Micro Galleries Denpasar

In October 2015, I was fortunate enough to collaborate with Jonas Sestakresna as part of the Micro Galleries project at Badung Traditional Market in Bali, Indonesia. In the weeks leading up to the event and over the course of this public art exhibition, Jonas and I devised a plan to embark upon a projection mapping and video regime that melded our skills and practice backgrounds.

Jonas was one of the exhibiting artists at the Jakarta Biennale in 2015 (along with Melbourne-based Tom Nicholson) and has produced numerous projection, installation and musical projects. At Micro Galleries, together we sourced over a dozen old television sets, which we converted into shells encasing white screens. We mounted these TVs onto bamboo and hung them from a bridge over the river adjacent Badung Market. During the lead-up to the installation, we captured video from the market and natural environments around Denpasar to use as content. We spent the weekend exhibiting onto various surfaces and produced a series of live visual graphics. In addition to the Badung Market interventions, I also produced a separate work for single-channel screenings at Lingkara Gallery, alongside 2 previous videos I’d produced in Indonesia, Vicissitude and Manikebu, from my Econasia series.

ローマ字

Romaji (ローマ字) is a term that defines the romanisation of Japanese script to aid translation of that language into roman characters. The term loosely describes the phonetic translation of Japanese language to English (or romanised) languages emanating from the Western world. This title was chosen for the project because the production of these video art works are born from a similar pursuit. This effort is to transcribe ideas of political theory in contemporary Asia to those people viewing the works in Kyoto, Japan.
The Econasia series is a project that has spanned four years and encompasses nine single and multichannel video art works, with accompanied photographs.
Econasia: Romaji incorporates 4 of these video works that investigate both the manmade and natural environments in North Korea, Japan, Indonesia and Malaysia. Local social and political accounts that relate the economic and political influences driving the socalled Asian Century are interwoven with modernist literature, sound, and contrived narratives that depict political science in the moving image.

VIDEO & SOUND: M T WALKER
SOUND COLLABORATORS: SARAH PHELAN, JONATHON NOKES
NARRATIONS BY: JUN MIYAGI, JIHYUN LEE, YANXIN LI

Econasia: Explicate

A formal exploration of space, absent of people, Walkers video, while at times alienating and impersonal, is a compelling and mesmerising reflection upon the social function of architecture.”

Ross Coulter (presenting Explicate as winner of Excellence in New Media RSG Art Prize)

The work addresses the way in which Western countries perpetuate the state of lack that haunts formerly colonized territories and problematizes the prosperity of economic neoliberalism.”
Diego Ramirez (from Money Map: Thoughts on M.T. Walkers Explicate)

Econasia 9: Explicate exhibition opens at Rubicon ARI on June 11 from 6pm
Level 1 / 309 Queensberry Street, City.
June 11June 28, 2014

Econasia: Maritime

Maritime contains video and photographic works that form parts four & five of the Econasia series. The videos Irredentist and Affirm were filmed on the Yangtze River in China and the Inland Sea in Japan, respectively. Incorporating political science text and passages from Albert CamusThe Plague these works hope to offer an evocative consideration of contemporary political tensions in East Asia. The videos feature sound by Sarah Phelan & Byron Dean, with vox by Yanxin Li & Jihyun Lee.

This show is perhaps the most poignant representation of the Econasia series to date and will run at Kings Gallery from May 29 until June 22 on Level 1 / 171 King Street.

www.facebook.com/events/308034985996181/

Irredentist Video Still

ABOVE: STILL FROMIRREDENTIST