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Durational Situation / Monmar takes audiences on a guided walk through listening to the ecology, waters, and transformations of Monmar across time. The walk focuses on the deep time and anthropogenic relations of the peninsula; traversing a remnant Moonah tree woodland valley from the bay side and moving through the recent histories and interventions to the ocean side. 

During the walk, audiences are guided across durations and place and experience recorded sounds from a micro and macro perspective throughout the peninsula region. The sounds and narration allude to moments in time, juxtaposing and complicating histories, and untangling contemporary narratives through listening and embodied experience.

This project is a part of Front Beach Back Beach event https://fbbb.com.au

I acknowledge the Bunurong and Boon Wurrung people as the traditional custodians of the land and waterways in which this project was made and pay respects to their Elders, past, present and emerging.

Location
Monmar, Point Nepean National Park. Start walk at Cheviot Hill bus stop.

Performers
Southern Peninsula Concert Band;
Allan Fenney (euphonium)
Juliette Theobald (french horn)
Paul Donnelly (trombone)
Tom Fagan (tuba)

Benjamin Woods (glass flutes, sculptural objects)

Caroline Connors (voice, objects)

Flora Carbo (saxophone)

Durational Situation / Monmar

Circle

David Brown & Rosalind Hall 

Prepared guitar and saxophone

Unsound Festival, Canberra, 2014

David Brown & Rosalind Hall - Unsound Festival

Distant football crowd cheering and nearby traffic captured and warped through Iron fence down by the Yarra river

 

Iron fence separating Batman Avenue from the banks of the Yarra river

Ukrainian Borders

Recording of football crowd from inside a stadium elevator 

stadium elevator

L. Lerkenfeldt - Surfaces (Excerpt)

This piece was made for the Herbarium Project, exhibited at Lab 14 gallery, Melbourne University.  The source sound is a saxophone with an acoustic spring reverb attached.  

The time based processes to preserve and treat once living specimens is reflected in the practice undertaken in this piece.  I have made recordings of my performing acoustic instrument and processed them to shift the pitch and speed of the sounds and give a sense of slow degradation and the inevitable decay as tones subside with noise.  The recordings bear no reference to the environment they were taken from and so exist in an in-between space that is remote and hanging in time, a sense I felt when visiting the Herbarium at Melbourne University, a shrine to the proof of life.

Slow Heat - Excerpt

Geoff Robinson is a Melbourne-based artist working on Wurundjeri country. Robinson creates event-based artworks that utilise the temporal qualities of sound and performance and the spatial conditions of physical sites to unravel the durational layers of place. Recent projects include: Tributary Project (2020-2021), with Ying-Lan Dann, Ben Woods & Saskia Schut, Bus Projects, Melbourne; Durational Situation / Vartiovuori (2019-2020), Titanik gallery, Turku; Itinerant Sound (2015-2019), multiple sites across Australia; Itinerant Object / Propositions for Change (2016), Sarah Scout Presents, Melbourne; Room Overlay / 5 weeks / Thursdays 6-7pm / Accumulation (2015), West Space, Melbourne; 15 locations / 15 minutes / 15 days (2014), Federation Square, Melbourne; Site Overlay / Acoustic Survey (2013), across three public sites in Melbourne. Robinson has held residencies and exhibited at Titanik gallery, Turku; Helsinki International Artist Programme; MoKS, Estonia; and Seoul Art Space. He was awarded the Melbourne Prize for Urban Sculpture 2014 and completed the PhD project Durational Situation at MADA, Monash University, Melbourne, 2018.
 
www.geoffrobinsonprojects.com

Durational Situation / Monmar

Geoff Robinson

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