SALVAGED RELATIVES, BOXED

Gracia Haby & Louise Jennison
Salvaged Relatives, boxed
May, 2015
Three digital print zines within a slipcase
Edition of 30

A 15cm X 10.5cm X 1.5cm grey card slipcase with hand-punched cosmos, housing a red, yellow, and blue edition of Salvaged Relatives.

Salvaged Relatives, red edition
Salvaged Relatives, yellow edition
Salvaged Relatives, blue edition

One of several zines made for the National Gallery of Victoria's inaugural Melbourne Art Book Fair in the Great Hall, NGV International, May 2015.

Related posts,
NGVABF, beautifully done
Salvaged Relatives, reviewed
Preparations and Words

Mine, says Olive, and Lenni retreats to the corner.
#cats
#home
#thisiswinter
#catsofinstagram
#thisiswednesday

The photographs we took in May and June are popping up in the digital collages we are currently composing on the screen in readiness to draw upon the plate this time next week. Then, now, and coming up, all things #FrenchConnections.
#WIP
#Paris
#Versailles
#PalaisGarnier
#AustralianPrintWorkshop

Wind proof the outer layer! Avoid weak ice! Whiteout! From #MIFF2018 day 12, we walked home from the 9pm session of ‘Arctic’ with the sensation of still being in the film. We may have been dehydrated, but not enough to contemplate eating a handful of ice to convert to water. We had no polar bear upon our tail, considering us a meal, and less first aid smarts than Mads Mikkelsen, but determination grew with every step: home, cous cous, warm, sleep, home, cous cous, warm, sleep (‘Arctic’). Last night we dreamt in black and white, and heard the beautiful song and spun the dances within ‘Cold War’. (Such music and dance, giddy within beautiful black and white compositions, and a final home again loop straight to the heart; shame it had to include the lovers, but we digress. Arctic survival point 7: don’t get lost. “Flat light conditions combined with blowing snow and sometimes featureless topography can make navigation difficult”.) This morning we contemplate what we have seen. Vineyards and long shadows cast by family ghosts, wedding guests and ransoms (‘Everybody Knows’), the list grows long. Traffic, tights on, wrong shoes, under the table (‘One Day’), the list grows longer still. More please. (Shown in reverse order)
Film 35, ONE DAY (Zsófia Szilágyi)

Film 36, COLD WAR (Pawel Pawlikowski)

Film 37, EVERYBODY KNOWS (Asghar Farhadi)

Film 38, ARCTIC (Joe Penna)
#film
#Arctic
#thisiswinter
#visualharvest
#AsgharFarhadi
#MadsMikkelsen
#PawelPawlikowski

76!?! Fjord Review are "celebrating publishing over 500 pieces of dance writing”, and I am delighted and surprised to count that I have contributed 76 pieces since 2012. “Thank you to all our contributing writers for their #dedication, insight and passion. Writing about #dance is no easy feat, and being a dance critic involves many sacrifices, and yet here we are—thinking, writing and #reading about dance. So if it is a small miracle that we have such a brilliant cache of dance criticism evolving in today's messy world, it is in no small part due to our supportive, engaged readers—you—who are moved the possibilities of dance.”— @fjordreview ✨(Image credit: Betty Pounder, JC Williamsons’ resident choreographer, makes 'Jazz Spectrum', a new contemporary work, on The Australian Ballet, 26th March, 1964; source: The Australian Ballet, @ausballet)
#ballet
#hooray
#ausballet
#FjordReview
#readingwriting
#readingwritingthinking

#MIFF2018 Day 11
Arrive. Wait. Depart. Uplift. Gathering visuals, delighting in right angles, and, above all, finding hope in the waiting, if only a spark, still a #spark, over the course of a year in Germany. Indifference is a four-syllable word that does not apply to my time in Berlin’s Tempelhof Airport with an 18-year-old Syrian refugee named Ibrahim and an aspiring doctor from Iraq, Qutaiba. On a two-film day, sweeping from Karim Aïnouz’s ‘Central Airport THF’ to the mossed and impossible Icelandic landscape of Benedikt Erlingsson’s ‘Woman at War’ with power tools, vocal chords, and #environmental cause at the ready, danke, shokran, Þakka þér fyrir.
Film 33, CENTRAL AIRPORT THF (Karim Aïnouz)

Film 34, WOMAN AT WAR (Benedikt Erlingsson)
#hope
#refugees
#brightspark
#KarimAïnouz
#refugeecrisis
#CentralAirportTHF
#BenediktErlingsson

Walking in to #MIFF2018. Walking out from Iceland, Berlin, past, present, future, scramble. In and out, in and out. (Mural by Magic Lantern Studio, Lucy Parkinson and Gonzalo Varela.)
#onfoot
#passing
#MagicLantern
#strangeanimals
#leopardcantchangeitsspots

Some days roll, piece by idea, into a charmed and gruelling #MIFF2018 four-film day, and day 10 was one such day. One moment we were being swindled by the keys as the pianist played their own timed serenade to the McDonagh sisters’ ‘The Cheaters’ (1929), and the next we were in a succession of glass-plate photographs (taken between 1937 to ‘44) in Romania, as the words of a Jewish doctor Emil Dorian revealed all and fell. In a saturated palette trance, we found ourselves in ‘Zama’ with Don Diego de Zama and a llama, and heeded the whispered advice to keep our bloodied stumps in the sand if we wished to survive. (Hold on to the scene-stealing llama, it’s your only reprieve. This is brutal. This is colonialism. The cruelty of man. The greed of man. Then and now.) The furniture assembled on the sand, it could have come from the silent era, and a useless gift of a four-poster bed became a drying rack for dyed fabrics. With ears ringing from the relentless sound, doused in the sadness of it all, our final experience, the comparative ‘Wizard of Oz’ tonic of ‘Yomaddine’ by cart, with Beshay, Obama, and a donkey named Harby. Home is a leper colony. Home is true. And come judgement day (“yomaddine”), animals go straight to heaven. Those made into (tiger skin) rugs too.
Film 29, THE CHEATERS (Paulette McDonagh)

Film 30, THE DEAD NATION (Radu Jude)

Film 31, ZAMA (Lucrecia Martel)

Film 32, YOMEDDINE (A.B. Shawky)
#Zama
#Yomaddine
#TheCheaters
#LucreciaMartel
#McDonaghsisters

With ears like mountain peaks. (Another look at a corner of a collage from #FrenchConnections imagery which may or may not be drawn on the plate. Things are growing.)
#WIP
#nature
#collage
#lithograph
#newcontext
#outofcontext

#MIFF2018 Day 9: An owl-like in appearance potoo awaiting a plague of insects. The pad of prehistoric feet of a jabiru (I think, or was it a heron or an egret? A bittern? Did we see their face? Did Úrsula tell me but I was too busy looking at her necklaces and talismans; the exhumed bones lovingly cleaned in readiness to take their final resting place in the clan’s cemetery; the desert; the green; you could almost smell it; and then it rained, outside the Comedy Theatre; a bewildering sensory experience. And so I ask: was it a #jabiru?) as harbinger of bad things to come or mother protector, walking across the carpet. In La Guajira, with the Wayúu people (‘Birds of Passage’) flung from the soft silvered tones of ‘#Morocco’ and ‘Dressage’ at dawn: “estamos alrededor de tu fuego encontrando las palabras/ del silencio: donde anidan los pájaros del festín de la mañana” (“we are gathered around your fire finding the words/of silence: where the birds of the morning feast make their nest”), I collected horses, goats, #birdsong to rival a violin, and one of Amy Jolly’s apples which rolled into film four and fell on the floor (in ‘Ava’). Animals aplenty, symbolism, and visual threads to tie. The makings of a good day. Ready for more, Sunday. (Poem by Miguel López.) Film 25, DRESSAGE (Pooya Badkoobeh)

Film 26, MOROCCO (Josef von Sternberg)

Film 27, BIRDS OF PASSAGE (Ciro Guerra, Cristina Gallego)

Film 28, AVA (Sadaf Foroughi)
#birds
#ideas
#Dressage
#MarleneDietrich
#BirdsofPassage

A part of a whole. A collage from photographs, intended not as a finished image but as an image from which to draw on the plate. These owls may appear in the pocket of an etching. They may not. One thing is certain, the owl on the left is casting a spell with those eyes; she looks just like Lottie.
#WIP
#owls
#collage
#digitalcollage
#FrenchConnections

#MIFF2018 Day 8, a wonderful two-film day that was, for me, left hand resting in right, and I am reminded of the pleasure of a pair so complementary and different. Bitter sweet experience. Honesty. Love. The real bond of family that needn’t take only one form. Honesty and love make family. And, in ‘Retablo’, I am also reminded that you need to make artwork also for yourself. This is not a new revelation, but a reminder not to lose focus on the pleasure of making something and the honesty it too involves. Just as I felt I was becoming too focused on the outcome and how this will be achieved, there it was in the Peruvian Andes: enjoy making what you are making. My own #retablo. For now. Enjoy making. The message, the honesty, it will be in there. Leave some potatoes for the dough, not just the eating. (Shown in reverse order. Two films straight to the heart. Thank-you.) Film 23, RETABLO (Alvaro Delgado Aparicio L.) Film 24, SHOPLIFTERS (Hirokazu Kore-eda)
#Peru
#ideas
#making
#thisisfriday
#koreedahirokazu

Sweep, sweep, sweep. Thinking about what makes you read ‘frog’ where ‘fog’ is written (the word association of ‘The Green Fog’, #MIFF2018). Thinking about how the eye registers a miniature even when it is lifelike. More than the absence of details, is it the relative proportions being slightly off that first catches the eye (‘Nervous Translation’)? Sweep, sweep, sweep.
#Paris
#MIFF2018
#ideaharvesting
#visualharvesting
#ingloriousblackandwhite

Anguished. Pierced. Fatigued. Another glorious, visceral, day at #MIFF2018. And …. shadows fall on the soul (César Vallejo, 1892–1938). With last night’s white rabbit still in my hand (‘Nervous Translation’), to the Peruvian Andes, to ‘Retablo’, to see what further visuals I can harvest. Sweep, sweep, sweep. Alienation. Abandonment. Senselessness. Sweep, sweep, sweep.
#Peru
#Retablo
#thisisfriday
#CésarVallejo
#visualharvest
#NervousTranslation

#MIFF2018 Day 7 took me back to the ‘80s. The ‘80s, but not as I experienced them. The ‘80s in the house of LaBeija, Ninja, Xtravaganza (‘Paris is Burning’). The ‘80s through a doll’s house perspective. In the Philippines. (New York was a session ago — keep up.) With a white rabbit as a vessel to collect coins for white hairs plucked. With a Ningen pen for a beautiful life. The promise of a beautiful life. Place your palm on the television set and feel the static, hear the bristle. Rewind a cassette tape. Make the sound of the air conditioner. Hear and mistakingly record the sound of a dog barking in the night ('Nervous Translation'). Looking into two worlds, up close. Immersive, private, imaginative, through a magical lens. Where will today’s #films transplant me?
(Shown in reverse order)

Film 21, PARIS IS BURNING (Jennie Livingston)

Film 22, NERVOUS TRANSLATION (Shireen Seno)
#ACMI
#salvation
#abandonment
#ParisisBurning
#NervousTranslation

Learning every feather. Or the feel of them, at least. The Gouldian finch (Erythrura gouldiae), and a concentration of #Kookaburras sitting on a branch (titled “Our Jacks, Another” by A.J. Campbell, circa 1895; source: Museums Victoria). In readiness for a suite a prints, both etching and litho.
#WIP
#drawing
#specimens
#thisiswinter
#Gouldianfinch
#FrenchConnections

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