Speaking parts
Narrative overlay / words / saying

︎New Futures™ 2021
︎Radical Acts 2020
︎La Perruque 2019
︎Public Announcements 2017
︎I can’t do anything 2015 +
    Let’s do something in Italian 2015

︎Artwork haiku 2014
︎ Eternal situation 2013
︎The Russian Project 2012
︎The Green Text 2012


Slapstick tactics
Slapstick physicality / site-gags  / non-linguistic

︎Head case in point 2019
︎CAST 2011
︎Relative straightness 2008
︎New Diagonal 2007
︎Standard run 2007
︎The Velodrome Project 2006
︎Spirit & Muscle 2006
   + Dizzy pupil 2005

︎ Deep & Shallow 2004
︎Feeling for you 2002

Super 8 films
Movement / gesture / abstraction

︎16 x Super 8 films


About —

My projects are produced on unceded Kulin Nations Country where I work and live.

I work within the mediums of video, audio, Super 8 film, photography, live and recorded performance.
 
My practice examines various representational strategies, each one linked by an interest in the body and its agency within the everyday. Recurrent themes include humour and tension between received cultural values, individual agency and free will.

I am represented by Sutton Gallery in Melbourne.

Download my 2021 CV here



Mark






Deep & shallow 2004
Video, 4:00 duration


An excerpt from the catalogue essay by Lily Hibberd

“ A little bit of humour goes a long way and Kosloff articulates this well with her use of ridiculous movements and props. The shoes and the garbage bags are not employed purely for their appearances, it’s the movements and characterisations of the (amateur) actors that imbues them with (non)sense. This goes right back to the 1920s where an apparition of performance art can be identified in the formation of a physical, non-verbal theatre as envisaged by Antonin Artaud, whose scripts were not properly realised until after World War Two by protagonists of the ‘Poor Theatre’ such as Jerzy Grotowsky. In this latter movement the notion of the performer being freed from naturalistic representations was paramount. The actor is transformative, not reliant on conventional period costumes or props. This notion of appropriated objects being at once symbolic and bizarre was also a crucial component of the Dada movement, exemplified by the work (and life) of Marcel Duchamp, a movement which is defined as, “... a deliberate courting of the anti-rational, negative gesture; and a commitment to social or political action”.


Click here to read the full essay by Lilly Hibberd
Mark