BLEED - Biennial Live Event in the Everyday Digital - is an artistic partnership between Melbourne's Arts House and Campbelltown Art Centre that's just unveiled its provoking 2022 program.
How can art reflect our transitory existence between online and real-world spheres? That’s just the beginning of what Arts House and Campbelltown Art Centre’s six-year artistic project BLEED series hopes to uncover, as they explore our lived experience across a variety of platforms. Today, BLEED announces new Taiwanese partners – Tapei Performing Art Center and the Museum of Contemporary Art (Taipei) – and their 2022 program, which will take place from 25 August-29 September across a variety of IRL and online mediums.
This is the second instalment of BLEED, which premiered back in 2020 with an intriguing set of explorations into who and what is missing in the ever-expanding encroachment of digital aspects into our lives. In 2022 BLEED will be crossing borders, both internationally and between the live and digital, as the program premieres eight ‘live’ and nine ‘digital’ contemporary art commissions.
What you need to know
- BLEED is a six-year long artistic series exploring online and IRL artforms
- BLEED 2022 takes place across three cities, Melbourne, Sydney and Taipei
- It runs online and in person from 29 August – 25 September
Explore Melbourne’s latest art events, exhibitions and performances here.
BLEED ’22 expands across the Asia Pacific – presenting in three cities and four organisations – as founding partners Arts House (Melbourne) and Campbelltown Arts Centre (Sydney) welcome the partnership and participation of Taipei Performing Arts Center, and Museum of Contemporary Art, Taipei. The focus of this partnership is to explore how art can be consumed, experienced, and translated online today.
It’s an apt expansion, given BLEED’s focus on the potential and problems of borders, while exploring the sites of intersection between humans, technology, media, history and nationhood, and our emotional, physical and digital geographies. The commissioned artworks are presented pairing live and digital components (in-person and online), and taken together, they are an expansive consideration of care through crisis, and the delays, disruptions, lags and glitches that make us more human.
BLEED’s 2022 program
For 2022, BLEED’s four partners present a bold multidisciplinary program across multiple IRL and digital platforms – integrating online and in-person components for audiences to watch, listen, read, reflect and feel their way through our IRL and URL existence.
Arts House (Melbourne)
Patrick Hase and Anuraag Bhatia present room2 – a suite of in-person and online digital performance spaces that plug into the transformative power of the early, pre-platform internet- a place for slower, collective reflection.
Busy busy busy. Running Machine considers the simple act of walking to strenuous physical labour, in a hybrid of dance and sculptural installation by Australian and Japanese artists Yuiko Masukawa, Sam Mcgilp, Harrison Hall, Makoto Uemura and Kazuhiko Hiwa.
Kafai e he kitea e koe ni ata ko tona uiga ko tō tino e he ia iloa fakalogo ki ona laloga is a multi-disciplinary work by Studio Kiin – negotiating cartographical perceptions of relationality and borders, probing the way genealogical knowledge transference is deconstructed, redefined and rejected in the digital.
Arts House say: “We are thrilled to be continuing our partnership with Campbelltown Arts Centre and extending this dialogue on digital and liveness in artistic practice with Museum of Contemporary Art, Taipei and Taipei Performing Arts Center. It has been a joy to work on a collective curatorial and producing model and consider our place in the Asia Pacific as our artists think through the fluidity of borders, glitches in the matrix and hybrid encounters alongside some of our region’s influential experimental practitioners.”
Campbelltown Arts Centre (Sydney)
Multi-disciplinary artist Jodie Whalen presents Endless Blue Edge – a new video work which captures the Western Sydney sky and explores the borders of internal and external landscapes, belief and transformation.
Sap 濕 by musician and interdisciplinary Chun Yin Rainbow Chan 陳雋然 is an audio-visual installation contemplating the intimate ties between love songs, cultural memory, and identity formation.
Born and raised on Ngunnawal/Ngambri Country, Worimi man and paratactical artist Dean Cross brings together still image, moving image and an augmented reality (AR) sculpture replicating Australia’s largest bird of prey, the Wedge-tailed Eagle for you can never touch your shadow.
Campbelltown Arts Centre say: “We’re very excited to be producing the second iteration of BLEED after a stellar debut in 2020. The artists that have been commissioned for this year’s program are among the forefront of multidisciplinary contemporary art movements in their respective cities. At a time when it has never been more relevant to interrogate what it means to cross, blur and break down borders, we are proud to be collaborating with Arts House, Taipei Performing Arts Center and Museum of Contemporary Art Taipei to present this celebration of new media art – the most innovative event of its kind.”
Find out more information here.
