Celebrating the launch of QT Melbourne, LoveArt commissioned four performances to coincide with the hotel's opening.



Capital Gains (2016)

Tatoo Artist: Tatu Lu

Lighting: Skye Davies

Fowler's durational performance sees the artist’s forearm tattooed with an image of the iconic Australian Banksia, within the hotel room. The two performers (artist/subject and tattoo artist) are stylistically costumed, positioned and lit within the room to create a cinematic aesthetic and a sense of dramatic and visceral intimacy for the viewer. This will be Fowler's fourth tattoo performance over the past decade, and the previous tattoos of extinct New Zealand bird species will be visually incorporated into this latest performance. In this new work, Fowler continues a poetic critique of ideologies of exploitation and dominance over the natural world and other peoples, this time identifying the Banksia as representative of one of the first acts of European claiming of the Australian continent. Performed within the context of the hotel room, the site functions as a transient non-space; fleetingly occupied and with unknowable histories. These qualities evocatively tie into the work’s own themes of distance, loss, and separation.


Soft is Fast (2015-16)

Brooke Stamp’s performance Soft is Fast evokes the hive of invisible energies present in hotel culture. The glacially-paced choreography of three female bodies in the hotel room is set against the incessant soundscape of DJ Mill’s techno music. This juxtaposition expands the atmosphere of the hotel-space as a liminal and uncanny pocket isolated from the rest of the world. Personal experiences of time are distorted. Energy is transmitted through movement. The work is both hypnotic and disruptive, and presents as an incongruous living sculpture that is as captivating as it is disturbing. 


Turning the Tables (2016)


Turning The Tables is a performance framework developed by Julian Day and Luke Jaaniste who perform as Loud and Soft. The pair uses identical classic LP records (Hooked On Classics, Vangelis, Chariots Of Fire) that are compromised by the use of found objects on their surface. This impedes the records’ usual function and creates staggered, multi-layered compositions that are simultaneously bright, pacey, surreal and disconcerting.Guests step into a spacious hotel suite. Within the bathroom two artists stand behind a pair of turntables. They monitor several identical records playing at once, using sets of weights upon the vinyl to create a hallucinogenic sound field of fractured samples. Throughout the evening a kaleidoscope of fragmented beats and melodies bounce throughout the space, suggesting a surreal night club.


A Room for Dreams (2016)

For the opening of QT Melbourne, artist duo The Telepathy Project presented an iteration of an ongoing exploration of the possibilities of telepathy and dreaming. A Room for Dreams serves as a continuation of this extended metaphor for alternate ways of being, communicating and collaborating. In this iteration, the two artists sleep while a series of dream-characters including a buccaneer, an accordionist, pierrot, and Marie Antoinnette are gently soothed by the songs of a jazz singer. These atmospheric considerations work to transform the room into a surreal dreamscape. As the viewer steps across this boundary, they enter a transitional space and become active participants in the collective realm of the unconscious.