Mish Grigor, Sarah Rodigari, SJ Norman and Collaborators
Adhocracy 2017 residency project
Each year Vitalstatistix hosts a unique artist-in-residence initiative. Guest Australian artists join us to develop a new project, working with a team of South Australian collaborators, in the two weeks leading up to Adhocracy.
This year’s commissioned project, Second Hand Emotions, is presented in partnership with artist-run initiative Fontanelle, in celebration of their relocation to Port Adelaide and the epic, multi-sited feminist art festival, FRAN.
Second Hand Emotionsis a process-driven, queer and discursive project responding to the provocation of ‘love and feminism’, the theme of Fontanelle’s keynote exhibition during FRAN. Led by artists Mish Grigor, Sarah Rodigari, SJ Norman, Second Hand Emotions will develop performative, documentary and other responses for presentation at Adhocracy and installation as part of Fontanelle’s Feminism and Love.
Mish Grigor is an artist whose work investigates the relationships between popular entertainment and experimental art practices. She enjoys moments of great theatricality placed very close to the absolutely mundane, and has an ongoing fascination with new writing for performance.
SJ Norman is a cross-disciplinary artist and writer. Their work traverses performance, installation, sculpture, text, video and sound. Live performance remains the core of their practice: working with extended duration, task-based, and endurance practices, as well as intimate/one-to-one frameworks, Norman’s primary medium is the body: the body as a spectacle of truth and a theatre of fantasy; a siphon of personal and collective memory; an organism with which we are infinitely familiar and eternally estranged; a site which is equally loaded and empty of meaning, where histories, narratives, desires and discourses converge and collapse.
Sarah Rodigari is an artist whose work is an ongoing practice of wrong reading. Continually ‘off-script’, Rodigari seeks to elaborate the gap between the performative and the social, between gestures and their categorisation, through site-specific performances and encounters. Often minor in scale and poetic in address, her work encompasses a variety of shifting forms and modes, from endurance actions, to one-on-one contractual performances, and text-based works. As such, through strategies of humility, absurdity and contradiction, Rodigari seeks to both render visible the given conditions of her labour — the common sense that prevails, or the ‘script’ as such — and the potential for this script to be otherwise. Thus within Rodigari’s work, ‘wrong’ becomes contested and contingent — perhaps resistance, perhaps critique, or something else all together.