David Clegg

some projects around walking, reading and listening, in place and out of place

copyright © 2019 David Clegg and the authors



for each iteration of archivedestruct multiple series of sound recordings and photographs were presented on an oversized table, where over the following weeks each series from the previous city was replaced with local recordings and photographs.

A4 laser-printed images, envelopes, A4 pages, text
binaural sound recordings on CD, cases, CD players and headphones
sound recordings on MP3 player, FM transmitters and radios
found tables and chairs

archivedestruct: Santiago 2006
curated by Danae Mossman and Zara Stanhope for Trans Versa: Artists from Australia and New Zealand, Museo de Arte Contemporáneo, Santiago, Chile
5 October–5 November, 2006

archivedestruct: Christchurch 2006
curated by Danae Mossman for The Physics Room, Christchurch, New Zealand
19 July–12 August, 2006

archivedestruct: New Plymouth
curated by Mercedes Vincente for Govett-Brewster Art Gallery, New Plymouth, New Zealand
13 May–11 June, 2006

commissioned by David Cross and Aaron Kreisler for Litmus Research Initiative, School of Fine Arts, Massey University, Wellington, New Zealand
20 July–5 August, 2005

supported by Arts Victoria, Creative New Zealand, Govett-Brewster Art Gallery, MAC Santiago, Massey University, The Physics Room, The South Project, and The Thorndon Trust; with special thanks to Danira Berger, Felipe Berguno, Vanessa Coxhead, David Cross, Kate Griffin, Aaron Kreisler, Kate Montgomery, Magdalena Moreno, Danae Mossman, Bruce E Phillips, Jamie Richardson, Zara Stanhope, Mercedes Vincente

Kreisler, Aaron Wonderland NZ Listener, July 1–7, 2006

McIntyre, Sally archivedestruct: Christchurch 2006 The Physics Room Annual 2006, The Physics Room, Christchurch, 2008

Montgomery, Kate Dominant Disorder The Physics Room, Christchurch, 2006


archivedestruct (Litmus Research Initiative)

http://www.davidclegg.net/files/gimgs/th-81_horizontal _spacer_v3.jpg

archivedestruct: Christchurch 2006, images by Mark Gore