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MAAP in Singapore: GRAVITY

Oct 22-Nov 17


 Da Contents H2

October 22 2004
MAAP in Singapore 2004 - Gravity: Introduction
Keith Gallasch

GRAVITY - MAAP in Singapore
November 30 1999
A museum of accidents
Virginia Baxter

GRAVITY: Kim Kichul, Sound Drawing
An eye for sound
Gail Priest

SCAN: Asia Art Archive at The Substation
Archiving history face to face
Keith Gallasch talks to Angela Seng

GRAVITY: Tsunamii.net, alpha3.5crush
Computer juice
Gail Priest

GRAVITY, Singapore Art Museum
Conceptual leaps
Gail Priest

Symposium: GRAVITY
November 30 1999
Every available space
Virginia Baxter

-+-(negative plus negative)
Living the in-between
Keith Gallasch

MAAP artists' talk
Material boys
Keith Gallasch

Katawán, Satti
The body between: an interview/review
Keith Gallasch talks to Fatima Lasay

New Video Art From Australia
The inevitable body
Michael Lee Hong Hwee

-+-(negative plus negative)
November 30 1999
The pause that refreshes
Virginia Baxter

The Gravities of Sound Audio Tunnel/GRAVITY extended
The weight of public spaces
Gail Priest

New Video Art From Australia
The wild ones
Ho Tzu Nyen

GRAVITY, Singapore Art Museum
When words flail you
Gail Priest

 

Contributor Profile: Laetitia Wilson


Laeitita Wilson Laeitita Wilson
Bio

My research specialisation is in the field of media art history and I have completed a doctorate in interactive art and ludic interfaces. Currently my interests launch more broadly toward contemporary and hybrid arts, however I still have a keen interest in developments of the media arts sphere. On the practical artistic front I have collaborated in art projects and residencies in Scandinavia, Singapore and Taipei and exhibited locally and internationally. Following over half a decade of lecturing at the University of Western Australia my work currently involves academic programming at the Lawrence Wilson Art Gallery, in addition to being art critic for the West Australian newspaper and contributing to the academic sphere as a freelance writer.

Exposé

Writing in the visual arts for me is about having that extra sensory component to text, having more than words, having images, sounds, tactile and immersive experiences available as zones of research. Whether in the gallery context, in private or public space, these things make life richer. I was very close to doing my doctorate in philosophy but I found I craved more than words and heady concepts. In addition to this multi-sensorial experiential range, the arts also seduce me with the capacity of artists to be at the forefront of engaging the world and creating meanings pertinent to social, political, spiritual and ethical being. For me it is not solely about the aesthetic or sensorial potential of art, but how it can push boundaries and delve into the core issues of our times. Artists both shine a mirror back onto humanity and imagine wild and varied visions of the future. It is then the role of writers and publications such as RealTime to discuss, debate, theorise, philosophise and make such creative production history, while also communicating the relevance, potency or indeed utter irrelevance of the given art.

Recent Articles

Telepathic dreaming & the art of mind
Laetitia Wilson: Karen Casey, Dream Zone
RealTime issue #119 Feb-March 2014 p52

Tiny revolutions
Laetitia Wilson, PVI, Deviator
RealTime issue #115 June-July 2013 p27

Set controls for the heart of the sun
Laetitia Wilson: Light Works, Perth International Arts Festival
RealTime issue #114 April-May 2013 p13

The ups & downs of one-on-one
Laetitia Wilson: Proximity Festival Of One-On-One Art, 2012 Fringe World
RealTime issue #108 April-May 2012 p6

RealTime issue #120 April-May 2014 pg. web

© Laetitia Wilson; for permission to reproduce apply to realtime@realtimearts.net

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