Design and Art Australia Online

Bilderbuch fur Ernst Will (Ernst Will’s Picture Book): A Euro Rebus (1990-93), 11:00 mins, Sydney.
The most complex and multi-layered of Callas’ CVI works, Bilderbuch focuses on the geographic continent and turbulent political history of Europe …

Double Trouble (1986), 5:23 mins, Tokyo.
One of the earliest works made by Callas using a Fairlight Computer Video Instrument (CVI) processor, a pioneering compositing and special effects system he utilised regularly from the mid 1980s to early 90s …

How to Make the Famous Pisco Sour; A Videotape inThree Locations (1986), 16:10 mins, Tokyo.
Pisco Sour represents a shift beyond earlier works in its dense layering of subject-matter and imagery …

Kinema No Yoru (Film Night) (1986) 2:15 mins, Tokyo.
Callas’ first almost entirely animated work Kinema No Yoru introduces the motif of the menko playing card as a recurrent symbol …

Kiru Umi No Yoni / Cutting Like the Ocean; A Didactic Document Version I, (1983), 21:53 mins, Tokyo.
One of Callas’ most personally confronting and important works to date …

Lost in Translation (1994-99), 6:00 mins, Sydney/Brazil/Karlsruhe.
“The double movement of displacement and circulation, loss and regeneration, constitutes a means of uncovering the disjunction between history and memory [in Latin America].” -[Charles Merewether]
‘Lost in Translation’ takes elements from Brazilian political and religious history and sets them in a stage-like landscape in which it appears they will intercede or collide with each other …

Neo-Geo: An American Purchase (1989), 9:17 mins, Sydney.
Neo Geo was produced by Callas during an artistic residency at PS1 Studio in New York in 1988-89 …

Night’s High Noon: An Anti-Terrain (1988), 7:26 mins, Sydney.
Created amidst Australia’s 1988 bicentenary celebrations, Night’s High Noon proposes a very different interpretation of recent Australian history and identity …

Our Potential Allies (1980), dual monitor installation, 15:00 mins. Reconfigured for single screen (1999).
Various locations including The Sydney Studio (1981); Australian Perspecta (1981) Art Gallery of NSW Sydney; “Portopia 81”, Kobe, Japan (1981); “Vision in Disbelief”, 4th Biennale of Sydney (1982); “Parallel Universes”, Queensland University of Technology (2012); “Digital Aesthetic”, Preston, UK, (2012)
Our Potential Allies draws upon a well established history of Western colonial intervention, anthropological speculation and missionary zeal, while proposing an intuitive and ironic critique of Eurocentric belief-systems founded upon the dichotomy of self (the West) and the Other …

The Esthetics of Disappearance (1986), 5:55 mins, Tokyo.
This work, which takes its title from Paul Virilio’s publication of the same name, explores notions of the cinematic in relation to recent global history, with particular focus on the role of the media in conveying information and events into the home via the medium of the television.
Virilio’s thesis upon cinema and temporal experience proposed that ‘with the cinematic accelerator.. ...