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- A powerful visual portrayal of the memories sublimed in the cultural construction of a contemporary Australian identity. Each pictorial scene is made of 3 layers of iconic images, creating an emblematic landscape versus an informative one.
- The film's title makes a veiled reference to the New World and what America has made of it. Many American territories were originally called "purchases", bought as they were from other Western colonial powers (France, Spain, Russia, etc.).
- The film attempts to syncretically avaunt the borders of identity in an anti-historical reconstruction of Brazil. Peter Callas used several 2D and 3D animation processes in creating the imagery of Lost in Translation (Part 1: Plus Ultra).
- One hand holds an oval stone which is moved back and forth in a tight circular motion, crumbling some pigment.
- "Our Potential Allies", made in 1980, is based on a book of the same name issued to US troops in Papua New Guinea during WWII.
- According to the artist Peter Callas, "this work deals with stereotypes of "Australian" identity, and at the same time examines Australian attitudes towards the media."
- Generated entirely from live Japanese television, this work isolates traditional and contemporary cultural gestures as signs, utilizing a two-frame animation technique developed on the Fairlight CVI. Commissioned for a live video event.
- One of Peter Callas' most personally confronting works. It is made up of six parts, and utilizes the image of a knife slicing horizontally through the pictorial screen as its central and linking motif. Its starting point is an installation by Callas which incorporated a photograph from the 1920s of two severed heads belonging to a male and female of the Takasago tribe in Formosa (Taiwan). At once horrific and enigmatic, this image forms a potent metaphor for Japan's pre-Second World War imperial past. In its focus upon colonial history and collective memory, the significance of the work is not confined to Japan alone but offers a kind of mirror with which to face atrocities committed in colonial Australia.
- Constructed as a dynamic image-world of constant motion, "Karkador" is a vivid portrayal of the use of media as electronic "hanabi" (fireworks) in Japan. Music by Japanese electronic rock band P-Model.
- Compilation of eight video works by Australian video conceptor and director/multimedia artist Peter Callas.
- Moves from the design patterns of the 18th century to the 20th century in the space of 5 minutes. From "fleurs de lis" to modernist geometry, each "scene" of this rhythmic display of decorative patterning is constructed from museum crafts.
- The first almost entirely "animated" work within the oeuvre of Peter Callas, "Kinema No Yoru" introduces the motif of the menko playing card as a recurrent symbol. Popular among Japanese children, menko's colorful appeal is underscored by a darker ideological bias in the set of cards at Callas' disposal. Disjunctive images of war and territorial conquest (human bombs, brave feats, gas masks) thus convey more about Japan's colonial aspirations than of the game's competitive nature in the simple winning and losing of the iconic cards. The introduction of political and propagandist imagery reflects the artist's profound skepticism toward notions of universal truth and authenticity of experience.
- Albeit an avant-garde montage and amalgam of a primary image source taken from a German children's wartime pictorial scrapbook, the film (or video-rebus) mainly focuses on the geographic continent and turbulent political history of Europe.
- Shows a 5-minute excerpt of parts III and IV of Kiru Umi No Yoni/Cutting Like the Ocean (1986).
- Explores notions of the cinematic in relation to recent global history, with particular focus on the role of the media in conveying information and events into the home via the medium of the television.
- In Visions, Peter Callas depicts an imaginary, architectonic, revolving electronic "space" as viewed from the interior of an eyelid. Music by Ra.
- Peter Callas employs his signature computer animation to create a dynamic pictorial landscape with the alphabet as its theme.
- A recreation of the original 2-channel video installation Our Potential Allies (1980) using a third monitor which shows a series of primitive and Aboriginal masks worn by Peter Callas, at "Refiguring the Media Image", Ivan Dougherty Gallery, Sydney.
- The cartographer's "invention" of the world and the role of slavery in the process of the colonization of South America form an "anti-historical" reconstruction of Brazil.
- "How to Make the Famous Pisco Sour" represents a shift beyond earlier works by Peter Callas in its dense layering of subject-matter and imagery. Inititated in Australia and completed in Japan, the work draws upon the core imagery of a bullock dray, a male figure in the silhouette, a Japanese mask and a bottle of Pisco Sour. These appear in varied permutations alongside other seemingly random images to form a series of telescopic views (screens with screens) which allow the viewer to move back and forth between different visual planes. Verbal narrative and textual statement create a sense of tension whilst suggesting that history and faith (emaning) are never fixed. As Callas has noted, the work presents something of a conundrum, its title suggests a metaphoric recipe for the potential "souring" of things.
- Shows an earlier working version of Kiru Umi No Yoni/Cutting Like the Ocean (1986).
- This vibrant, densely textured short film is a video translation of the traditional technique of framing Japanese ink drawings on heavily patterned backgrounds, as schematic pictograms are framed against wildly patterned fields. Music: Ra.
- One of the earliest works made by Peter Callas using a Fairlight Computer Video Instrument (CVI) processor, a pioneering compositing and special effects system he utilized regularly from the mid 1980s to early 90s. The CVI was a hybrid of video and computing technologies which enabled low resolution computer-like effects to be produced "live" without rendering. "Double Trouble" is the first video made by Peter Callas for a large exterior street screen format (in Tokyo). The image appears as though spliced into vertical halves, an array of imagery and characters appearing in double on either side of the division, and moving with alternating motion upwards and downwards. This two-frame animation technique creates two images from one checkerboard stencil which are then reversed, or asynchronously "mirrored", producing an apt metaphor for cultural differences in "body language" between East and West.
- A key video installation in the global oeuvre of Australian video artist Peter Callas dealing with the revolutionary visions of the political trailblazers Jean-Paul Marat (1743-1793) and Vladimir Lenin (1870-1924).