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Video Void features historically significant Australian video art works from the 1970s - 1990s.

Matthew Perkins and Dr Elena Galimberti have curated three dynamic screening programs that include some of the earliest Australian video art by artists such as David Perry, Stephen Jones, Randelli and Peter Callas.

Anyone who wants to explore early Australian video and performance artworks faces the difficulty of accessing these works and tracing the history and leitmotifs that connect them. American theorist Frederic Jameson described this as the 'disappearance of history' - the way in which our society is losing the capacity to retain its own past and has begun to live in a perpetual present.

Jameson blamed electronic images like these because, in his opinion, they represent a paradox for memory and history as they connote the immediate instead of the past. Video Void will explore this paradox showing a selection of historical Australian videos and performances from Australian collections and archives. Our aim is draw the attention of both experts and the general public to the seminal works of Australian artists, which would otherwise stay lost in time.

Matthew Perkins is the Studio Coordinator of Photomedia in the Faculty of Art & Design, Monash University.

Dr Elena Galimberti is a research assistant for the Australian Video Art Archive in the Faculty of Art & Design, Monash University.

Reel 1: 6-12 September
Australian video art works from the 1970s/1980s - Part A.
[From the collection of the National Gallery of Australia]
1. Bush Video, Meta video programming one, 1974
2. Sam Schoenbaum, Peelin an oran e, 1974
3. Sam Schoenbaum, Still life: Breakfast piece, 1976
4. Michael Glasheen, Uluru, 1977
5. Bob Ramsay, Read, Video-tape, 1977
6. Stephen Jones, Stonehenge/ TV Budda (Hommage to Nam June Paik), 1978
7. Robert Randall, Leash control, Stargazing, Pauses, Holy Lord, Love me, Buy me, Envy me, video, 1981
8. TSK TSK TSK, Asphyxiation: Aural/Oral Risk, 1982

Reel 2: 13-19 September
Australian video art works from the 1970s/1980s - Part B.
[From the Australian Video Art Archive and Griffith Artworks]
1. Bonita Ely, Sunset Video, 1975
2. David Perry, Interior with views, 1976
3. Warren Burt, 5 Moods, 1979
4. Arthur Wicks, Against the Tide and Measuring Stick, 1979
5. Gary Willis, '...and the Leopard Looked like ME!' - Play for You, 1979
6. Peter Kennedy and John Hughes, November Eleven, 1979
7. RANDELLI (Robert Randall & Frank Bendinelli), A taxi to temptation and Dial T for terror from Sinerama, 1985
8. Geoffrey Weary, Failure to Materialise, 1988
9. Peter Callas, Neo Geo: An American Purchase, 1989

Reel 2: 20-30 September
Australian video art works from the 1990s
[From the Australian Video Art Archive and Griffith Artworks]
1. Arthur Wicks, the Battlefield at ADFA, 1990
2. John Gillies, The Sydney Front, Techno/Dumb/Show, 1991
3. Barbara Campbell, Cries from the Tower, 1992
4. Lauren Berkowitz and Lisa Andrew, Sightseeing tours, 1993
5. Jill Orr, The Marriage of the Bride to Art, 1994
6. Leigh Hobba and Noel Sheridan, Why be an artist? 1994
7. John Tonkin, These are the days, 1994
8. Jude Walton, Paris, Hiver, 1995
9. CAMPBELL, Barbara Campbell, The Seduction of Art, 1996
10. Justine Cooper, Rapt, 1998

Time
Dusk until 9.00pm

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

The Parer Place Project s an innovative outdoor projection exhibition series celebrating the moving image in all its forms - film, television, games, new media and art. The Urban Screens are solely dedicated to providing a digital canvas for emerging or experimental artists, with artworks animating the bold architecture of QUT's Creative Industries Precinct each night at dusk.

Image: Gary Willis, '... And the Leopard Looked like ME!' - Play for You, 1979-198.1