Maria Miranda & Amie Anderson
Following Amie: the artist at work
20
April 2017
20
Apr
2017
5
May 2017
Following Amie: the artist at work
Maria Miranda & Amie Anderson
20
April 2017
20
April
2017
5
May 2017
In 1980 Sophie Calle followed a man she did not know around the streets of Venice and made the infamous work Suite Vénitienne. In an update of sorts Following Amie shares the curiosity and desire to understand through “following,” yet shares none of the subterfuge or secrecy of Calle’s project. On the contrary, it is a highly collaborative work conceived between the ‘follower’ and the ‘followed’. Following Amie tests the idea of embodied knowledge where Miranda literally follows Anderson with an iPhone 6 on a Selfie Stick over the course of several days, as ‘Amie’ goes about her life, working as an artist, ARI director, and two different part-time jobs. In the process of literally “following Amie” new questions opened up about artists and work, different questions from those posed by Sophie Calle in a previous era. Today, the very nature of the artist’s work exists within a precarious ‘gig’ economy, and social and relational modes of work jostle against more traditional forms usually associated with studio practice. Following Amie plays at the precarious edge between work as practice and work as economic survival – following the work the artists do to make the work, and the work the artists do making the work.This project was funded partially by the Australian Government through the Australian Research Council.The project received funding assistance from The University of Melbourne, VCA.
In 1980 Sophie Calle followed a man she did not know around the streets of Venice and made the infamous work Suite Vénitienne. In an update of sorts Following Amie shares the curiosity and desire to understand through “following,” yet shares none of the subterfuge or secrecy of Calle’s project. On the contrary, it is a highly collaborative work conceived between the ‘follower’ and the ‘followed’. Following Amie tests the idea of embodied knowledge where Miranda literally follows Anderson with an iPhone 6 on a Selfie Stick over the course of several days, as ‘Amie’ goes about her life, working as an artist, ARI director, and two different part-time jobs. In the process of literally “following Amie” new questions opened up about artists and work, different questions from those posed by Sophie Calle in a previous era. Today, the very nature of the artist’s work exists within a precarious ‘gig’ economy, and social and relational modes of work jostle against more traditional forms usually associated with studio practice. Following Amie plays at the precarious edge between work as practice and work as economic survival – following the work the artists do to make the work, and the work the artists do making the work.This project was funded partially by the Australian Government through the Australian Research Council.The project received funding assistance from The University of Melbourne, VCA.
Amie Anderson
Amie Anderson is an Australian artist based in Melbourne who seeks to inquire into social systems and systems of knowledge through various projects - often exploring and documenting with archival methods of collecting and utilizing video, performance art and installation. Her work recurrently displays a strong interest in breaking down social barriers through art - creating opportunities for exchange and both inter-human relations and personal experiences. The body, particularly her own, often becomes a natural extension of her work - a conduit through which actions and ideas flow, touching on the nature of our corporeal existence, intimacy and relationships.Amie, completed a Bachelor of Fine Arts (Honours) in Sculpture and Spatial Practice at The Victorian College of the Arts, in 2012. Since graduating she has had two solo exhibitions, while exhibiting in various group shows and collaborating with divergent artists and groups on artistic and socially engaged projects.From 2013 -2016, Amie was a Co-director of the artist-run-initiative, The Food Court, an exhibition and Arts project space for emerging and established artists; with wider objectives of fostering artistic experimentation and interrogating the nature of social and public space.