THE SUBSTATION, MELBOURNE
JULY 2 – AUGUST 28
NATURE EXTEMPORIZE is a survey from visual artist, filmmaker and performer/musician Tina Havelock Stevens. With an abiding interest in the ambiguities of human nature and natural forces – and the contradictory relationship between the two – Havelock Stevens acknowledges this in her neon work and immersive audio visual installations.
Havelock Stevens combines her inquisitiveness as an observational filmmaker with the energy and drive of an improvisatory drummer, contemplating the psyche within spaces and channelling the energy and emotion of the sociological and the environmental. These loaded sites, imbued with belief systems, movement, ritual, immediacy, and the autobiographical, extend from the Philippines to the Southwestern United States, and from NYC, to a Surry Hills lounge-room in Sydney. Havelock Stevens draws attention to things that are just there, to feelings and events that we can’t control.
6 March – 19 June, 2021 Canberra Museum and Gallery (CMAG)
Examining imagery alluding to the built environment, HABITAT: Ways of living features works by artists from Canberra and around Australia.
This exhibition reveals ways of living in a variety of environments – from high-rise, high-end apartments, to suburban subdivisions and locations where inhabitants have endured the collapse of their communities. These contemporary artists reveal how the built environment responds to, and is influenced by circumstance. The exhibition tells individual stories of the resilience and imagination of the human spirit.
The featured artists in HABITAT: Ways of living include: Alex Asch, Burchill/McCamley, Miriam Charlie, Sean Davey, David Flanagan, Michal Glikson, Tina Havelock Stevens, Katie Hayne, Mikhaila Jurkiewicz, Waratah Lahy, Hardy Lohse, Catherine O’Donnell, David Paterson, Alan Patterson, Patrice Riboust, Natalie Rosin, Khaled Sabsabi, James Tylor (Possum).
A non-linear cinematic film.
Now and then, co-performer Wawn leaves the raft to write numbers, out of order, on the pillars along the space. At other times, Havelock Stevens disappears—sometimes with a thunderous crash and a sudden cut, and sometimes more quietly as she moves behind a pillar—only to reappear somewhere else.
These constant disappearances suggest portals, and the existence other worlds somewhere out there. Sunlight streams in through the windows. The reflections of passing trains sometimes dance across their glass. Yet the focus of Thank You For Holding is firmly introverted—on the feeling of anxiety and uncertainty, and that slow-building pressure in the body – Jane O’Sullivan, 2021
ESSAY by curator Daniel Mudie Cunningham
Ghost Class Series (2015)
Ghost Class, (Installation views)
ROOM SHEET ESSAY
ARTIST LED AUDIO TOUR
Tina Havelock Stevens’ works encourage an experience of the world that is attuned to emotional responses, to the rhythm and movement of structures and environments that we inhabit and traverse. She brings together her energy and drive as a drummer and performer with the inquiry and observation of her experience as a documentary film-maker. Present in her works is an innate aural and visual intuition. They offer the experience of suspended time, gauging the cerebral temperature and tempo of passing moments.
“I love things that travel and soar. I love quiet and loud. Fast and slow. I love minor chords, intuitive surprises and whatever that equivalent is in all of my visual work too. I like that an audience can share an experience but have multiple perspectives.” – Tina Havelock Stevens
• ‘HOLUS BOLUS’, 2020, Gold neon, 152 cm x 20 cm, 1/5 + 2AP. Photos by Bo Wong.
• ‘Ghost Class’, 2015 , HD video with sound, 10:59.
• ‘THUNDERHEAD’, 2016, HD Video with sound by Tina Havelock Stevens and Liberty Kerr, Infinite loop.
• ‘Let’s Groove’, 2017, HD video with sound, 8:50.
• Come Together, Right Now, 2006/2018, Digitised super 8 film with sound, 4:59.
In Double Double, dance artists Jo Lloyd and Deanne Butterworth are joined by interdisciplinary artists (on drumkits) Evelyn Ida Morris and Tina Havelock Stevens in an epic meeting of four performers where spontaneous compositions and formations emerge out of a physical and sonic mania. Over the course of two hours, the performers lap through time and space as their personas merge, separate and collide. Motion and noise slap against each other as tension escalates, making for a riveting sensory experience.