Kynan Tan

  • Information
  • Artworks
  • Biography
  • Exhibitions
  • Bibliography
  • Awards
'Deletion (kong.wav)', 2017-18, pigment print on metallic paper, 40 x 50cm

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Born 1988, Perth, Western Australia. Lives and works Sydney, NSW, Australia.

EDUCATION

2015-present PhD Candidate, University of New South Wales Art & Design (expected completion 2018)

2007-11 Bachelor of Music: Music Technology (First Class Honours), Western Australian Academy of Performing Arts

 

SELECTED EXHIBITIONS

2018      Summer Group Show, Dominik Mersch Gallery, Sydney

2017      Primavera 2017, Museum of Contemporary Art, Sydney

2017      Co•–st•–l W•–ve Tr•–nsl•–tor, Critical Animals, This is Not Art Festival, Newcastle (with Devon Ward)

2017      _FOUNDATIONS_2100_, City of Perth Winter Arts Festival, (with Devon Ward)

2017      Co•–st•–l W•–ve Tr•–nsl•–tor, RAFT artist-run space, Elizabeth Quay, Perth (collaboration with Devon Ward)

2016      Longli International New Media Art Festival, Longli Ancient Town, Jinping County, Guizhou Province, China

2016      Polymorphism, Ideas Platform, Artspace, Sydney

2016      Automated Reasoning Paradigm, Firstdraft Gallery, Sydney

2015      Didactic Tools, Fremantle Arts Centre, Perth

2015      Dead Ringer, curated by Leigh Robb, Perth Institute of Contemporary Arts

2015      Pica Salon, curated by Leigh Robb and Nadia Johnson, Perth Institute of Contemporary Arts

2015      sculptures: 5, The Auricle, Christchurch, New Zealand

2015      Firstdraft Auction, Firstdraft Gallery, Sydney

2014      What I See When I Look At Sound, curated by Leigh Robb, Perth Institute of Contemporary Arts

2014      Print Award, Fremantle Arts Centre

2014      hyperthymesia, State of the Art Festival, State Library of Western Australia

2014      sculptures: 4, Firstdraft Gallery, Sydney

2014      perspectives [micro], NOW now Festival Group Show, SNO Gallery, Sydney

2013      perspectives [macro], free range gallery, Perth

2012      NH7 festival, Pune, India

2011      Wonderland, Museum of Contemporary Art, Taipei, Taiwan

2010      hypnogenia, Scitech Science Museum, Perth

 

Performances 

2017      CAPTCHA, Everyday Machines #2, curated by Tom Smith, Alaska Projects, Sydney

2017      Audible Edge Festival, presented by Tone List and Tura New Music, Perth

2017      Black Box Series, UNSW Art & Design

2016      Everyday Machines #1, curated by Tom Smith, Alaska Projects, Sydney (as Té with Andrew Brooks)

2016      Pretty Gritty series, curated by Gail Priest, 107 Projects, Sydney

2016      Electrofringe: New Terrains, Top Floor at Wellington, Sydney

2016      NOW now Festival of Arts, 107 Projects, Sydney

2014      perspectives [temporal], solo audio-visual concert, Perth Institute of Contemporary Arts

2014      NOW now Festival of Arts, Sydney (as Té with Andrew Brooks)

2012-14         multiplicity – large-scale, dual-screen audio-visual work presented at: Perth Cultural Centre Screen Program, 2014; Test Tone, SuperDeluxe, Tokyo, Japan, 2013; Channels Video Art Festival, Melbourne, 2013; fractal shale, Perth Institute of Contemporary Arts Performance Space, 2012; NOW now festival program launch, Sydney, 2012; fractal shale, Tape Projects, Melbourne, 2012

2014      Cinematic Scores, live soundtrack to Laszlo Moholy-Nagy’s Lichtspiel Schwarz Weiss Grau, Perth Fringe Festival, Packenham Street Art Space, Perth

2013      International Computer Music Festival, Western Australian Museum (as Té with Andrew Brooks)

2012-13         consciousness – large-scale audio-visual work presented at: Nu Things, Osaka, 2013; Tape Projects, Melbourne, 2012; AV Union, Sydney, 2012; Terrace Bar, Newcastle, 2012; The Bakery, Perth, 2012

2013      Japan tour, solo audio-visual performances and as Té with Andrew Brooks, Osaka, Kyoto, Tokyo

2011      split mirror planes – for four instruments and four audio/visual sources, commissioned by Decibel new music ensemble – premiered at Perth Institute of Contemporary Arts

2010    lucidity – major composition for electroacoustic ensemble: acoustic instruments, computer signal processing, sound synthesis and video projections performed at The Bakery, Perth

 

Recordings

2014      100% hits by Té (Andrew Brooks and Kynan Tan), album, torrent download, self-released

2014      syllepsis by Motion, album, download, Wood and Wire

2013      circuitous by Té, album, vinyl + download, hellosQuare

2012      live recording 28072012 by Té, EP, CD + download, self-released

2012      raetina, album, CD + download, listen / hear collective

 

Collaborations

2014-16 microLandscapes (sound, visuals, programming), interdisciplinary dance project by Emma Fishwick

2013-16 Assemblies for one Body(sound), improvised dance work by Rhiannon Newton

2013      Three Squared, (sound), dance work by Rhiannon Newton with Unkempt Dance

2013      Prompter (visuals and sound design), hybrid theatre work by Hydra Poesis, premiered at Arts House Meat Market, Melbourne

2013      Wintering (visuals), dance work by Aimee Smith, premiered at State Theatre Underground, Perth

AWARDS AND RESIDENCIES

2015-18 Australian Postgraduate Award, Research Excellence Scholarship

2014      Highly Commended award for city constructed from sleeping brain activity data, Fremantle Arts Centre Print Award, Perth

2014      SymbioticA Research Residency, Biological Arts Facility, University of Western Australia

2014      Visual Arts New Work Grant, Australia Council (as Té with Andrew Brooks)

2013-15 Centre for Interdisciplinary Arts Resident Artist, Perth

2013      Best Design for Wintering by Aimee Smith, Western Australian Dance Awards (video design, in collaboration with Ben Taaffe and Craig McElhinney)

2013      Young People and the Arts Fellowship, WA Department of Culture and the Arts

2013      Australia Council Artstart Grant

2013      Performance Space Quickfire Residency, Carriageworks, Sydney (as Té with Andrew Brooks)

2013      WA Screen Awards, Outstanding Achievement Award: Best Interactive Narrative for Sound Chamber (with Yvette Coyne and Malcolm Riddoch)

2012      JUMP Mentorship Grant, to study with audio-visual artist Robin Fox

2010      Decibel Commission, to compose the audio-visual work Split Mirror Planes

REVIEWS AND PUBLICATIONS

2017      Primavera Catalogue, Museum of Contemporary Art Australia

2016      Territories Within a Political Ecology by Ashley Haywood, Rochford Street Review

2015      Dead Ringer Catalogue, PICA Press

2014      Compulsively obsessive art & sound, review of What I see When I Look At Sound by Darren Jorgenson, RealTime Magazine

2014      Shifting the Registers, review of What I See When I Look At Sound by John Mateer, Art Monthly Magazine

2013      Review of perspectives [macro] by Steve Paraskos, Partial Durations (RealTime affiliate)

2013      Pleasures Synaesthetic and Crystalline by Sam Gillies, review of fractal shale, RealTime

2011      Slippage of Sound and Sight by Henry Anderson, review of Decibel Camera Obscura concert, RealTime

 

WRITING

2017      Computational Audio-Visual Temporalities, Writing Around Sound, edited by Richard Keys and Jo Burzynska

2016      Materialising the Conditions of Computation, Electronic Visualisation and the Arts

2014      Notes on Translation, Das SUPERPAPER, edited by Caleb Kelly (as Té with Andrew Brooks)

2014    Philosophical Investigations, Un Magazine, (as Té with Andrew Brooks)

2018
'Deletion (kong.wav)', 2017-18, pigment print on metallic paper, 40 x 50cm
'Deletion (thesis.pdf)', 2017-18, pigment print on metallic paper, 40 x 50cm
'Melt (Sydney)', 2017-18, pigment print on photographic paper, 40 x 50cm
'Particle', 2017-18, pigment print on photographic paper, 40 x 50cm
'Multistructure Diagram', 2017-18, pigment print on photographic paper, 40 x 50cm
'Automated Logistics Simulation', 2018, computer-generated simulation, edition of 3 + 1AP
'Automated Logistics Simulation (Permutations)', 2018, computer-generated simulation, edition of 3 + 1AP
'Melt (Integrated Circuit)', 2017-18, computer-generated video and sound, 3:00 min, edition of 3 + 1 AP
‘Combinatorics (Sound)’, 2018, electronic components and computer-generated sound, 7.23 x 102765  years, <br />
edition of 3 + 1AP
‘Combinatorics (Image)’, 2018, electronic components and computer-generated video, 2.63 x 1075 years, <br />
edition of 3 + 1AP<br />
‘Data Erasure (Object NA4M9N4N)’, 2018, hard disk drive, 15 x 10 x 3 cm
2017
‘Data Erasure’, 2017, computer-generated simulation, sound and video, continuous loop, edition of 5 + 1 AP
2015
'City Constructed from Sleeping Brain Activity Data (no.04)', 2015, 3D printed PLA plastic, data, edition of 3 + 1AP
'City Constructed from Sleeping Brain Activity Data (no.05)', 2015, 3D printed PLA plastic, data, edition of 3 + 1AP
'City Constructed from Sleeping Brain Activity Data (no.06)', 2015, 3D printed PLA plastic, data, edition of 3 + 1AP
'City Constructed from Sleeping Brain Activity Data (no.07)', 2015, 3D printed PLA plastic, data, edition of 3 + 1AP
'City Constructed from Sleeping Brain Activity Data (no.08)', 2015, 3D printed PLA plastic, data, edition of 3 + 1AP
'City Constructed from Sleeping Brain Activity Data (no.09)', 2015, 3D printed PLA plastic, data, edition of 3 + 1AP
'City Constructed from Sleeping Brain Activity Data (no.16)', 2015, 3D printed PLA plastic, data, edition of 3 + 1AP
'City Constructed from Sleeping Brain Activity Data (no.19)', 2015, 3D printed PLA plastic, data, edition of 3 + 1AP
'Metamodel.dna (lactobacillius rhamnosus ~ homo sapiens)', 2015, 3D printed PLA plastic, DNA data, 16 x 12 x 12 cm, edition of 3 + 1AP
'Metamodel.dna (clostridium difficile ~ homo sapiens)', 2015, 3D printed PLA plastic, DNA data, 10 x 10 x 10 cm, edition of 3 + 1AP
'Metamodel.dna (bacteroides fragilis ~ homo sapiens)', 2015, 3D printed PLA plastic, DNA data, 10 x 10 x 10 cm, edition of 3 + 1AP
'Perspectives (temporal)' image still, 2015, computer-generated sound and video, 40:12