#Alex Selenitsch

[garadinervi]

«Polartis», Special issue 1999 (A Decade After), [innumbered issue], Edited by Pete Spence, Look!! Poetry!!, Ocean Grove, 1999. Poetry by Bev Bell, Javant Biarujia, Cornelis Vleeskens; concrete poetry by Almandrade, Dmitry Babenko, derek beaulieu, Julien Blaine, Christian Burgaud, Warren Burt, Guillermo Deisler, David Dellafiora, Klaus Groh, Karl Kempton (cover), Dennis Mizzi, Clemente Padín, Jane Romany, Alex Selenitsch, Pete Spence; graphics by David Bell, Constanca Lucas, Perren Spence-Pearse

[chrismbr]

Part of the #RMIT art collection up on the walls at work, including Alex Selenitsch (one of my tutors decades ago), Damon Kowarsky, Rona Green, David Frazer and, in her own seat niche, Clare Rae. (at RMIT Melbourne City campus) https://www.instagram.com/p/Cez90NmLJw2/?igshid=NGJjMDIxMWI=

[anassemblage]

1. “Real time flows in when the surrounding light changes.”

Alex Selenitsch, Spatialising Time

[to-de-note]

Task 3: Using Notation to respond to site and situation.

Looking at lines. Taking space, marking boundary and tracing.

Drawing in Landscape.

Notation Across Disciplines: Spatialising Time, By Alex Selenitsch

[notationsby-blog]

Selenitsch, Alex. 2017. “Spatialising Time”. In To Note : Notation across Disciplines, Mathews, Hannah, Testen, Žiga, and Geddes, Stuart., 249-283. Melbourne, Australia: Perimeter Editions.

[emmalanternyr2]

Richard Tipping

Skywriting made in March 2007. The idea of four-dimensional sculpture proposed by theDimensional Manifestoof 1936 has found its realisation through the continuing use of skywriting as a medium in contemporary art. Here Richard Tipping briefly discusses the phenomenon looking at artists Mary Lou Pavlovic and Guy Warren who produced works in association with major public, sporting and political events within Australia. Tipping also raises the question of how such a temporal practise as this is to be considered within the realm of contemporary art. What I found about the artwork is how abstract and unique with its minable display and text writing. even though it was a commissioned work, I would like to see the work almost bleed out of a wall, in the same abstracted words to make the audience look closer and examine the work further

Alex Selenitsch

Words, words, words: Mike Brown, Ruark Lewis, Rose Nolan.  On its own, a word points to both the sentence that it might end up in, and also to the thought that precedes it. This zone between thought and convention allows artists to foreground qualities that are normally ignored in linguistic acts. Alex Selenitsch looks at a number of post WW2 tendencies or art movements which have made use of words: Action Painting, Graffiti, Concrete Art, Conceptual Art, Fluxus and Pop Art. Selenitsch uses the examples of Mike Brown, Rose Nolan and Ruark Lewis to highlight specific functions of the word, whether it be the morphing of word and image into one, the iconic and formal aspects of words or the relationship between visual and aural language.

James Stuart

Text-art and interactive reading. James Stuart explores the spatial and interactive aspects of text-based artworks, leaping off the page and into the textual practices of Peter Lyssiotis and Franz Ehmann. Lyssiotis is a writer and photo-media/collage artist and creates books that generally combine his own artworks and writings in collaborations with others. Among the most impressive of his projects is the recent A Gardener at Midnight: Journey into the Holy Lands, developed as part of a Creative Fellowship at the State Library of Victoria in 2003 which is of particular focus in this text. Brisbane-based/Australian-born Ehmann is concerned with the physical reading environment of the gallery and in turn, deploys a multi-disciplinary approach to the physical space and temporal duration of his exhibitions. Via the works of these two practitioners Staurt here wishes to posit the very real sense of bodily and not just intellectual interaction with language that reading entails.

[leileikung2]

Health & Wellness, co-curated by Christopher LG Hill & Gian Manik, with Hugo Blomley, Nicola Blumenthal, Lauren Burrow, Carmen Sibha Keiso, Kate Meakin, Liam Osborne, Nick Selenitsch, Savanna Szelski, Alex Vivian

[worldfoodbooks]

OPEN TODAY 12-7 PM! New shipments from ART AGAINST ART, WALTHER KOENIG, STERNBERG PRESS, TEXTE ZUR KUNST, MUSEO JUMEX, 299 792 458 M/S, KUNSTHALLE BREGENZ, ENCENS, MODE & MODE, ALEX SELENITSCH, ROMA, VALIZ, THE MIT PRESS, FIA ART, MOUSSE, RAVEN ROW, EDITION PATRICK FREY, KUNSTHALLE WEIN, and many more, plus OUT OF PRINT, RARE catalogues, books and editions arriving weekly. #worldfoodbooks (at WORLD FOOD BOOKS)

[fortuitoushappenstance]

1981 Layout by π.O./Alex Selenitsch/Peter Murphy/David Harris/Terry Bennett (Cover designer uncredited)

[samisabook]

Alex Selenitsch

 is an Australian concrete poet and artist whose work investigates the fuction of text and its relationship with imagery and symbols.

Selenitsch’s 2000 work singles is an interesting dissection of the printed page. It is well explained without images in his Life/Text exhibition book:

“Selenitsch assigns three or four pastel colours of correction fluid to systematic patterns that respond to different material properties of the printed text. For instance, on one page the lines of text are painted green except for single-letter words which are left exposed and flanked by dashes of pink and blue to highlight the preceding or subsequent words.”

I like the idea of finding the rhythmic and structural qualities hidden within the jumbled mess that is a printed page of text. It makes me consider whether digital text has its own rhythm and pace that could be highlighted in such a way?

[fun-corner-for-sam]

Alex Selenitsch 

[aamjp]

Concrete Poetry from Heide Museum of Modern Art

This video introduces you to concrete poetry and explores how it combines space, language and print. Artist Alex Selenitsch also shows us some examples of his work and discusses his creative process. We encourage you to look closely, think and create your own concrete poem!

[anassemblage]

4. “Notation is a way of inventing composition, of putting together a complex artefact or a set of relationships. Therefore, there is emergence; fuzziness, ambiguity materiality, misinterpretations and mistakes are valued.”

Alex Selenitsch, Spatialising Time

[visual-poetry]

"the four elements" by alex selenitsch

[anassemblage]

4. “What do such notations ask one to do?”

- Alex Selenitsch, Spatialising Time

[anassemblage]

Spatialising Time

Part One

By Alex Selenitsch