A silver gelatin dry plate glass negative in landscape format.

Country Always

Caring for Country

A Corner of the Empire

The Garden Palace

Sepia photograph of the Technological Museum and a cow in the foreground

The Holding Pen

The Agricultural Hall

Sepia photograph of the Technological College and Museum in Broken Hill

Regional Networks

Across New South Wales

A Museum of Doing

Technological Museum

Black and white photograph of man walking through eucalyptus plantation

Expanding Stories

Evolution of the Castle Hill site from botanical research station to Museum Discovery Centre

Colour photograph of red corrugated iron building from a high vantage point

Transforming the Tramsheds

Powerhouse Stage 1 and the Harwood Building

A Symbol in Time

Sydney Observatory

Powerhouse Museum, Stage 2 exterior from high angle, city skyline in background

Ongoing Transformations

Powerhouse Ultimo

Blurred image from film with museum object number

Applied Arts and Sciences

Defining the terms in the 21st century

A black and white image of a large screen depicting a landscape. The screen is placed in front of a rock wall.

Powerhouse Renewal

Artist Xin Liu floating with arm outstretched against a black background. She wears a full-length grey body suit with long sleeves with bare feet and hands.

Sydney Science Festival

Across Sydney10—17 Aug

Exoskeleton

Powerhouse Parramatta

A woman stands on stage in front of a large audience. She has her left hand raised in the air and a microphone in her right hand. The audience are holding their phones up recording the woman.

Blak Powerhouse

Powerhouse x We Are Warriors

Slider thumb2023

Program

Diggermode: A film from ‘Australia’

Name: Diggermode: A film from ‘Australia’
Start: 2023-09-20T05:00:00.000Z
End: 2023-09-20T06:30:00.000Z
Location: UTS Gallery

Tag iconScreening

when

Ended 20 Sept 2023

where

UTS Gallery

Diggermode questions the social and environmental ethics of technology in constructing, storing and sharing our images, whether in surveillance databases, museum archives or online. Using Artificial Intelligence (AI), Joel Sherwood Spring has created landscapes in the style of acclaimed Arrernte artist Albert Namatjira being torn apart by mining machinery, and has trained another AI to answer questions like ‘Who’s your Mob? ’Presumably, anyone could do this – but should anyone be able to appropriate Indigenous art from the internet? How do we protect our knowledge in digital spaces? Does sand used to make silicon microchips contain memories of Country?

Sherwood Spring’s work confronts the viewer with uncomfortable and overlooked aspects of our hyper-networked age, grounding the possibilities of ‘the cloud’ and AI in the broader context of ongoing colonisation. Diggermode considers the environmental damage caused by new technology and data storage, and the ways in which Indigenous peoples’ lands and ways of being are profoundly impacted by capitalism’s extractive processes. A screening of Diggermode will be followed by an artist talk by Joel Sherwood Spring.

Speaker

Joel Sherwood Spring is a Wiradjuri anti-disciplinary artist and Powerhouse design resident. Sherwood Spring works collaboratively on projects that sit outside established notions of contemporary art and architecture, attempting to transfigure spatial dynamics of power through discourse, pedagogies, art, design and architectural practice. Sherwood Spring is focused on examining the contested narratives of Australia’s urban cultural and Indigenous history in the face of ongoing colonisation. He is a co-director of Future Method Studio, a collaborative interdisciplinary practice working across architecture, installation and speculative projects. He guest-edited Runway Journal’s 44th issue TIME in 2021 and was a commissioned artist for Ceremony, the 4th National Indigenous Art Triennial in 2022 at the National Gallery of Australia.