Stuart Ringholt

Discipline-4-coverDiscipline-4-spread

Discipline No. 4


Edited by Nicholas Croggon, David Homewood, & Helen Hughes; with a guest edited section by Ferdiansyah Thajib, KUNCI Cultural Studies Center; and designed by Robert Milne.

Contents

Cover : Gordon Bennett

Editorial by Nicholas Croggon, David Homewood & Helen Hughes

Elizabeth Newman: Abstraction, Simulation, Obscuration by Francis Plagne

Critical Ambiguity: A Kantian Reading of Recent Work by Juan Davila by Helen Johnson

Trans-Pacific: Abstract Painting in Australia, New Zealand and America 1930–1960 by Rex Butler & A.D.S. Donaldson

Object Documentation by David Homewood & Bronté Lambert

The Dispute at the 19th Biennale of Sydney by Michael Ascroft

Illusion in Wendy Paramor’s Triad by Amelia Sully

Ambient Perspective and Endless Art by Nikos Papastergiadis & Amelia Barikin

Figures of the Machine: Richard Tuohy’s Halftone Films by Giles Fielke

Non-Resolution IRL by Danni Zuvela

Interview with Hito Steyerl by Amelia Groom

The Three Bodies of Angus Cerini by Jon Roffe

Encountering a Collection: Fiona Connor’s Wallworks by Kate Warren

What it’s Like to Dance Naked in the Museum and Other Thoughts: Stuart Ringholt’s Kraft (2014) by Liang Luscombe & Patrice Sharkey

Contemporary Art and Contemporaneity: Reflections on Method, Review of Reviews (Part 2) by Terry Smith

The Eternal Return of Irony: Gordon Bennett (1955–2014) by Ian McLean

Clothes by Centre for Style

Back Cover : John Citizen

Guess edited section by Ferdiansyah Thajib, KUNCI Cultural Studies Center (loose booklet in Bahasa and English)

Holopis Kuntul Baris: Karya Seni di Era Kolaborasi yang Tampak Mekanis / Holopis Kuntul Baris: The Work of Art in the Age of Manifestly Mechanical Collab­oration

Pengantar/Introduction by Ferdiansyah Thajib

Kerangka Kolektivitas/Terms of Collectivity by Simon Soon

Wok the Rock & Co.: Memahami Persahabatan dalam Dunia Seni Yogyakarta/Wok the Rock & Co.: Making Sense of Friendship in Yogyakarta’s Art Scene by Nuraini Juliastuti

Punkasila, Kerjasama dan Persahabatan/Punkasila, Cooperation and Friendship by Syafiatudina

Hestu A. Nugroho (Setu Legi)
(artist pages)

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Hashish Psychosis:
What it's Like to be Mentally Ill and Recover / Stuart Ringholt

“It was a Saturday when I arrived at the embassy. I quickly explained to the guard that I was being ‘hunted down to be killed’… I was soon told to come back on Monday as the embassy was closed. On hearing this, and in fear that George would turn up any minute, I threw all my belongings over the gates including my passport, credit card and a large wad of 100 rupee notes.”

In 1994 after finishing university disillusioned and working dead end jobs, Stuart Ringholt found himself in India experiencing cheap drugs and the hippy lifestyle. Bingeing on hashish he soon became grossly thought disordered and descended into psychosis and psychiatric hospitals. In honest and simple terms, Stuart reflects on his illness and subsequent ten year recovery process involving drawing, performance art and learning to socialise drug free.

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Reinventing The Wheel: The Readymade Century

Publication to accompany the exhibition “Reinventing The Wheel: The Readymade Century”, 3 October – 14 December 2013, Monash University Museum of Art, Victoria, Australia.

Arguably the most influential development in art of the twentieth century, the use of the readymade was set in motion 100 years ago with Marcel Duchamp’s Bicycle Wheel. Giving birth to an entire artistic language, Duchamp’s conversion of an unadorned, everyday object into a figure of high art completely inverted how people considered artistic practice. Suddenly, art was capable of being everywhere and in everything. It was a revolutionary moment in modern art, and the ripples from this epochal shift still resonate today.

Reinventing the Wheel: the Readymade Century pays tribute to this seminal work and traces the subsequent elaboration of neo-dada practices, with a particular focus upon everyday and vernacular contexts; the mysterious and libidinous potential of sculptural objects; institutional critique and nominal modes of artistic value; pop, minimalism and industrial manufacture. These discursive contexts will also provide a foundation to explore more recent tendencies related to unmonumental and social sculpture, post-fordism and other concerns, particularly among contemporary Australian artists.

Bringing together works by over 50 artists – from Duchamp and Man Ray to Andy Warhol and Martin Creed, along with some of Australia’s leading practitioners – this is a one-of-a-kind salute to an idea that continues to define the very nature of contemporary art.

Artists:

Carl Andre, Hany Armanious, Nairy Baghramian, Ian Burn, John Cage, Christo & Jeanne-Claude,  Tony Cragg, Michael Craig-Martin, Martin Creed, Aleks Danko, Julian Dashper, Simon Denny, Marcel Duchamp, Sylvie Fleury, Ceal Floyer, Claire Fontaine, Gilbert & George, Félix González-Torres, Agatha Gothe-Snape, Greatest Hits, Matthew Griffin, Richard Hamilton, David Hammons, Matt Hinkley, Lou Hubbard, Barry Humphries, Jeff Koons, Joseph Kosuth, Louise Lawler, Klara Lidén, Andrew Liversidge, James Lynch, Robert MacPherson, Rob McKenzie, Callum Morton, John Nixon, Meret Oppenheim, Joshua Petherick, Kain Picken, Rosslynd Piggott, Man Ray, Scott Redford, Stuart Ringholt, Peter Saville, Charlie Sofo, Haim Steinbach, Ricky Swallow, Masato Takasaka, Peter Tyndall, Alex Vivian, Danh Vo, Andy Warhol, and Heimo Zobernig.

Curatorial team:
Max Delany (former MUMA director), Charlotte Day, Francis E. Parker, and Patrice Sharkey.With texts by Rex Butler, Charlotte Day, Francis Parker, Patrice Sharkey, and a never before published text by Thierry de Duve.
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