This Artemis Projects podcast is with Swedish artist Fanny Hellgren whom I called over Skype to talk about her series of works 'Withering Postures' exhibited at the Nevven gallery in Gothenburg, Sweden.

Made of paper-pulps and transformed into a large-scale wall-tapestries, 'Withering Postures' bring attention to commonly discarded materials, making us rethink what can be of value and what can be beautiful.

Always left in the state of changeability and often in the state of impermanence, Hellgren’s works bring attention to time, pointing to the fragility of all matter and reminding us, the viewers, of our own materiality.

In this podcast, Hellgren talks about the inspiration behind her working methodology, the question of archiving the impermanent works, concept of alchemy, and how she tries to defy the rules of gravity.

We also address Oscar Wild’s statement that “all art is quite useless” and Agnes Martin’s that “Art is the concrete representation of our most subtle feelings.”

The podcast features sounds from Fanny's studio and short snippets of music from album PERSEVERANTIA by Danielle de Picciotto and Alexander Hacke (I don't own rights to this music).

This podcast was produced on the Gadigal land of Eora nation, traditional custodians of the land. We pay our respect to their elders – past, present, and emerging.

Thank you for listening to Artemis Projects podcast. For more about our projects see www.artemisprojects.com.au

Fanny Hellgren's website: www.fannyhellgren.se/

Artemis Projects' text for the exhibition catalogue: https://www.artemisprojects.com.au/fanny-hellgren-withering-postures

For the 5th edition of the ADSR zine (@adsrzine), I wrote a piece on 'in-between' spaces in art practice, when one idea is completed and the new one only yet to be born. The writing was inspired by my conversation with Sydney-based artist Lux Eterna and this is a sound collage extracted from the larger interview and carried by sound design of Trevor Brown who engaged with the theme in terms of space, its fulness and emptiness.

In this sound collage, Lux and I touch upon the role of time and the durational, as well as the importance of giving into the unknown and trusting that "in this deafly darkness of nothingness something gets reborn." (Lux Eterna)

FOR THE FULL TEXT SEE: https://www.adsrzine.com/

FOR THE FULL INTERVIEW WITH LUX RECORDED ON 30 SEPTEMBER 2019 FOR DANCECINEMA.ORG IN RELATION TO LUX'S BUTOH AND BODYWEATHER INSPIRED DANCE VIDEO 'AURA NOX ANIMA', SEE: https://soundcloud.com/artemis-projects/dance-cinema-lux-eterna

IN THIS SOUND COLLAGE THE WORDS ARE COMBINED WITH SOUND DESIGN OF @trevorbrownmusic WHO USED THE FOLLOWING TO RESPOND TO THE THEME AND CREATE A BEAUTIFUL FLOW:

*Clock Tick (recorded in the Artemis Projects apartment in Zagreb, Croatia)

*Japanese traffic lights (https://youtu.be/F-7k2y-mXAw?t=73)

*Boiler, Carriageworks, Sydney

*Subterranean waterfall, Pazin, Croatia(https://www.istria-culture.com/en/the-castle-of-pazin-i37)

In this episode of DANCE CINEMA we speak to Australian artist Lux Eterna about her butoh and bodyweather inspired dance film AURA NOX ANIMA shot in the dunes of Anna Bay in Port Stephens, Australia.

Through the use of slow pace and wide shots, AURA NOX ANIMA brings us back to our bodies, reawakens the awareness of our susceptivity to the natural order, and encourages contemplation of the cyclical nature of life where decay and renewal superimpose to create a liminal place of passage into something yet foreign and new.

In this podcast Lux talks to Dance Cinema co-Curator Ira Ferris about:

- the origin of the idea to make AURA NOX ANIMA

- the way that the dancers responded to the location

- how the film relates to haptic visuality and embodied / non-voyeuristic gaze

- why editing of the film felt magical

and more....

"AURA NOX ANIMA" will be screened on www.dancecinema.org from 15.10. to 15.11. 2019. To view "AURA NOX ANIMA" and for the full transcript of this interview head to www.dancecinema.org/aura-nox-anima.html

Recorded in Sydney, Australia on 30 September 2019.

Interview by Ira Ferris

DANCE CINEMA jingle designed by @trevorbrownmusic

Includes soundtrack from the film: soundscape by Lux Eterna and 'Overlands' by Moby

For more information: www.dancecinema.org

Recorded in Novo Mesto, Slovenia, 4 August 2019.

In this episode of DANCE CINEMA we speak to Slovenia film director and editor, Sašo Podgoršek who together with world-renowned choreographer Iztok Kovač created a stunning dance film "Vašhava", performed by the international dance company EnKnapGroup.

Divided in three sequences, "Vašhava" starts with François Truffaut inspired scene, more precisely his Fahrenheit 451 movie where government forbids reading of books. We finish with a melancholic farewell scene, the filmmakers' homage to the industrial town Trbolje which was undergoing radical transformation as the film was being shot.

In the podcast recorded in Pula, Croatia in July 2019, Sašo talks to Dance Cinema co-Curator Ira Ferris and reveals:

- why the film was shot in this particular location

- what is the meaning of the word 'vašhava' and what are the hanging bowls that the dancers dance with in the space

- what is the narrative function and the inspiration between the four minute long tracking shot on a dancer making strange facial expressions

- how was the soundtrack developed,

and more....

"Vašhava" will be screened on www.dancecinema.org from 1.10. to 1.11. 2019. To view "Vašhava" and for the full transcript of this interview head to www.dancecinema.org/vashava.html

Recorded in Pula, Croatia on 19 July 2019.

Interview by Ira Ferris

DANCE CINEMA jingle designed by @trevorbrownmusic

Includes MUSIC BY Charo Calvo & Miquel Casaponsa

For more information:

www.dancecinema.org/

Recorded in Sydney, Australia, 30 September 2019.

Recorded in Berlin, Germany, 24 July 2019.

Recorded in Venice, Italy, 15 July 2019.

Recorded in Pula, Croatia, 19 July 2019.

Recorded in Venice, Italy, 9 July 2019.