Ego as Echo II
1 May–31 Jul 2020
Ego as Echo II forms part of Makiko Yamamoto’s ongoing exploration of speech as a social currency through performances, text, video and sound-based artworks. Extending from the artist’s recent considerations of the topics of ventriloquy and non-human communication, Ego as Echo II is a new video essay consisting of a series of audio and visual dialogues between the artist, her voice and her body. Using an array of rhetorical and conceptual strategies, Yamamoto explores the relations between embodiment, subjectivity, language and interpretation in practices of (self-)reproduction.
Ego as Echo II forms part of Makiko Yamamoto’s ongoing exploration of speech as a social currency through performances, text, video and sound-based artworks.
Exhibited on Blindside Satellite screens online + on public screens at Bunjil Place, Narre Warren; Harmony Square, Dandenong; Liverpool, Sydney and Beenleigh, Queensland.
Makiko Yamamoto (b. Japan) is based in Melbourne, Australia, where she has been developing her sonic and spatial practice over the past 15 years. She uses a wide range of formats – live performance, private recordings, radio broadcasts, video and sound-based installation. Yamamoto’s practice engages a theoretical approach, repositioning fundamental materials such as the voice, the body and language as conveyers of meaning. Employing translation, misunderstanding and awkwardness as critical tools, Yamamoto seeks to expose the vulnerabilities of social and ideological codes underlying everyday verbal communication: speech, text and language.
Martina Copley is an artist, curator, educator and writer interested in different modalities of practice and the annotative space. Working in film and sound, drawing and installation, her doctoral research project at the Victorian College of the Arts, University of Melbourne, 2019, considered the transposition of the rhetorical figure of the aside as a poetic strategy in art.
Recent exhibition projects and publications include Strange Alchemies [Heavy Breathing], with Bridie Lunney and James Carey, RMIT Project Space, 2022; Offering: A Fragmentary Index, with Josephine Mead, Liquid Architecture live Mono-poly, 2022; Pant and doorbell thump__ is wants wants, with Lou Hubbard, BUS Projects, 2020; The other writing, Seventh, Melbourne, 2020; Doubting Writing/Writing Doubt, ACCA + RMIT non-fiction Lab, 2019; No Notes (This is writing), with Francesca Rendle-Short, 2017; Unhidden, Counihan Gallery, Melbourne, 2017; Between these worlds there is no ordinary continuity, Melbourne Festival, 2016; FM[X] What would a feminist methodology sound like? WestSpace, Melbourne, 2015; A Listener’s guide to bowing, Melbourne School of Architecture & Design., 2015; Black Painting, seventh, Melbourne, 2014; New Ancestors, City & Docklands Libraries, Melbourne, 2014; At dawn the image rings a dissonant tune that is inaudible to our ears and cannot be recalled, with Michaela Bruton, BUS Projects, 2014.
Martina works with contemporary artists and creative organisations as an independent curator of contemporary art and gallery manager in public, commercial and artist-run contexts. Selected curatorial projects include; the humbleness and the cut away, Blindside Mobile, 2022; Works<30s No.46-55 – With Lou Hubbard, Nathan Gray, 2016, BLINDSIDE PLAY, Melbourne; I always read by listening to the text, 2014, Platform, Melbourne; Bridie Lunney: The place where the fire is kept, 2014, Phoenix Foyer Commission, Melbourne; Self Species, 2012, LaTrobe University VAC Gallery, Bendigo & Maroondah Gallery, Victoria; The Five Obstructions, 2011, Margaret Lawrence Gallery, VCA, University of Melbourne; WALK, national touring exhibition, 2009; The Time It Takes, 2009, Gippsland Art Gallery, Sale, Victoria.
Martina is a lecturer and tutor at RMIT University and at LaTrobe College of Art + Design in Melbourne. She is an Artistic Director and the gallery coordinator at Blindside Art Space.