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NON Studio

@_nonstudio

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Moving image studio working with artists and arts organisations.
Based on Wurundjeri Country in Naarm/Melbourne
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Home Bound Presented by @asiatopa, @artscentremelbourne A Betty Amsden Participation Program March 2025 In Home Bound, diverse rope materials and practices are woven together to create a massive social tapestry. Members of different communities who do not typically share the same space collaborate to build a giant rope installation. Over 15 days, craft specialists, community groups, and participants from the public wove their materials, skills, stories, and histories together in a series of workshops and activities at the main forecourt of Arts Centre Melbourne. As the fibres intertwine, Home Bound enacts the social entanglement of life in Naarm-Melbourne. It is a choreography of knots that represents social dialogue, the negotiation of differences, and a testament to co-existence. The public is invited to get involved by donating materials, watching the creation process or partaking in workshops to help create the tapestry itself. Home Bound was the ninth Betty Amsden Participation Program – large-scale community events designed to engage diverse communities, break cultural and economic barriers, inspire civic and public participation and build community pride. Lead Artists: Luke George x Daniel Kok Home Bound Artists and Communities: Andrew Chan Amber Lucy Ash Snare and Rope Dojo Melbourne Blu Jay Carolyn Cardinet Chaco Kato Cristal No.5 Daniel Kok Dr Kimba Thompson Dr Vicki Couzens Gianne Gatchalian Handweavers and Spinners of Guild of Victoria Jareen Wee Julai Lisa Couzens Luke George MaggZ Muhubo Suleiman and Qaymi Arts & Crafts Nasteho Said and Dancers Nikki Tarling Nupurasa One Fell Swoop Circus Richmond Scouts and Venturers Rosa Vasseghi and the Ava Tapestry Group Sarah Aiken Tarryn Love Yu Fang Chi and many individuals and groups across Melbourne who donated 2 tonnes of ropes and fibres used to create Home Bound. Cinematography: James Wright, Eugene Perepletchikov, Angus Kemp Editor: James Wright Sound Designer: Nick Roux Home Bound was made possible by: The Betty Amsden Endowment Principal Sponsor: Decjuba Foundation Project Partner: Craft Victoria taken in Arts Centre Melbourne by @_nonstudio
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a year ago
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In James Nguyen’s video 'An Australian National Song', musicians interpret a Federation-era song sheet from the University of Melbourne’s Rare Books collection, performing this nationalistic jingle on violins that have been muffled with foam. Through a characteristic mix of critique and humour, Nguyen enacts a symbolic stifling of colonial settler narratives, and asks how immigrants in Australia can create alternative ways of belonging in a new home without perpetuating myths of terra nullius. #collectiveunease @jamesnguyens by @_nonstudio
0
3 years ago
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Lisa Hilli’s installation 'Birds of a Feather' celebrates the resilience of Papua New Guinean women through the story of Dame Meg Taylor, the first woman from Papua New Guinea to receive a degree from the University of Melbourne Law School and most recently Pacific Islands Forum Secretary General. Composed of images of the feathers of PNG’s national bird, ‘kumul’ (birds of paradise), the artwork honours a significant figure who continues to inspire and empower women to navigate their role in contemporary PNG society. Accompanied by the calls of the birds of paradise, Hilli embeds Taylor’s voice into a series of digital prints that weave through the cloisters of Old Quad, culminating in a major fabric installation in Treasury Gallery. Full interview via Vimeo link in bio. #collectiveunease @lisahilli by @_nonstudio
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3 years ago
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Excerpt from an interview with Andy Butler discussing his work ‘The Agony and the Ecstasy’. Butler combines art from the University of Melbourne Art Collection representing a nostalgia for European traditions with footage from the University’s Cheerleading Club. The dynamic, high-energy cheer routines and exaggerated displays of positivity speak to the effort it takes to maintain a spirit of optimism in the face of inequity and uncertainty. See Andy Butler’s video piece as part of 𝘊𝘰𝘭𝘭𝘦𝘤𝘵𝘪𝘷𝘦 𝘜𝘯𝘦𝘢𝘴𝘦, exhibiting Tuesday to Friday, 11am- 3pm at the Old Quad Treasury Gallery. #collectiveunease @andyray87 by @_nonstudio
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3 years ago
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Celebrating 50-years of one of Australia’s most influential artists. This is the first major retrospective exhibition of one of Australia’s most influential artists, Peter Tyndall. Maintaining a rigorous studio practice spanning 50 years, Tyndall‘s expansive works contemplate the fundamental questions about the construction of meaning. Tyndall interrogates how art, language, presence and absence operate in relation to one another in comprehending the world around us. Reflecting on his unwavering commitment to this way of seeing the world, Tyndall created a unique set of symbols to describe his philosophical framework where he structured his entire artistic practice. The exhibition demonstrates Tyndall’s process from making art, innovation, and life-long dedication to insatiable productivity. Celebrating Tyndall’s remarkable career, this exhibition charts the development of his philosophical framework for seeing and viewing art – and ourselves – in relation to the world around us. In November 1974, Tyndall began to use a unique set of symbols to describe this relationship, including his iconic ideogram and repeating title. He continues to use these devices today, structuring his entire artistic practice around this insight. Featuring over 200 works encompassing the entire museum, the exhibition includes paintings, drawings, correspondence art, and unseen works ranging back to the 1970s. The exhibition will draw from the University’s significant collection alongside artworks on loan from national institutions and private collections. For Tyndall, making art is a collective endeavour and the interconnectedness of all things is at the core of his practice. Peter Tyndall reminds us that we are not alone, and the viewer is an active participant in the art-making process. by @_nonstudio
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4 years ago
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The Prelude is a multi-art form performance, created through a three-year international exchange between Phillip Adams and US choreographer, Walter Dundervill, in partnership with Chocolate Factory Theatre, New York. In The Prelude, Walter and Phillip channel their shared enthusiasm for forgotten rituals, physical and visual decadence and cathartic actions, using 1973 film The Exorcist as source material. As they deconstruct the film, the artists (including dancers Caroline Meaden, Michelle Heaven, Rachael Wisby and William McBride) create physicalised improvisations in response to its characters, generating a choreography of embodied exorcisms and symbolism. Through these processes, the film and its characters will be subverted into highly stylised anachronistic landscapes that relocate it from its original source including a giant field of prototaxites and the film’s 70s garb and priests’ attire, all in cosmic green couture. The artists’ fetishizations of the film’s narratives combine in their directorial roles, which are live in the work – part film director, fashion designer and sound mixer. This durational, experiential production culminates in a hijacking of the film’s experimentations with exorcism, climaxing with the levitation of constructed beds. MIFF 2021 Premiere (The Prelude: Michelle) 05 – 22 August 2021 Created by: Phillip Adams and Walter Dundervill With: Rachael Wisby, Michelle Heaven, Caroline Meaden, William Mcbride and Phillip Adams Director of photography: James Wright Steadicam operator: Hannah Palmer Sound recordist: Hayden Guildford Set design: Thomas Roach and Phillip Adams Runner: Alexander Dobson Editors: Phillip Adams, James Wright, Walter Dundervill Composer: Walter Dundervill Colourist: Peter Hatzipavlis (Final Grade) Surround mix: J David Franzke Sound editor: Hayden Guildford Green dress fabrication: Amanda Loschiavo Produced by: Phillip Adams Balletlab Executive director: Veronica Bolzon by @_nonstudio
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4 years ago
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Chunky Move’s Yung Lung is a hybrid party/performance for the end of days – a rave on Mount Olympus. It centres around a monolithic audio-visual podium that is a stage for the dancers, possessed and propelled by an extreme barrage of visual content trawled from the depths of the digital universe. The work lays siege to the space as upright techno shatters sound barriers and video burns retinas, in an abrasive communion between hard tech and babyfaced bodies. Yung Lung is a techno treatise and party prophecy where history is buried under feet that stomp beyond the information age. World Premiere Season Sydney Festival
Carriageworks
20–23 January 2022 Creative Team Concept, Direction & Choreography: Antony Hamilton Set Design: Callum Morton Composition/Sound Design: Chiara Kickdrum Lighting Design: Bosco Shaw Costume Design: P.A.M. Video Content Creation: Kris Moyes Video Content Assemblage: Kris Moyes, Antony Hamilton and Nicholas Moloney Performers Madeleine Bowman, Rachel Coulson, Marni Green, Samuel Harnett-Welk, Cody Lavery, Summer Penney, Damian Meredith Original Cast Ren Production Team Stage Manager: Lyndie Li Wan Po Video Realisation and Programming: Nick Moloney Audio Engineer: Gideon Cozens Technical Operator: Siobhain Geaney Production Manager: Blair Hart This work includes footage from the National Film and Sound Archive of Australia. by @_nonstudio
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4 years ago
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AGONISTES TRAILER (2020) One-channel digital video, colour, sound, 20 minutes. Commissioned by PHOTO 2021 International Festival of Photography Acts of whistleblowing aimed at calling attention to alleged wrongdoing or misconduct continue to make headlines around the world. But despite the introduction of policies meant to protect them, the efforts of whistle-blowers in Australia are increasingly being undermined by gag orders, policing, and other forms of control—by efforts to silence those who have spoken out, and to discourage anyone who might think to. Meanwhile, the possible consequences for one who chooses to blow the whistle remain the same: if one is not simply ignored, one faces the real threat of legal proceedings and imprisonment, or worse. Agonistes is based on the experiences of several men and women—former employees in the areas of military, secret intelligence services, immigration, youth detention, disability care, and other government agencies—who chose to speak out, and who now live with the consequences. They describe the personal and professional ruin, the breakdown of friendships and family relationships, and the physical and mental anguish that followed their decision to call out alleged abuses, and the reasons that led them to do so, despite knowing their possible fate. They explain that if they could go back, they would do it all again. While their individual stories differ, the shared struggle of these men and women and their portraits expose the same agonising truth: that the choice between responsibility and obligation—between morality and the law—is, in a very real sense, the essence of tragedy. ​ Director: Hoda Afshar Cinematographer: James Wright Editor: James Wright and Hoda Afshar Researcher: Claire Loughnan Colourist: Peter Hatzipavlis Composer: Alexandra Spence Sound Mix: Duane Morrison Script editors: Hoda Afshar and Anna Zagala by @_nonstudio
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4 years ago
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In a new moving-image work by Melbourne-based artist and architect Matthew Bird, two bodies move across the land, working with large cylindrical instruments. We witness them map and survey a terrain analogous to universal physical and psychological locations, each revolution marking a paradoxical attempt to pin an earthly position through perpetual movement. Playing on the human need to understand our relationship to the people and places around us, Parallaxis considers the potential for architectural processes and measurements to act as a foundation for structures of understanding. Filmed in the surrounds of the small Victorian town of Warracknabeal, on the wheatbelt between Adelaide and Melbourne, Parallaxis draws on the architecture and landscape of the northern Wimmera and southern Mallee as a means by which to explore the ways we navigate, hold and alter space. 28 Feb – 03 Apr 20 SASA Gallery Samstag Museum of Art 2020 Adelaide International Performers: Lilian Steiner, Ashleigh McLellan Co-directors: James Wright & Matthew Bird Cinematography: James Wright, Eugene Perepletchikov Editor: James Wright Sound Composition: Daniel Jenatsch Costume: Geoffrey Watson by @_nonstudio
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4 years ago
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Video documentation of Jagad at Arts House by Monica Lim, Rianto and Melanie Lane. Producer: Monica Lim Creative Concept: Monica Lim Choreographers: Rianto, Melanie Lane Dancers: Rianto, Lilian Steiner, Surekha Krishnan, Mason Kelly, Samuel Harnett-Welk, Damien Meredith Sound Design: Monica Lim Live Camera Design: Sean Healy, James Wright Live Camera Operators: Sean Healy, Emile Zile Lighting Designer: Nick Moloney Stage Manager: Kaite Head by @_nonstudio
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4 years ago
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Chunky Move: Token Armies When you enter an environment populated by varied lifeforms, animated machines and a set that itself seems to pulse and breath, you know you’re not in traditional dance territory. This visionary creation throws every rule to the wind, and is the first work created by Antony Hamilton since taking up the helm of Chunky Move. Token Armies is a symphony of action, image and sound, and a collective experience through which audiences will makes their own journey. Featuring a leviathan sculpture by Creature Technology Co.– the renowned creators of works such as King Kong and Walking with Dinosaurs– this immersive spectacle explores the way labour becomes ritual and opens up opportunities for a future humanity. Bio-mechanical forms alongside an ensemble of 23 performers query the boundary between the living and the inanimate. Epic in scale, ambitious in conceit and utterly unforgettable in execution, this world premiere event is an evolutionary leap into an unknown tomorrow. Presented by Chunky Move and Arts House in association with Creature Technology Co. Commissioned by Melbourne International Arts Festival. by @_nonstudio
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4 years ago
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Sally Smart: The Violet Ballet The Violet Ballet extends on Smart’s distinctive practice, examining the extraordinary legacy of Diaghilev’s visually arresting Chout, performed by the Ballets Russes in 1921. Smart responds to this hybrid fairytale with recreations of the original costume and set designs, using embroidered and patchworked textiles. She also considers aspects of its macabre story (seven buffoons who murder their wives believing a promise of magical resurrection) together with Indonesian Wayang to create a fascinating study of the legacies of colonialism and orientalism. by @_nonstudio
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4 years ago
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