nomorepotlucks: Blood Work: Magdalena Olszanowski – Marlaina Read

June 9, 2015 § Leave a comment

I first encountered Magda’s work in 1996, when, as young women, we experimented with self-imaging practices and maintained popular websites – before the internet boom in which social networking and blogging platforms emerged. We both went on to develop our artistic and academic practices in the context of the institutionalized art world, but have continued to share and collaborate. Her ongoing series of work that started in 2005 depicts menstruation. It draws on ideas of transgression, the abject, and boundaries, and it displays a playfulness often missing from discourse around the female body.

Olszanowski’s work was initially a response to the Cartesian history of prioritizing the disembodied self and the established scientific discourse based on intellectual detachment, rationality, and objectivity – leaving the state of corporeality and the body as irrational, uncontrolled, and menstruating. In this misogynist discourse, much extended by Freud, corporeality belongs to the feminine, producing the woman as dangerous and fleshy. Like much feminist work, such as Valerie Solanas’s SCUM Manifesto, Magda’s work welcomes the dangerous and fleshy self. We shared a lengthy conversation across many time zones focused on her history with menstruation, her work, and the importance of leading an embodied practice.

Read more at nomorepotlucks

Blood Work: Magdalena Olszanowski

Blood Work: Magdalena Olszanowski

Farmers etc

November 21, 2014 § 1 Comment

I am still set on my idea of wayfinding and placemarking as the topic for any eventual PhD I attempt to do. I am still going through all the images from my trip to Finland, Scotland and Iceland.

There is this residency in the Arctic I have been eyeing off for years. Maybe this is the time I actually apply. I don’t know.

The below are all from series Farmers 2014.

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Photographic prints sale

April 4, 2014 § 1 Comment

I have some limited edition photographic prints for sale in support of my upcoming 6 month 3 x residencies in Finland, Norway and Lithuania and research and meetings with some overseas universities in support of my PhD application.

Details

  • Chromogenic prints from negative on Kodak Endura archival paper, unframed.
  • Edition of five + AP, numbered and signed.
  • Three tiers of sizes from $160 to $360. Sizes can be seen here:
  • Prices in AUD. International shipping can be arranged at an additional cost.

Payment

  • Paypal (inc. secure credit card payment) to rush.of.sun@gmail.com. Please include the name and size of the print and your postal address.
  • Alternatively I can send you a PayPal invoice, please email me your PayPal address and details of the print you want to purchase.
  • For Australian buyers I also accept cash and direct deposit.

If there is an image on my website you would like but isn’t shown below, please email me. I have many works and happy to discuss size, themes, colours etc.

01

Bloom (Berlin), 2004-2010, chromogenic print from negative
60 x 47 $160
81 x 63 $260
100 x 77 $360

Marlaina Read 2

Kinma (Death Valley), 2010, chromogenic print from negative
50 x 40 $160
74 x 60 $260
100 x 81 $360

print1

Spákonufell (Iceland), 2012, chromogenic print from negative
50 x 40 $160
74 x 60 $260
100 x 81 $360

pyramid

Búlandstindur (Iceland), 2013, chromogenic print from negative
60 x 40 $160
80 x 52 $260
100 x 66 $360

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Mountain (Death Valley), 2012, chromogenic print from negative
50 x 40 $160
74 x 60 $260
100 x 81 $360

street

Skagaströnd Street (Iceland), 2013, chromogenic print from negative
60 x 40 $160
80 x 52 $260
100 x 66 $360

Neon & life

September 2, 2013 § Leave a comment

The show opening at Kings ARI in Melbourne went well. As with all installs there were anxious moments (mine) regarding lighting and balance between works, and horrible visions of broken neon all over the floor… I took lots of install shots with my medium format, and I should have that film back at the end of the week. My friend Karen took this with her Future Phone though:

Neon sculpture of outline of Prophetess Mountain, Iceland

Prophetess Mountain, 2013, Neon on aluminium, 150cm x 100cm, installation shot.

Working in this medium is interesting. I have some other ideas, but maybe fluros would be as good.

Coming back to Sydney on Saturday night, it is strange how silent and calm a plane full of people can be towards the end of the night. The row I sat in, had no window.

Yesterday I rode out to Cronulla and back, via Sans Souci and the green cycle paths through the mangroves. About 60km. There were some interesting smells of dirt and the sea, and the sun which made me think of Adelaide. The government there have been planning to tear down the house I grew up in, my father’s house, to widen South Road, a main trucking corridor. Dad says maybe this won’t happen if the libs get in the next election. Thinking about it makes me so sad… the house has featured in so much of my work, let alone my life.

“The smell of jasmine. The colour of the roof on the old boarding house in Eveleigh, the same red turned dusty pink in a warm sun set as my father’s house.”

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Going to Tasmania soon, for MoNA, visit UTas and check out the art school there… possibilities. Still feeling like I don’t belong anywhere. But having the sun come in the door to my room is a comfort. My Yashica Mat 124 is being fixed as well, another camera for me to work with.

Next year Is Finland, Norway, Iceland, USA, UK… maybe Lithuania. Next month is the video works. One is about industry and repetition, and execution of tasks, one is the snow storm as celestial event. Two visitors soon. One from Iceland, one from the US.

I also saw my friend Lea Donnan‘s show at Kudos recently – this is what I wrote to her, ” It was mesmerizing, and yes a little emotional for someone who knows the town. There was also this.. aggressive futility to some of the actions – so overt, powerful, using cars, guns, big things – but then exposing fragile cracks, bodies absorbing a gun kick-back, the ice that crumbles while wrapped in a blanket, the refuse and things left behind…”

This has become a mish-mash… I won’t ever stop hating others until I stop hating myself.

Falinn – Hidden

August 4, 2013 § Leave a comment

Before Yogan and I walked the strings from the studio to the cliffs and installed them there, they lived in the studio at NES. I made a wood pile with a light inside and the strings extended across the room, intersecting with Yogan’s work. His was a shelf suspended at an angle also by string. Our works spoke to each other of a tension, possibility, potential.

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The rain always sounds like forgiveness

June 27, 2013 § Leave a comment

vespertine
(east fjords, iceland, 2013)

I opened a book tonight. In it I found flowers I had saved, pressed between the sheets. Found flowers again found in America, wildflowers. Yellow, yellow, purple, maybe a muted green.

In the book also I had written:

Vespertine. Attenuated. Alluvial. Coalesces. Penumbral. Redolent.

Time becomes ecstatic. Temporal expansion. Revelation that eludes temporal time. Sediment of misery. Indifference.

Sediment of misery. That stuck with me. It felt murky, and unlike words I would ever say. Where would I have experienced such a sediment. It must have been some American inspiration, words to help me see what others had seen. Anyway. Sally Mann, those are her words. Describing the pull of her images and process in Deep South.

Blue-sensitive film.

I sometimes worry photography is too realistic, too hyperreal. With digital and all. I  m iss the exchange with light, the murkiness, the unabsolute. Using time and intensity and pitch and chemicals and silver and shadow and forbearance, filters, glass, aspects of light as the day passes, accidents of chemistry, accidents of mechanics. Age of materials, indecision, sabotage. Which make something real of the moment, unique, manipulated, tools and materials. 8 hours to get that image right in the darkroom. Alone with the image, with my hands on it, watching it bolt red hot from lens to paper. Feeding the chemicals. Looking for the grain. Plus then minus the magenta (strongest) or yellow (weakest).

Breathing all the time. Camera breaths, darkroom breaths, print breaths.

Sediment of my memory.

Guido van Helten mural project – in collaboration

June 20, 2013 § 2 Comments

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Above is one of Guido van Helten’s beautiful, poignant and dominant large scale street art mural portraits painted in Skagastrond, Iceland, on blank building space gifted by the city for Guido’s work. Guido’s portraits are rendered beautifully,with a unique layering and opacity/transparency I have never seen in street art before.

This is one of two murals that were based on some portrait studies I took for Guido, featuring crew members of the Huni II, a restored Icelandic fishing boat from the 1960’s. I feel very privileged to have helped with the studies for these final pieces.

As for the Huni II, well, we went on that boat, in a rather memorable fashion

You can see more of his series here, completed while in residence at NES, Iceland. There is also more artwork in the Summer We Go Public program, programmed by Melody Woodnutt and Kathryn Sawyer at NES.

And of course, Guido has mad skill on the scissor lift!

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