​

CONCEPT 

The quality of 'Monazyte Geist' builds on Caroline Rannersberger and Julius Schwing's highly successful 2016 'EDGE2 Isthmus' project, part of MOFO 2016, by once again bringing together music, visual arts and geomorphology. Conceptually the project will focus on the movement of Tasmania as it drifted from the west coast of the USA (part of the Nuna supercontinent - Northern Europe and North America) across to its current location around two billion years ago. The work will be presented as a series of sensations and experiences through sound and image, mapping the imagined experience of geomorphological shift. The working title of this project, 'Monazyte', is one of the minerals found in 'Nuna' and possibly in northern Tasmania. Clearly, there is a playful link to MONA. More importantly, minerals and elements form the building blocks of existence. Furthermore, given the link to north America, the artists will explore the possibility of an international joint project, international research and the (reciprocal) staging of the project in the USA.

​

To describe geomorphological and mineral reactions Schwing and Rannersberger will draw on pre-enlightenment concepts and will show change as a series of alchemical processes. At the basis of the alchemical changes is colour, noted for example in the medieval work, ‘Splendour Solis’, an illuminated manuscript that incorporates four stages of colour: black/nigredo, white/albumen, red/rubedo, yellow/citrinatis. Further to mineral and elemental shift, the artists see the landscape of Tasmania as if in a constant state of ‘becoming’. No sooner has a shift occurred, than the end state begins to morph into a new beginning. As Rannersberger observes, colour and the concept of 'becoming' are inextricably linked through alchemical reactions. The artists intend to further relate alchemy to music and the visual arts in a contemporary context of geomorphological ‘becoming’. They are aware of alchemy as a concept applied to the work of Umberto Eco in literature and Carl Jung in psychoanalysis. Importantly, they will seek to apply their own notions of alchemy, and will conduct research into medieval image and sound with a view to representing geomorphological shift through a contemporary reading of visual arts and music.

​

​

WHAT, WHO, WHEN, WHERE

This project is an interdisciplinary collaboration between Julius Schwing, musician and composer; and Caroline Rannersberger, visual artist, researcher and curator. Field specialists, including Daniel Sprod and other relevant scientists/ ecologists will be consulted as required. The administration is supported by Bruny Island based company Social Justice Communications Pty Ltd (convenors of the EDGE Projects). 

 

The project will consist of three main elements that relate directly to the concept of geomorphology and the Tasmanian drift from Nuna:

(1) MUSIC: composition, performance and recording of a new body of music.

(2) VISUAL ARTS: The development of a body of work through painting, installation and experimental media

(3) SOUND/IMAGE INSTALLATION: The correlation between the sound and the image expressed through experimental media. This may for example, take the form of a cathedral like space in which an altar becomes a kind of ‘offering to the god of geomorphology’. A fusion of inhabited space and place that celebrates change and constant reformulation. A kind of warped pseudo religious depiction of the core movement that has shaped our world.  

​

MUSIC

a) live performance in the space. This music would augment the classic trio format of guitar, bass and drums with electronics and pre-recorded sounds. Rather than breaking things down into separate pieces, the music would focus on density and a holistic, all encompassing energy. This may include a long semi improvised piece that is steered by a detailed graphic score with four main sonic “areas” of prescribed rhythm and pitch that will align with the four alchemic colours.  Driven by each player’s choices of timing and execution, the ‘areas of rhythm’ will appear and disappear at random, drawing on the “mind of it’s own” approach. To an extent, this reflects the visual arts method used in this project which applies clashing mediums that suggest a burying and re-surfacing of geomorphological activity. Schwing is particularly drawn to the music of John Luther Adams. “Become Ocean” is particularly relevant to the type of music envisaged for this project. In addition, the medieval music of Hildegard von Bingen is also relevant.; b) a separately composed piece of music that plays continuously (which could come from the same concepts as the live improvisation) that is much sparser and supportive of the milieu created by the visual art, with occasional bursts of ‘alchemical’ energy. This may suggest for example, the fusing of metals through big sparking explosions of splintered and tormented Gregorian harmony. These events would happen every ten minutes or so and would be underpinned by a constant bed of low end density that would be present all the time. The events would echo off into the distance leaving just the drone.

​

VISUAL ARTS

a) a cathedral like altar and space that provides a ‘stage’ for the sound. The ‘altar’ may be 2D laser cut ply (easily transportable!) or a more three dimensional form that involves, for example CNC routing to create convoluted surfaces echoing the effusive forms of baroque altars (see Tate Modern http://cncrouting.co.uk/projects/tate-modern/).; 

b) four visual spaces that relate to the ‘sonic’ areas and are directly drawn from the four colours of alchemy: black/nigredo, white/albumen, red/rubedo, yellow/citrinatis. These spaces would be either very large painted canvases that are demountable to provide for transport and touring possibilities or direct painting on the walls.; 

c) Heavily worked reactive surfaces involving three key elements. Firstly, the creation of highly textured and scarified surfaces which occur through reactions between different mediums and surfaces. To an extent, these reactive surfaces mimic the geomorphology of the land. Secondly, the application of vivid colour, referencing in particular metaphysical and alchemical concepts dating back to antiquity. Thirdly, the relationship between the land and the painting experience. In terms of content, using a mix of inks and acrylics, the painting process and alchemical reactions of paint become a means to investigate ocean and land forms.  This is a way to describe how the medium mimics the geomorphology of the land and the processes of land formation. In addition to experimenting with painting processes, colour is used as a language to describe affect and effect; namely the experiential processes. The colour palette includes deep gold yellow and greens (citrinatis); rich scarlet ochres scored with vibrant cobalt and purple blues (red/rubedo);  intense blacks (nigredo) and shimmering fluid whites (albumen) through mixing and overlaying pigment, paint and various mediums. There is a kind of physicality about the colour as if it lives and breathes, shifts and shimmers. As if the geomorphological and elemental changes in land formation are contained within the layers of the painting.

​

The 'gallery/stage' will be completely blacked out with selective lighting. One end of the room will be dedicated to an altar with the rest of the room in relative darkness. The installation will be imposing, reaching all the way to the roof of a tall building; complex and intimidating.  It will recall the fused concepts of mind and body (before the Descartes split that presages modern science), and will reflect the world as a blend of natural philosophy.

WHERE: In the first instance the event will be staged on Bruny Island at the Alonnah Hall. It will also ideally take place at a venue in Hobart and may tour nationally.

​

ARTISTIC PRACTICE

Schwing and Rannersberger have consistently demonstrated innovation and progression in their work. They are highly recognised by their peers in their individual art forms. Caroline Rannersberger pushes notions of visual arts methodology, moving beyond the conventional forms of painting, exploring interdisciplinary methods of art practices. She exhibits both locally and nationally to acclaim, both in commercial galleries and also in a public venues. Her community work as a curator and arts facilitator on Bruny Island has engaged practitioners across a broad demographic, particularly through the inclusion of the EDGE project in the 2016 MOFO line up. Julius Schwing likewise composes highly creative and original music which he successfully brings to the stage both nationally and internationally. Schwing is also a regular performer during MOFO events.