Wade Marynowsky
Interpretative
dance
Experiments in real time audio visual performance 2002-2007.
Stereo, 66mins, 4:3,
PAL, 4 works;
Autonomous Improvisation
v.1,
2007.
Installation documentation, Artspace Sydney.
Excerpt 20mins
Autonomous Improvisation v.1 Image; Rev. Kriss Hades, Singing Sadie, Trash Vaudeville.
Autonomous Improvisation v.1, is a video anthology of some of Sydney’s most infamous solo musicians and performers. The work analyses a range of performance approaches from burlesque to sound art by recording artists in the same studio configuration. The performances happening only for the camera are then reconfigured in the gallery. A prepared pianola is linked to a network of computers and is programmed to orchestrate the video sequences, creating an ever-changing composition. This is presented via three-channels of audio–visual projection. Through non-determinist re-composition, the work questions if it is possible for improvisation to be programmed, or if this is simply a paradoxical endeavour. Furthermore Autonomous improvisation v1 asks us to consider why autonomous systems are uncanny and what is significant about the emergent patterns that arise within these systems. For more information visit www.marynowsky.net
The_Geek_From_Swampy_Creek, 2007.
Live AV performance documentation
Demux launch, Performance
space, Sydney.
Excerpt 8mins
The_Geek_From_Swampy_Creek is
an alter ego created by Marynowsky. The Geek’s
seeks to parody the laptop performer by dressing as
a quintessential nerd, complete with a brown suit, thick glasses, an
extended mega brain helmet and projected visuals. The Geek entertains
through theatrics combined with live audio-visual processing. The fused
audio - visual processors (custom – built software) slowly transforms
a nightmarish tree into a bubbling swamp. The sounds the Geek explores
here are endlessly decaying computer bleeps and the sounds of nature,
particularly that of the swamp from which he rose. B-grade monster and
science fiction films inspire the Geek.
Uranium Country, 2005.
Live AV performance documentation,Lanfranci’s Sydney.
Excerpt 10mins
The work was made after an artist camp at Gunbalanya, Arnhem land organised by 24hr Art, NT. During camp the group recorded video and sound, had a tour of ancient traditional rock art and watched an amazing game of Aussie rules. One thing, which raised my eyebrows, was to hear that traditional owners had been offered a token amount of money for a lease on part of their land for another uranium mine. To my knowledge there is currently no plans for uranium mines in Gunbalanya, I hope there never is.
Apocalypse Later, 2004
Live AV performance documentation, ISEA2004, Baltic sea and d.art02,
Museum of Contemporary Art, Sydney.
Excerpt 28mins
Apocalypse Later 2004, DV stills, performer Brian Fuata
"Australia's History of violence
throught abstraction and the destruction of sound and image".
Apocalypse
later documents live audio - visual performance work spaning the years
2002 to 2004. Source footage was shot at ‘The Styx valley of the giants’ Tasmania,
Kakadu national Park, Old Sydney town, and Australia’s wonderland.
The work was made with custom built programs that explore translations
between audio to video and video to audio.
Review by Mitchell Whitelaw on his 'teeming void' blog
Review by Jean Poole on Skynoise
Review by Abram Powell for Loop magazine #4