Archive for the 'Pat Hoffie' Category

New Interpretations of Past Lives

1 Comment
ARC_new_title_history

Fort Lytton was used throughout the first and second world wars and even earlier to defend our city against possible enemy invasion and was a key quarantine centre through which many members of our multicultural community passed through on their entry to Australia.

Download the program and invite for this event

Saturday November 14th
Late afternoon into evening

The Interpretations of place and history on Saturday November 14th by these key artists, many of whom exhibit internationally, will provide a truly memorable exciting program with enough flexibility for both families as well as those wishing to make a night of it to have an unusual Saturday outing.

Elizabeth Woods has worked with a number of migrant women to collect recipes of cakes and will present a free afternoon tea served in a war time style café. Don’t forget to see her 2 screen video projection in the old autoclave room which houses the huge original steam machine used by Quarantine officers.

Pat Hoffie recreates a dramatic Troop Drill with members of local pony clubs against the backdrop of historical images projected onto the fort.

Megan Cope reminds us of the indigenous history of the site and the war fought by Aboriginals at the beginning of colonisation with her haunting sound work and night time projection.

Isabel and Alfredo Aquilizan create strange contemporary yet archaic instruments in various rooms of the fort to enable us to look closely at the deep history embedded in the markings on the walls.

Plus: Quarantine, an installation of ‘outsiders’ which not only celebrates diversity in all its forms but also champions and fosters it in a world that is threatened by conformity and control. The installation throws a spotlight on the way Fort Lytton residents were temporarily quarantined in the back room and striated according to their status as first, second or ‘cattle class’ passengers for fear of infectious diseases or contaminants they may have been carrying.

Sunday November 15th
10am – 4pm

Sunday’s program features a keynote series of performances called Getting The Message Through At All Costs by Victorian artists Aleks Danko and Jude Walton. The performances are staged to coincide with the normal Fort Lytton volunteer tours taken by the Fort Lytton Historical Association.

Getting The Message Through At All Costs responds to the architectural features of the buildings and environs of Fort Lytton: the enclosure and containment of the Fort, the underground, almost entombed quality of the corridors and rooms, their acoustic properties, and the ways they inter-connect/intersect—juxtaposed with the surrounding large, open landscape of sky and sea.

These spaces are re-activated by the introduction of site-specific objects and live performers to create a circular palimpsest of actions, sounds, objects, images, scenarios, that the audience/viewer moves through constructing their own mini-narratives.
Also during your visit to Fort Lytton see works by Elizabeth Woods, Isabel and Alfredo Aquilizan.

Special Preview Event
Also as a prelude to the Aleks Danko and Jude Walton performance at Fort Lytton a performance of the Orderly Bugler’s Duties by two buglers will take place in various parts of King George Square, Brisbane on Tuesday November 10 from 6am to 6pm (from ‘Reveille to Lights Out’).

Sunday November 15th at Fort Lytton

Add a comment
Program – Sunday at Fort Lytton

10.00–11.00am
Elizabeth Woods — morning tea performance in Conference Centre

10.00am–4.00pm
Isabel and Alfrerdo Aquilizan Installation in the Fort
Elizabeth Woods — twin projection video in Autoclave room
Quarantine — exhibition by Zoe Porter, David Spooner and Eric Rossi in Conference Centre

10.30am, 11.30am, 12,30pm and 2.15pm
Performance by Aleks Danko, Jude Walton and collaborators in the Fort linked to regular volunteer tours

3.00–4.00pm
Elizabeth Woods — afternoon tea performance in Conference Centre

Saturday November 14 at Fort Lytton

Add a comment
Program – Saturday at Fort Lytton

4.00–5.00pm
Elizabeth Woods — afternoon tea performance in Conference Centre

4.00–10.00pm
Elizabeth Woods — twin projection video in Autoclave room
Quarantine — exhibition by Zoe Porter, David Spooner and Eric Rossi in Conference Centre

5.00–6.40pm
Fort Lytton Museums opened
Music on the grass
First session of sausage sizzle and drinks (non alcoholic)

5.00–6.00pm
Special guided tour by actors in uniform of Fort and artist installations

6.45pm
Audience march to Amphitheatre for Pat Hoffie performance

7.00–7.20pm
Pat Hoffie Troop Drill performance in Amphitheatre

7.20–8.00pm
Self directed night tours of Fort lit by kerosene lamps
Installations in Fort by Megan Cope, Isabel and Alfredo Aquilizan and Aleks Danko and Jude Walton

7.30–8.30pm
Second session of Sausage Sizzle and drinks (alcoholic and non alcoholic)

8.00–9.40pm
Music on the grass
Music performed by Bessy-Lo

Pat Hoffie – Troop Drill

3 Comments

FORT LYTTON, NOVEMBER 14

Pat Hoffie, Troop Drill

Pat Hoffie, Troop Drill

Troop Drill provides a very satisfactory, safe and quick method of moving large groups of people from one point to another. Furthermore it is a satisfactory method of warming up before more concentrated work is commenced.

For the past two decades, one aspect of Brisbane based artist Pat Hoffie’s work has engaged with notions of labour, or work. In Troop Drill, she draws from the military history of Fort Lytton to explore the parallels between the drilling and training of soldiers and the way audiences for contemporary art are controlled and mobilized. The work also looks at the ways in which notions of work segue and mutate in meaning from generation to generation.

As the birthplace of Queensland’s military history, Fort Lytton provided the main training grounds for the volunteer Queensland army, many of whom rode from as far north as Augathella to be part of the annual Easter encampment, an event marked by “tales of camp revelry, daring and fellowship” where up to two thousand horses participated.

The artist creates a type of parallel event relating the present to the past and explores how traces of history survive in the everyday like spectres, emerging and disappearing throughout subsequent generations. She experiments with the idea of the audience as a fundamental part of ‘the work’, by redeploying their role as volunteers. They will be asked to enlist prior to the date of the event and their roles in the set up of the site and managing the event will become part of the night-time project.

The event will take place within the amphitheatre of Fort Lytton, flanked by the sentinel-like oil refineries that stand on either bank of the Brisbane River. Immersed in projected images drawn from historical and contemporary sources, night riders will engage in a performance that draws from skills that have been passed on unchanged from the time the fort was built in 1881.