Design and Art Australia Online

“The Deep”, digital mural, 5 metres x 80 metres.Luna Park, Sydney (1994)
Large digital mural for Luna Park ride.
Peter Callas

Peter Callas

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 …

Ambient Alphabet (c of meaning) (1992), 5:16 mins, Tokyo.
Commissioned by Ring World, Tokyo, Ambient Alphabet was designed for multi-screen installations in public places such as shopping centres and railway terminals …

installation incorporating videos and built structures.Adelaide Festival (1992);“Video Positive”, Liverpool (1993); Angel Row Gallery, Nottingham (1994); “Multimediale 4” ZKM Karlsruhe (1995)
Commissioned by the Adelaide Festival, this installation featured two styrofoam sculptured heads of Lenin and Marat, based on imagery from Bilderbuch für Ernst Will (Ernst Will’s Picture Book): A Euro Rebus …

Museum of Contemporary Art Video (1991), 4:25 mins, Sydney.
CVI imagery, Abekas A64 and Quantel Harry used to create a video art work commissioned by the Museum of Contemporary Art, Sydney …

Adelaide Festival Video (1991), 00:30 mins, Sydney/Adelaide.
CVI and Abekas A64 imagery used to create an electronic ‘poster’ to accompany the print poster which I produced for the 1992 Adelaide Festival …

three monitor installation 15:00 mins, 1991“Refiguring the Media Image”, Ivan Dougherty Gallery Sydney (1991)
A recreation of the 1980s installation using a third monitor which featured a series of masks.
Peter Callas

Stephen Jones from material supplied by Peter Callas

installation incorporating videos and built structures, 1990-92Long Beach Museum of Art Long Beach (1990); “Video Positive”, Liverpool (1991); “Australian Perspecta” Art Gallery of NSW (1991); “Installation Age” Tokyo Metropolitan Museum of Photography Tokyo (1992)
An installation based on Neo Geo …

SOME LIMINAL ASPECTS OF THE TECHNOLOGY TRADE: VIDEO SCREENS VERSUS HORIZON IN TOKYO AND NEW YORK
Essay by Peter Callas in Mediamatic, Vol …

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 …

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 …

installation incorporating videos and built structures, 1989“In Transit” Festival of Canterbury, Canterbury (1989)
Produced for “In Transit”, an exhibition of work by Australian artists in Canterbury, Kent, UK …

installation incorporating videos and built structures, 1989“In Transit” Chisenhale Gallery, London (1989)
Produced at the Chisenhale Gallery for the London component of In Transit, an exhibition of work by Australian artists organised by Sandra Drew Gallery in Canterbury, Kent …

Style (1988), 4:25 mins, Sydney.
CVI imagery used on four screens fed by four synchronised laser disks to depict objects from the Style collection of the Powerhouse Museum, Sydney. This installation ran for the first seven years of the Powerhouse …

Powerhouse Logo (1988), 00:16 mins, Sydney.
CVI imagery and Abekas A64 used to create a logo for the Powerhouse Museum, Sydney, utilising objects from the museum’s collections.

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 …

installation incorporating videos and multiple slide projections, 1988Artspace Sydney (1988); Praxis, Perth (1988); Australian Centre for Contemporary Art,Melbourne (1988)
Installation presentation of work made in Japan, with multiple slide projections on the walls …

installation incorporating videos and built structures, 1988“Ars Electronica” Bruckner Haus, Linz, Austria (1988)
Produced for Ars Electronica in Linz, Austria, this installation consisted of a house-like structure with monitors for windows …

Australian Video Festival Commercials (1987), 2 × 00:30 mins, Sydney.
CVI imagery used as call for entries for the Australian Video Festival …

If Pigs Could Fly (The Media Machine), (1987), 4:20 mins, Sydney.
Produced for the Bicentennial Travelling Exhibition which circumnavigated Australia during 1988’s ‘celebration of a nation’, this work represents a return by Callas to distinctively Australian imagery: the Anzac, a kangaroo playing the fiddle, the swagman, and the surfer …

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 …

Bon Voyage (1986), 4:35 mins, Tokyo.
Produced for the theatre group Island (directed by Koharu Kisaragi) for the opening event of Seed Hall, an event space atop Seed department store in Tokyo in 1986 …

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 …

Kommunication (1986) 4:28 mins, Tokyo.
The silhouettes of figures (drawn with the keys of a character generator) move in and around a series of television sets …

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 …