, Ladlow’s Casa Nova et al – juxtaposed with the struggle of the underclass of Russian émigrés working inside these spaces and the exclusion from these spaces of the desperate and displaced Chinese refugees, reveal the economic, class, and gendered dimensions of Shanghai’s urban metropolis, a cultural entrepot forming the ‘modern’ Chinese man and woman.

In most historical and popular accounts of Shanghai nightlife (post 1930s) the White Russian émigrés, who fled the Bolshevik Revolution in Russia, are notoriously depicted as desperate refugees finding work in the bars, clubs, and nightclubs Shanghai as either “taxi-dancers”, “body-guards”, or prostitutes. The project argues that the affinity between “yellow music”, foreign jazz, specifically the Russian émigré jazz and its interpretation as “pornographic” and decadent evolved from the social spaces where this music was performed. The contribution of Russian émigrés to the cultural modernity of Shanghai is considerable. The Russians, many stateless and without citizenship, occupied a liminal place in the city below the oppressed and poor Chinese. The construction of the “White Russian” refugee stereotype founds its way into trans-Pacific popular media culture and has long been associated with “Sinified jazz music”.(8)

This brief account of Shanghai’s history and the role of Russian émigré jazz shows that this underclass of refugees were central to modern notions of urban Chinese identity. Scholarship in the field of musicology, ethnomusicology, media, history and sociology in China, America, Britain, and in Europe has not previously focused on the remarkable contribution made by Russian émigré jazz during the pre-revolutionary period in China, precisely because this cultural history was erased with the formation communist Republic in China.



The recuperation of this history through Russian émigré sources abroad, Chinese scholarship, archives that were moved from mainland China to Taiwan, Hong Kong, France, England, Russia and the United States and an existing archive of material in the possession of this project could recover an inform through interdisciplinary, cultural studies method a new historical case study. (9)

_________________________________________________________

NOTES

(1) Andrew F. Jones, Yellow music : media culture and colonial modernity in the Chinese jazz age, Durham [N.C.] : Duke University Press, 2001, p1.

(2) Yingjin Zhang, “Teahouse, Shadowplay, Bricolage: ‘Laborer’s Love’ and the Question of Early Chinese Cinema”, in Zhen Zhang (Ed), Cinema and Urban Culture in Shanghai, Stanford University Press, USA, 1999.

(3) Jones “Listening to the Chinese Jazz Age”, op cit p11.

(4) Jones “Listening to the Chinese Jazz Age”, op cit p1.

(5) Jones “Listening to the Chinese Jazz Age”, op cit p8.

(6) Hannah Beech, “Shanghai! Inside the most happening city in the world” and the accompanying article “Shanghai Swings!”, in Time magazine, September 20, 2004.

(7) Foreign News, “Cholera, Cables, Pianos” in Time magazine, September 27, 1937.

(8) Jones op cit p73.

(9) Andrew Field, “Chapter 5: Selling Souls in Sin City: Shanghai Singing and Dancing Hostesses in Print, Film, and Politics, 1920-49 inZhen Zhang (Ed), Cinema and Urban Culture in Shanghai, Stanford University Press, USA, 1999. See forthcoming publication Andrew Field, Shanghai’s Dancing World: Cabaret Culture and Urban Politics, 1919–1954.

A Song of Ceylon – dir. Laleen Jayamanne

A Song of Ceylon, Sydney Film Festival #SydFilmFest Feminism & Film Sun 18 June 2017 @ 10.30am AGNSW http://bit.ly/SongOfCeylon_SFF Jayamanne, Laleen. (Director), Weary, Geoffrey (Film editor), Parr, Adrienne. (Producer), Finnane, Gabrielle. (Photographer), Australian Film Commission. Creative Development Branch – The narcissistic, masochistic, hysterical body in exquisite tableaux. A formally rigorous, visually lush study of gender and possession, referencing a classic British film. Australia | 1985 | 51 mins | In English and Sinhala with English subtitles.

“A formally rigorous, visually stunning study of colonialism, gender and the body. The title echoes the classic British documentary and evokes a country erased from the world map. The soundtrack enacts a Sri Lankan anthropological text observing a woman’s ritual exorcism. Visually, the film brings together theatrical conventions and recreations of classic film stills, presenting the body in striking tableaux. This remarkable film is a provocative treatise on hybridity, hysteria and performance.” WMM Women Make Movies

JuanDavila

Film still: Juan Davila

SongOfCeylonFilmPoster

Fim Poster: A Song of Ceylon

“The anthropological text is performed both like a musical score and a theatrical ritual….The film engages the viewer in the cinematic body as spectacle…”
Trinh T. Minh-ha

Interview with director Layleen Jayamanne in Senses of Cinema

Hysteria and the hybrid body in Laleen Jayamanne’s a song of Ceylon
Priyadarshini Vigneswaran, online: 18 May 2009

C. Berry, A. Nicholson & L. Jayamanne, The Filmmaker and the Prostitute: Dennis O’Rourke’s The Good Woman of Bangkok, Power Publications, Sydney, 1997

Barrett Hodsdon, Straight Roads And Crossed Line; The Quest For Film Culture In Australia, A Bernt Porridge Group Book: Western Australia, 2001C. Berry, A. Nicholson &

L. Jayamanne, The Filmmaker and the Prostitute: Dennis O’Rourke’s The Good Woman of Bangkok, Power Publications, Sydney, 1997

Barrett Hodsdon, Straight Roads And Crossed Line; The Quest For Film Culture In Australia, A Bernt Porridge Group Book: Western Australia, 2001

Red Green Blue: A History of Australian Video Art

Geoffrey Weary’s video artworks on exhibition in curator Matthew Perkins, ‘Red Green Blue’, “…bringing together works from the 1970s through to the present day, drawn from the archives, artist holdings and the Griffith University Art Collection. Presented over three episodes, each running for a month, the exhibition takes the viewer on a historical journey that is also a celebration of the ongoing dynamism and depth of Australian video art practice.”

“Emerging as an art form during the late 1960s and 1970s, video has continued into the 21st century as a prominent mode of artistic endeavour, with artists responding to the new possibilities opened up by advances in technology. From its earliest days, artists have embraced video’s radical potential – as a medium for artistic expression, a tool for political agitation, and a means with which to question the status quo. ‘Red Green Blue’ explores these intersections across its three themed episodes, tracing connections from early experimental origins through to the multiple and proliferating modes of today, to reassert the importance of video to Australian art history.”

Griffith Artworks wesbite

Episode One – ‘Red: Everything is Political’ runs Friday 31 March to Saturday 29 April 2017
Episode Two – ‘Green: Body, Technology, Action’ runs Tuesday 2 May to Saturday 3 June 2017
Episode Three – ‘Blue: Perception and Encounter’ runs Tuesday 6 June to Saturday 8 July 2017
GUAM_Phase3_S14

BY A WINDOW : Riley: Perkins

4- 27 AUGUST
https://verge-gallery.net/2016/06/14/by-a-window/

Verge Gallery & Australian Centre for Photography featuring Michael Riley photographs from the University of Sydney Union art collection and archival material from the University of Sydney Archives, The Settlement Community Centre and the State Library of NSW. Encounter key artists such as Tracey Moffatt, Avril Quail and Fiona Foley, Boomalli, The Settlement Mural Project, The South Sydney Visual History Project organised by Geoffrey Weary in collaboration with Tin Shed 1983.#byawindowverge

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Verge007

Geoffrey Weary’s video art: ‘Failure To Materialise’ featured in book

Image: Failure To Materialise by Geoffrey Weary, Video: Art From the Archive, Monash University
Image: Failure To Materialise by Geoffrey Weary, Video: Art From the Archive, Monash University

Geoffrey Weary’s video and films: Scenes From A Shanghai Hotel, Failure to Materialise, and MUSEUM, collected by AVAA Australian Video Art Archive whose aims are to continue building an on-line video archive and a research collection of new and historical Australian video and performance art works http://www.videoartchive.org.au/gweary/shangai.html.

Geoffrey Weary’s video art was curated 27 September – 8 October 2010 in an exhibition VIDEO: Art From The Archive, Faculty Gallery, Monash University, Victoria, AUSTRALIA. The exhibition catalogue was published with a curatorial essay in MADA (Monash University Art Design & Architecture) an online portal of Monash publications.

View online Video: Art from the Archive (2010): Monash Essay by Leonie Cooper, Elena Galimberti, Matthew Perkins; list of works in Gallery; 7 pp. 3 illus. ISBN: 978-921179-79-2

Image: Failure To Materialise by Geoffrey Weary, Video: Art From the Archive, Monash University
Image: Failure To Materialise by Geoffrey Weary, Video: Art From the Archive, Monash University

 

PORTRAITS: films by Geoffrey Weary

TIME WAS.... by Geoffrey Weary - part of PORTRAITS a three part film series...
TIME WAS…. by Geoffrey Weary – part of PORTRAITS a three part film series…

TIME WAS…….
Geoffrey Weary (digital prints)

Sydney College of the Arts
Opening Tuesday, 4 – 29 September

SCA Galleries Sydney College of the Arts
Crn Cecily & Darling St, Rozelle
Sydney, AUSTRALIA

PORTRAITS 2005 – 2014

Production Company: Strange Cities Productions
Director/Producer: Geoffrey Weary
email: Geoff.Weary@sydney.edu.au

Cast:Tatiana Pentes, Leakhena Sy, Rose Tang

PORTRAITS is an experimental digital work that explores three contrasting experiences of war and conflict in the middle and late 20th century. A woman living in Shanghai is expelled from China after the Communist Revolution in 1949. The ghosts of the Cold War appear and disappear in the crumbling ruins of the Berlin Wall in 1990. A young woman suffers a crisis of identity around the circumstances of her birth at the end of the war in Cambodia in 1978


SCENES FROM A SHANGHAI HOTEL (2007)

An experimental film by Geoffrey Weary

A Russian woman living in Shanghai is expelled from China after the Communist Revolution in 1948. Her story begins in a hotel room in Shanghai and ends on a suburban street in Sydney, Australia. Performative, fictional, and documentary elements are blended into a work that is suggestive and open to multiple readings. Extensive use of film leader and scratchy film surfaces add to the sense that what we are seeing resembles something that is illusive, dream-like, just beyond grasp…..or is it just a newsreel playing in someone’s head?


CAPTIVE

An experimental film by Geoffrey Weary

CAPTIVE explores the themes of repression, confinement and escape. These themes are expressed through the incorporation of grainy VHS footage shot in Berlin at the time of the collapse of the Berlin Wall, hand-held camera sequences shot in a maze-like forest and slices of footage composited out of archival Cold War films. As the real historical Wall crumbles under the blows of street hawkers and souvenir hunters, ghostly specters from the past appear then dissolve back into the scratchy surface of a long forgotten newsreel.

Captive by Geoffrey Weary from Strange Cities Productions on Vimeo.


My Mother Told Me (2007)

An experimental film by Geoffrey Weary

A young woman tells the story of her family’s destruction during the war in Cambodia, 1975-1978. Later as a refugee living with her mother in Sydney, Australia she suffers an identity crisis that is linked to the unexplained circumstances of her birth and the mystery of the father that she has never known.

My Mother Told Me by Geoffrey Weary from Strange Cities Productions on Vimeo.
My Mother Told Me 2007

Australia’s audiovisual heritage online Australian Screen http://aso.gov.au/titles/shorts/my-mother-told-me/

Geoff Weary’s film ‘An Eye for An I’, The Third Wave: Two Decades of the Hill End Artists Exhibition 1 Aug – 28 Sept 2014 Bathurst Regional Art Gallery

Hill_End_BRAG2014‘An Eye for An I’, film on video 3mins
Writer/Director/Producer: Geoffrey Weary
Model: Tatiana Pentes

The Third Wave: Two Decades of the Hill End Artists in Residence Exhibition 1 Aug – 28 Sept 2014 Bathurst Regional Art Gallery

1 AUGUST – 28 SEPTEMBER 2014
http://www.bathurstart.com.au/images/stories/2014/slot_4/3rd_wave_Room_Sheet.pdf

“…landscape architect and film-maker, Gavin Wilson, was researching the artistic heritage of Hill End and the region for his 1995 exhibition The Artists of Hill End: Art, Life and Landscape for the Art Gallery of NSW. Aware of Bellette’s bequest, and withthe support of Bathurst Regional Art Gallery, Evans Shire Council and the National Parks and Wildlife Service, Wilson invited a third wave of artists to respond to Hill End. Contemporary artists including Richard Goodwin, Anton James, Tom Spence, Wendy Sharpe, Peter Wright, Geoff Weary, Peter Kingston, Mandy Barrett, Emma Walker and James Rogers participated in a series of pilot residencies at Haefligers Cottage in 1994 and 1995. Works from these residencies were exhibited alongside historic works in The Artists of Hill End exhibition at the Art Gallery of NSW.

“The historic Haefliger Cottage at Hill End and the spectacular surrounding scenery are prividing an ideal location for artist in residency, Geoffrey Weary, who is finding it a welcome respite from Sydney. Mr Weary, who describes himself as a video artists also working with more ‘traditional’ mediums, is the latest participant….Hill End artist in resident, Geoffrey Weary and Tatiana Pentes who are, living and working with the spirit of Paul Haefliger and Jean Bellette in the famous Haefligger Cottage…The house has all their things still intact, the cottage is pretty much as they left it…” in  Inspiration For Visiting Artist: Hill End Artist Residency: Geoffrey Weary: Bathurst Regional Art Gallery Advocate, 24 January 1995.

HillEndResidency002Photograph: Geoffrey Weary & Tatiana Pentes

The foundations of the Hill End Artists in Residence Program were laid. In 1999, under the auspices of Bathurst City Council and Bathurst Regional Art Gallery, the Program was officially launched. In 2002 Murrays Cottage was refurbished with the assistance of the NSW Ministry for the Arts and added as a new studio residence alongside Haefligers Cottage in 2003.Since 1994, a total of 283 residencies have been awarded to artists from a diverse range of disciplines including painting, drawing, sculpture, photography, ceramics, textiles, new media, writing, animation, film, sound and performance. Over 150 works by 70 of the artists participating in the Program have entered the collection through donation and purchase. The selection presented here represents just a small portion of the work produced in response to the landscape, history and heritage of Hill End.”

http://www.bathurstart.com.au/exhibitions/current/39-exhibitions/current/352-3rd-wave.html

“Celebrating 20 years of the Hill End Artists in Residence Program,works in this exhibition are drawn entirely from BRAG’s permanent collection. Featured artists include Jean Bellette, Ray Crooke, Russell Drysdale, Donald Friend, Ben Quilty, David Strachan, Rosemary Valadon, Greg Weight and Nicole Welch. A Bathurst Regional Art Gallery exhibition.”

345The studio at the historic Haefliger Cottage

LAUNCHED: HOME iPad artwork by Geoffrey Weary

Still from HOME iPad artwork by Geoffrey Weary
Still from HOME iPad artwork by Geoffrey Weary

HOME iPad interactive artwork Written, Produced & Directed by Geoffrey Weary ©2013, Interface Design & Development: icemedia, Sound Design & Music: Michael Bates with thanks to Mark Gardiner, Online & Social Media: Tatiana Pentes

Download APP from iTunes. Like us on Facebook!

Description
Explore the world of HOME through the eyes of Frank, Jason and FAE. Frank’s memories overwhelm him as the shop he has lived and worked in for the past 50 years crumbles around him. Jason lives with his grandfather, He photographs Frank, and what is left of the shop. Meanwhile he dreams of escape. To where he isn’t sure. Fae often comes to visit her uncle Frank. They share an obsession with the city, street maps and the places that Fae loves to wander through.Frank remembers June, Vera and Fae’s mother Clare.

Explore HOME iPad artwork website.

CAST
Frank:: Jim Palmer
Jason:: Eric Warburton
Fae:: Patricia Werleman
Japanese Performer:: Kazuo

PRODUCTION
Photography, Cinematography & Timeline Montage:: Geoffrey Weary
Interface Design and Development:: icemedia
Sound Design & Music:: Michael Bates with thanks to Mark Gardiner
Online and Social Media:: Tatiana Pentes

Written, Produced and Directed by Geoffrey Weary©2013

Still from HOME iPad artwork by Geoffrey Weary c.2013
Still from HOME iPad artwork by Geoffrey Weary c.2013

INTERACTION
HOME is navigated across the Frank, Jason and Fae timelines with a touch to screen movement from right to left. Backward movement is optional at any time.

A double touch on any frame will bring the timeline selected to full screen. Touch again will return to three timeline screen display.

When navigating HOME we recommend the use of iPad headphones.

HOME was produced as part of a University of Sydney ICT initiative Faculty-specific Research & Education Program (2012). The program helped sponsor this proof of concept. Extensive consulting & procurement services were provided by the team as a part of this initiative.