UTS ART Dark Matter Education Resource

Soda_Jerk Dark Matter Education Resource

Teachers: Thank you for your interest in UTS ART and our Education and Outreach program.

This resource was developed by UTS ART Education and Outreach for the UTS Gallery exhibition Dark Matter.

It is intended to provide some extra information and insight into the work and practice of two-person art collective Soda_Jerk, as well as exploring video art and appropriation. It suggests some classroom and independent learning activities based on the show and its related themes and concepts.

This resource was written with the NSW BOS Visual Arts Stage 4 and 5 Syllabi in mind. It is however, designed to be easily adaptable for other educational frameworks and age groups, for students with non-English speaking backgrounds and with specific needs. It can both support a visit to UTS ART Gallery and be used independently.

The booklet includes space for note taking, and key words are highlighted in a glossary to support understanding, vocabulary enrichment and literacy development. Green boxes indicate questions for discussion, which could also be used for extended response writing practise.

For NSW teachers and students, activities are structured around the Frames, Conceptual Framework and Practices.

We hope that you and your students enjoy working with this resource.

Students: Whether or not you have visited our exhibition Dark Matter, we hope that you learn some new and interesting things from this kit about Sydney-born art duo Soda_Jerk and their artistic practice.

There is space through this booklet for you to record notes and ideas. Sometimes we have highlighted new or important words in bold. These words, ideas and concepts are explained in the glossary at the back of the booklet.

This resource should help you learn a little bit about contemporary video art and appropriation through Soda_Jerk’s artistic practice. Along the way, this kit suggests some other artists whose work you might want to find out more about.

You may have heard of some of them.

Soda_Jerk have quite an interesting working process, and lots of layers of meaning to their work. Excerpts of their video works and links to other projects are available on their website, www.sodajerk.com.au.

Happy learning and happy artmaking! <3 UTS ART

utsart @utsart art.uts.edu.au

SODA_JERK

ARTIST PROFILE

Soda_Jerk

Notes & Ideas:

Soda_Jerk is a two-person art collective from Sydney made up of sisters Dan and Dominique Angeloro.

Their work takes the form of video installations, cut-up texts and performance lectures exploring cinema and cultural history.

Their practice merges together research, documentary and speculative fiction.

Soda_Jerk describe their practice as ‘archival’. They only use already existing material, which they reconfigure, mix together or display in new ways in their work. In this way, they can reflect and directly comment on aspects of our culture.

Soda_Jerk are best known for their video installations in which they remix well-known film footage to create new sequences that tell very different stories. By playing with records of the past, they draw our attention to all the different possibilities hidden within the present and the future.

Like bands or musicians, many artists working together name their group. Research some other art collectives and the names they have used to describe themselves. Find out why they chose that particular name.

Imagine the group you have researched is a band. Design an album cover for their next record.

Find out where the phrase ‘soda jerk’ comes from, and what it means. Why do you think these artists have called themselves Soda_Jerk?

SODA_JERK ON THEIR PROCESS: The way we work is largely researchdriven. We generally start by investigating a specific concept and allow the shape of the project to be guided by the material we dig up. This process is very improvisational. The direction of the narrative constantly shifts as new samples are discovered and inserted into the mix.

We clock a lot of time watching films.

It is a strict parameter of our video practice that we only work with images and sounds that we have found, not made. So viewing as many films as possible is a necessary pleasure of the way that we work.

When we are viewing material we take a lot of notes. Sometimes these are mental notes, but a lot of the time they are also written with time codes logged in books or scrawled on random bits of paper.

In terms of editing, most of our work is done on laptop. We work mainly with Final Cut Pro and After Effects and other readily available software.

Our process is definitely tedious and labor-intensive. Most projects involve solid months devoted to meticulously pushing a mouse around in After Effects.

We are interested in the space of possibility that opens up when the past and the present are brought together in new ways.

â&#x20AC;&#x201D; Soda_Jerk

EXHIBITION

UTS ART Gallery 30 July - 30 August 2013

Dark Matter The exhibition Dark Matter shows the three video installations created to date as part of Soda_Jerk’s ongoing Dark Matter series.

It is characteristic of our practice to work in cycles, with a series of works informed by a particular field of research. We find that working on the same research questions over a long period of time not only enables a more in-depth understanding but also often leads to quite dramatic shifts in perspective.

In the videos that form this series, Soda_Jerk construct encounters between older and younger versions of deceased film stars.

They use film footage from different points in the career of a chosen actor and edit them together to make it look as if they are interacting with themselves in the future or in the past. The series explores personal and historical experiences of time, and the impact of technology on these experiences.

The name of the series comes from a scientific theory to do with stars and galaxies.

In the early twentieth century, physicists and astronomers began to suspect that galaxies were made up of more than just stars, gas and dust. These sorts of objects all have a gravitational force, which scientists can calculate based on their mass. But when they observed the galaxies, they detected much, much more gravitational force than this mass could account for.

— Soda_Jerk

Notes & Ideas:

In 1932 a Dutch astronomer called Jan Oort first proposed the idea of dark matter.

Scientists now believe that there must be an invisible (dark) matter that makes up almost 85% of the mass of galaxies like the Milky Way. Although we cannot see it, we can see its effects. Its gravitational force explains why stars move the way they do, individually and in relation to each other, and the speeds at which galaxies spin and move through space.

Soda_Jerk have named their series Dark Matter metaphorically. They had the idea that there is also an invisible force at play in cinema. Cinema culture could also be seen as a system like a galaxy, made up of stars that move and react in particular ways. By being part of fictional stories, the lives of movie stars become part of a force much greater than themselves. Because film captures time, as soon as something has been recorded it is gone forever, but the film remains behind like a ghost.

Soda_Jerk describe the Dark Matter series as taking the form of ‘séance fiction’. What do you think this might mean?

FOCUS ON

Video Art The term video art describes a group of artistic practices using moving images.

Sometimes people refer to video art as a type of ‘time-based art’. Time-based art is any form of art that includes the element of time in its structure and meaning. What are other forms of timebased art you can think of?

‘Video’ refers to the tape format that became popular in the 1960s and 70s. Before that time, artists interested in the moving image had most often worked with similar kinds of film that was used for cinema. This was very expensive and cumbersome. The development of video meant that footage could be shot much more easily, was cheaper to use and easier to edit. In recent years, digital formats have superseded video. These now make it even easier to capture and edit footage.

There are many different types of video art, and they can be presented in various ways.

Sometimes it is shown on a screen like a TV. Sometimes, projected onto a wall. Sometimes video art is interactive, or part of a bigger installation. Sometimes the installation is made up of a number of different videos shown at the same time. This could be referred to as a multi-channel work.

Here are just a few examples of artists and artworks working with video that you might like to find out more about. You may have heard of some of them.

Video art is said to have been ‘invented’ by Korean-born artist Nam June Paik. In the mid 1960s Sony released a new product called the Portapak. This was the first ever portable video camera. It quickly became popular among artists, including Paik. The story goes that Paik used his Sony Portapak to film a visit from Pope Paul VI to New York. The same afternoon Paik took the tapes of his footage to a cafe, and played them back to his friends. This immediacy had never been possible before. It was the world’s first video art screening. Here is another of his works, TV Buddha (1975).

South African artist William Kentridge has created many beautiful videos using a stop-motion technique. He draws, rubs out and draws back into large charcoal images, photographing them frequently to construct the frames of animations. What Will Come (Has Already Come), (2007) projects a distorted circular animation onto a round table. In the centre of the table is a polished cylinder which mirrors the animated images around it. Its shape reflects the images at the correct proportions.

Taking hold of video seemed to be a concrete way of getting our hands on the stuff of history, of literally hacking into the cultural record of our time.

— Soda_Jerk

In Semiotics of the Kitchen (1979), Martha Rosler goes through the alphabet with a kitchen utensil for each letter. She sometimes makes quite comical violent gestures with some of the utensils. The work parodies television cooking shows, and comments on women’s roles in society.

Recorded media has transformed our personal and historical experience of time.

The introduction of recorded media made time concrete and malleable in a way that was previously unimaginable – and we are all still very much feeling the impact of this today.

— Soda_Jerk

Facing Page: William Kentridge What Will Come (Has Already Come) 2007 Nam June Paik TV Buddha 1974 This Page (clockwise from top left): Martha Rosler Semiotics of the Kitchen 1979 Shaun Gladwell Storm Sequence 2000 Pipilotti Rist Ever Is Over All 1997 Ms & Mr Love Cats 1991 / 2007

Soda_Jerk The Phoenix Portal 2005 Single channel digital video Dur. 4:56 mins, Colour, sound, 16:9

The Phoenix Portal

Notes & Ideas:

In The Phoenix Portal, young American actor River Phoenix in the film Explorers (1985) opens a wormhole to contact his older self from another film, My Own Private Idaho (1991). His older self appears in a small blue bubble, which bounces around the room causing havoc for the young inventor of The Explorers and his friend played by Ethan Hawke. Eventually, the bubble vanishes, and with it the young River Phoenix dissolves and tumbles through a timewarp.

River Phoenix (1970 â&#x20AC;&#x201C; 1993) was an American actor. He began his acting career quite young.

The film sampled here, The Explorers, was his first feature. The next film he made, Stand By Me (1986) was considered his breakthrough role. He is also known for playing young Indiana Jones in Indiana Jones and the Last Crusade, and for the other film used in this work, My Own Private Idaho. He was the older brother of another well-known actor, Joaquin Phoenix.

Phoenix died tragically of a drug overdose at a very young age. At the time, his performing career was blossoming. After his death there was a lot of speculation about what he could have done had his life not ended so soon.

This adds a melancholy note to The Phoenix Portal. As we watch the younger Phoenix try to reach the older version of himself, it feels a little as if he is trying to bring him back to life.

The wormhole seems to be not only through time, but from one film to another. Films all have a different world within them, with sets of characters, places and specific rules. This is sometimes known as the diegetic world of the film. The wormhole that young River Phoenix discovers in The Phoenix Portal could also be seen to act as a wormhole between the parallel universes of two different films.

Materials: Donnie Darko (2001), Explorers (1985), Hackers (1995), My Own Private Idaho (1991), Tron Legacy VFX concept test (2009), Videodrome (1983), Buffalo Daughter - 303 Live, Cornelius - Magoo Opening, Michael Andrews - Manipulated Living, Michael Andrews - Ensurance Trap, Trent Reznor Videodrones; Questions.

What is a portal? Think of other texts (eg films or books) where there is a portal to another time or place. Make a list together as a class or group. Now think about the portals within these texts. What do they have in common? In small groups, see if you can boil these down to a small set of rules that govern portals. Compare with other groups in your class.

Although it may look dated now, the technology young Phoenix is using looked pretty advanced for the time.

How have changes in technology affected our relationship with the past?

Construct a portal in your classroom.

Invent a theatrical game in which stepping through the portal means you undergo some kind of transformation, or are transported to a different time or place.

Perhaps by walking through the portal you become a different character.

Soda_Jerk The Phoenix Portal 2005 Single channel digital video Dur. 4:56 mins, Colour, sound, 16:9

Soda_Jerk After the Rainbow 2009 Two channel digital video Dur. 5:42 mins Colour, sound, 4:3

After the Rainbow You may be familiar with the film The Wizard of Oz (1939), which was based on the book The Wonderful Wizard of Oz by L Frank Baum.

In the film, Judy Garland (1922-1969) plays Dorothy Gale, a young girl who gets caught in a twister, which transports her to the magical land of Oz. In After the Rainbow, Soda_Jerk have edited the twister sequence differently. Here the twister transports Dorothy into the future, where she encounters an older, disillusioned version of herself.

Judy Garland had a very successful professional career as an actor, singer and performer, but a very difficult personal life.

When she made The Wizard of Oz, she was only sixteen years old but had already been working for MGM film studios for a few years. As an actress, she was constantly scrutinised and her looks were manipulated by the film studios she worked for. She had problems with money, relationships and later drugs and alcohol.

The future Judy Garland that Dorothy visits is from TV Special Once in a Lifetime: Judy, Frank and Dean (1962). She is alone on a dark stage singing about how “dreams have all gone astray”.

This video is structured as a loop. After Dorothy visits herself in the future, Soda_Jerk cleverly play the twister sequence backwards so that Dorothy slowly retreats and is transported back to Kansas. This has the effect of making it look like Garland is chasing herself through time.

Materials: Donnie Darko (2001), Easter Parade (1948), Judy, Frank and Dean: Once in a Lifetime (1962), The Manson Family (2003), Meet Me in St. Louis (1944), Twin Peaks: Fire Walk with Me (1992), Planet Terror (2007), Vertigo (1958), The Wizard of Oz (1939).

Remembering and forgetting stalk one another, circling, lying in wait.

— Lesley Stern ‘Life is a Dream’ 1986

SODA_JERK ON RECONTEXTUALISATION: Context can greatly change the meaning of an object, image or idea.

By cutting up and recontextualising elements of the world, it is possible to bring new cultural and historical realities into existence.

In the Wizard of Oz the twister transports Dorothy into the fantasy world of Oz, whereas in After the Rainbow the twister becomes a means of time travel through which she travels into her own future. The context changes how we see and understand the twister.

Similarly, the song that the older Judy Garland sings in After the Rainbow was originally about lost love. But in the context of our narrative it seems that she is singing about her troubled life and the challenges of growing older.

Choose a well known figure, and write a conversation you imagine they could have with themselves at two different points in time. This could be years apart, or perhaps moments apart, on either side of a big event or decision. You could turn this into a play and perform it with a classmate. How does your character change over time?

Soda_Jerk After the Rainbow 2009 Two channel digital video Dur. 5:42 mins Colour, sound, 4:3

Soda_Jerk The Time that Remains 2012 Two channel digital video Dur. 11:56 mins, Black & white, sound, 4:3

The Time that Remains The Time that Remains is the most recent work in the Dark Matter series. It was first shown in 2012 at the Gallery of Modern Art in Brisbane, as part of the exhibition Contemporary Australia: Women.

In this two-channel video installation, classic Hollywood film stars Joan Crawford (1904-1977) and Bette Davis (1908-1989) are chased around a mansion haunted by older and younger versions of themselves from a number of films acros their careers, and tormented by ticking clocks and other markers of the passing of time.

The cinema is the art of ghosts, a battle of phantoms. That’s what I think the cinema’s about, when it’s not boring. It’s the art of allowing ghosts to come back.

- Jacques Derrida

Notes & Ideas:

Joan Crawford and Bette Davis were both very successful and famous film stars of their day.

Bette Davis was the first female president of the Academy of Motion Picture Arts and Sciences (which awards the Oscars) and Joan Crawford was for some time the highestearning woman in the US. They were both also known for being very strong and driven women who stood up to the very manipulative, male-dominated film studios and took control of their careers.

Both Crawford and Davis, who had been very glamorous in their youth, refused to retire from performing as they began to age. This was not so easy in 1940s Hollywood. Instead, they looked for and fought for meaningful and interesting roles portraying older women, and both continued to perform into their seventies.

The Time that Remains depicts this struggle to get away from the expectations surrounding gender and ageing.

Materials: Humoresque (1946), Hush... Hush, Sweet Charlotte (1964), Jezebel (1934), Possessed (1947), Strait-Jacket (1964), The Letter (1940), What Ever Happened to Baby Jane? (1962), Frédéric Chopin - Nocturnes Op.9 No.2, Overlook Hotel - As Time Goes By, Thomas Newman - Mental Boy.

Think / Pair / Share: The title The Time that Remains could mean a few different things. Think about the medium of this work, how it is made and what it depicts.

Can you think of two or three or four different meanings?

This work addresses some fears some people might have to do with ageing. In particular, it questions the pressures that have been and continue to be placed on women. Do you think this has changed very much since Joan Crawford and Bette Davis’ time? Think of some recent films you have seen, and use these as examples.

Soda_Jerk Dark Matter Research Document #4 (Body Bag) 2013

Arthur McIntyre Red Poppy, The Remembrance Series 1988/89 Acrylic and collage on paper 130 x 130 cm

FROM THE UTS ART COLLECTION

Arthur McIntyre

The basic idea of making art from junk, expecially old junk, led to a series of visual statements about ageing processes… survival and decay.

Red Poppy The Remembrance Series

— Arthur McIntyre

Arthur McIntyre (1945-2003) was an Australian artist and art critic. He grew up in Katoomba in the Blue Mountains, west of Sydney. He is most known for his collage works, although he also worked in drawing and painting.

He first began experimenting with collage as a teenager. He used materials that he found at home, particularly clippings from Chinese magazines that his father subscribed to.

He sometimes used old childrens’ books as sketchbooks, drawing, painting and collaging into and over the pages.

In many cultures, the red poppy is a symbol of rememberance. Many flowers have traditional or ascribed meanings in different cultures. See if you can find a flower, plant or tree that has a particular cultural meaning or story. Put your findings together as a class or group to form a compendium.

McIntyre is best known for his collage works from the 1970s and 80s examining life, death and sexuality. Amongst his found materials he used images from medical journals depicting disease, and some of his work is quite graphic and confronting.

McIntyre saw a strong relationship between the concepts he was exploring and the medium he used. Collage was a way of cutting and pasting together old, discarded yet surviving bits and pieces to make a new thing. He related this fragility and rawness to the sense of vulnerability surrounding the human body.

McIntyre believed, however, that many of his works were actually ‘celebrations’. In Red Poppy, we can see references to loss and mourning. There is a very prominent red flower, and an Egyptian sarcophagus. There are also, however some playful elements, like the repeated motifs of the roasted mixed nuts and torn up coffee filters. The colours and texture are very vibrant and dynamic, suggesting life and vitality.

What correlation can you think of between the technique of collage and the act of remembering?

Choose one of the plants or flowers discovered above. Use what you have learned as a starting point for your own collage exploring its cultural significance.

You can build up textures with paint, draw into your collage, or incorporate text.

Analyse this piece in relation to Soda_Jerk’s Dark Matter series.

What do the techniques used and subject matter have in common?

How do they differ?

FOCUS ON

Appropriation Appropriation in art is the use of existing images, objects or material. Sometimes this is another artwork.

Often a work is adapted in order to change its meaning. Sometimes it is sampled or juxtaposed with other elements to create a new work. The source, author or original artist is often acknowledged, as often this back story is important to the new meaning.

This way of working with existing material is often associated with the postmodern movement. However, it has been used in many cultural practices. Here are just a few.

Christian Marclay’s work The Clock (2010) is a twenty-four hour film made up entirely of footage from various films of the last century. The film is edited together from clips that show the time. Perhaps a shot of an alarm clock or someone checking their watch. They are edited together to correspond to the correct time of the day.

The film won the Golden Lion Award at the 2011 Venice Biennale.

SODA_JERK ON APPROPRIATION: Our video narratives are composed exclusively of samples from existing film and music sources. In terms of ‘appropriation’ this means we are not just referencing another work but actually directly working with a recorded fragment of the original.

As digital artists we also feel that it is incredibly important to acknowledge the figures and cultural movements that pioneered sample-based practices in earlier media formats. For instance: the found footage film works of Craig Baldwin and Bruce Conner, the early innovators of turntablism such as Grandmaster Flash and DJ Kool Herc, the mash-up culture of dub music, the VHS viding practices of TV fandoms, and the punk-inspired political scratch videos of the 80s.

Within postmodernism, appropriation is often associated with ideas of parody and social critique. but we feel that these concepts are not broad enough to encompass the complexity and scope of remix practices. For example our Dark Matter works are melancholy in tone and use appropriation to deepen the emotional impact of the narrative.

Make up your own extended response question linking one of these artworks to one of the themes or artworks in Dark Matter. Swap with your classmates to practise your writing!

Facing Page: Christian Marclay The Clock 2010 This Page (clockwise from top left): Marcel Duchamp L.H.O.O.Q 1919 Hanna Hoch Love 1939 Grandmaster Flash, recording artist, DJ Bruce Conner A Movie 1959

Soda_Jerk Hollywood Burn 2007, video, colour, sound, 16:9, 52 mins

Images Bruce Conner A Movie 1958 Image retrieved July 2013 from http://blogs.saic.edu/cate/files/2009/05/ bconner-a-movie450.jpg Marcel Duchamp L.H.O.O.Q. 1919 Image retrieved July 2013 from http://uploads6.wikipaintings.org/ images/marcel-duchamp/l-h-o-o-q-mona-lisa-withmoustache-1919.jpg Shaun Gladwell, Storm Sequence 2000, Image retrieved July 2013 from http://www.mca.com. au/media/thumbs/uploads/images/2011.1104. jpg.850x439_q85.jpg Grandmaster Flash Image retrieved July 2013 from http://24.media.tumblr.com/tumblr_ lyxj1byFqw1ro2dwgo1_500.jpg Hanna Hoch Love 1931, Photomontage, Image retrieved July 2013 from http://artblart.files. wordpress.com/2011/12/exhi015084_web.jpg William Kentridge, What Will Come (Has Already Come) 2007, steel table, cylindrical steel mirror, 35mm animated film transferred to video, 8:40 min, 41 1/4 x 48 x 48â&#x20AC;? Image retrieved July 2013 from http://venetianred.files.wordpress.com/2009/05/ kentridge.jpg Cristian Marclay The Clock 2011 Single-channel video with sound, 24 hours. Image retrieved July 2013 from http://www.mca.com.au/media/uploads/ images/Christian-Marclay_The-Clock-2010_5.png Ms & Mr Love Cats 1991 / 2007, Image retrieved July 2013 from http://www.novamilne.net/content/ Artwork/images/Ms&Mr_The-Lovecats_still2.jpg Nam June Paik TV Buddha 1974, Closed Circuit video installation with bronze sculpture, retrieved July 2013 from http://newbuddhist.com/uploads/ FileUpload/8/1228.jpg Pipilotti Rist, Ever Is Over All 1997 Image retrieved July 2013 from http://www.nadinemonem.com/wpcontent/uploads/2011/08/Pipi_post-1024x768.jpg Martha Rosler, Semiotics of the Kitchen 1979 Image retrieved July 2013 from http://artpulsemagazine. com/wp-content/uploads/2012/07/semiotics-of-thekitchen.jpg

Glossary

Appropriate To appropriate something means to adapt it in a way that changes its meaning, while still acknowledging the original meaning or purpose.

Appropriation The act of appropriating. The borrowing of material from somewhere else to make a new thing, while acknowledging its original source.

Art / Artist Collective A group of artists working together, usually self-managed and towards the same goals.

Concrete If something is described as concrete (adjective) it is described as hard, solid and real. As opposed to abstract.

Cumbersome Heavy, uncomfortable and difficult. Unwieldly.

Installation An installation is a type of 3D artwork that needs to be set up in a particular place for display.

Interactive When two elements react and respond to each other. An interactive artwork reacts and respond to the audienceâ&#x20AC;&#x2122;s input.

Juxtapose To put two different things next to each other in a way that brings out the ways in which they contrast.

Malleable Something that is malleable is soft, pliable, easily shaped or changed.

Mash-up Any text (eg film, book, piece of music) that is made up of multiple parts sourced from other places to appear as a whole, complete, new thing.

Melancholy A deep but reflective sadness.

Diegetic World / Diegesis The world that exists within a film or other text. The world in which the characters are living.

Disillusioned Disappointed after oneâ&#x20AC;&#x2122;s beliefs, dreams or hopes have turned out not as expected.

Improvise To improvise is to create without prior preparation. Often in response to immediate thoughts, feelings or inspiration.

Metaphor When one thing is used symbolically to represent something else, because they have an important element or idea in common. Often used poetically.

Multi-Channel Made up of more than one stream of information displayed at a time.

Usually on more than one screen.

Narrative A story, often one that describes events in the order in which they took place.

Parody To imitate something, but change its meaning, often in a humorous way.

Postmodern Literally, after modern. This was a historical, artistic and cultural movement that begain around the 1960s and reacted to modernism. It brought about a lot of social and cultural change, and a vast array of new theories and approaches to art in particular.

Stop-Motion An animation technique in which objects are photographed, moved slightly, then photographed again. The images are then shown in quick succession to make it look like the objects are moving.

Supersede When something is replaced by a newer, better, faster version or alternative.

Reconfigure To shape or put something into a particular form again, perhaps a new one.

Turntablism The art of using turntables and mixers to manipulate sounds and create music, often mixing together existing elements in new and dynamic ways.

Remix Literally means to mix again. In musical and artistic practices, it means to make a new version of something using its existing elements.

Twister A destructive, spinning cone of wind.

A tornado.

Sample A sample is a small portion of something. To sample is to take a small portion (from a song or film) and use it in a new song or film.

Single-Channel Like a television channel, only having one stream of information displayed at a time.

Two-Channel Made up of two streams of information displayed at a time. Usually on two screens.

Video Installation Is a type of artwork featuring video that may be made up of more than one video, or include other elements in its set-up.

Vulnerable Fragile, sensitive.

Speculative Fiction A genre, or type of text, that deals with alternate realities. This includes science fiction, fantasy, horror and alternate history.

Wormhole Also known as an Einstein-Rosen Bridge. It is a scientifically proposed, but not proven, shortcut through spacetime.

UTS ART Education and Outreach offers a rich and flexible program of activities tailored to specific student groups from a variety of backgrounds and ages – from pre-school up to university level.

These include events and workshops based on the Gallery and Art Collection exhibition programs, which are held on campus to connect students and their teachers with contemporary art and ideas in a warm, welcoming and supportive environment.

Education resources that accompany our program, such as this one, are specifically aligned with school syllabi and available online for use in the classroom via the Education page on the UTS ART website, www.art.uts.edu.au

CONTACT US W www.art.uts.edu.au facebook.com/utsart twitter.com/utsart T (02) 9514 2931 UTS ART Gallery Level 4, UTS Building 6 Peter Johnson Building 702 Harris St, Ultimo NSW 2007 Australia

This Project supports the UTS Widening Participation Strategy (WPS), and is assisted by the Australian Government through funding from the Higher Education Participation and Partnerships Program (HEPPP) distributed by the Department of Industry, Innovation, Science, Research and Tertiary Education (DIISTRE).