Remote Origins

Operations Director: Madelynne Cornish

Artistic Director: Philip Samartzis

Design + Development: Public Office

Typeset in Inglewood by Vincent Chan

The Bogong Centre for Sound Culture is a remote-regional cultural initiative situated in the foothills of Victoria’s Alpine National Park. Established by Philip Samartzis and Madelynne Cornish the Centre supports projects focusing on the processes and impacts of sustainable energy production; effects of climate change in wilderness areas; ethnographic studies of remote communities; the chronicling of vanishing industrial procedures; and systems of representation used to render natural and built environments.

Additionally, the BCSC facilitates a broad cultural program comprising, festivals, exhibitions, publications, master classes and artists’ talks focusing on site-specific art practices. These programs establish a connection with place, its inhabitants, geographic space and memory. They engage a wide range of audiences, bringing together local, interstate and international artists across multiple disciplines and fields to realise ambitious works.

The BCSC is situated at the newly restored old school at Bogong Alpine Village located 350 kilometres from Melbourne in North East Victoria.

About Bogong Village

Bogong Alpine Village is 325 kilometres North-East of Melbourne situated at an altitude of 800 meters in the Alpine National Park between Mount Beauty and Falls Creek. The village was established in the late 1930s to service the first hydroelectric scheme in mainland Australia. More recently it has become a popular site for alpine sports, recreation and ecotourism. Click here for directions.

A Short History

Work on the Kiewa Scheme commenced in 1938 with the construction of a road from Tawonga to the High Plains. Previously the only access was by foot or horseback along tracks that had been forged by cattlemen of a bygone era. Bogong Village was established once the road from Junction Camp was trafficable (March 1939); this paved the way for the construction of permanent buildings. Prior to that life was tough; large canvas tents and flies were used for sleeping quarters and smaller tents were set up to house the kitchens. By 1940 Bogong Township had grown considerably with a general store, staff offices, recreational mess, police station, and a variety of accommodation such as single men’s quarters and residences for married staff and families.

Bogong State School

In 1941 the Primary School at Bogong Village enrolled its first intake of students comprising nine pupils. Initially the school consisted of a large classroom, storeroom and boys and girls toilets. Extensions were carried out in 1944, which expanded the capabilities of the school. A library, storeroom, pupil’s lunchroom and shelter shed were added and rock gardens were established. By 1947 the number of students had grown to 46 all of whom were children of local SEC workers. Over the years class sizes fluctuated and the building remained unchanged. In 1980 it ceased to operate as a school and sat idle, eventually falling into disrepair. In 2004 it was sold along with many other buildings in the village.

Madelynne Cornish and Philip Samartzis bought the Old School and set about restoring it to its former glory. The rotting weatherboards and floorboards, smashed windows and flaking paint are now a distant memory. The newly refurbished building occupies it’s original footprint and bares a strong resemblance to it’s former self. Although the internals have been modernized remnants of it’s past history remain. The Old School once played a significant role in the fabric of village life. It inspired the community and helped shape the minds of those who studied there. It is our intention as custodians that the School once again functions as a place of inspiration.

Reference: Kiewa Kids School Days at Bogong & Mount Beauty by Graham Gardner

ISBN 0-646-36226-7. Published 1998

AIR Program

Since its inception in 2010 the B—CSC has hosted over 60 national and international artists within their artist in residence program. The AiR program is designed to provide artists the opportunity to consider and respond to the alpine environment and its attendant complexities including the tension between conservation and exploitation. The B—CSC has two residency programs, the Supported Residency and the Micro Residency. The Supported Residency program provides artists with accommodation and logistical support to enable fieldwork, practice based research and community engagement. The Micro Residency program offers subsidized accommodation and general support for artists and artist groups, by facilitating access to the region and its various communities and organisations.

The B—CSC has curated AiR artists into two site-specific festivals Bogong ELECTRIC and Bogong AIR; one international exhibition Sonic Interventions [AT], featuring the works of 14 contemporary Australian and Austrian sound artists who investigate the relationship between the natural and constructed environment; two national exhibitions CURRENT and Electricity: Watts the Story, interrogating issues informing acoustic ecology, renewable energy and environmental sustainability. It actively facilities public programs including Art-Talking in which visiting artists present talks to the local alpine community in order to provide remote and regional communities access to contemporary art theories and practices. Artworks generated by AiR artists have been showcased in several publications including Creative Businesses in Australia produced by the Creative Industries Innovation Centre (2015), Great Art Stories From Regional Australia produced by Regional Arts Australia (2014), Sounds of Weather produced by Musashino Art University Japan (2014), and Invisible City Issue 07: Remote (2014).

Please Note:
The application period for the 2017 Support Residency program is now closed. The call for 2018 applications will be announced in mid 2017. To stay informed of the B–CSC callouts and events please subscribe to our newsletter.

Our Program

The B—CSC was established to provide opportunities for artists to creatively engage with Australia’s Alpine National Park, a region renowned for its remoteness, unique ecology and intemperate climate. The Australian Alps produces 80% of Australia’s fresh water supply yet only comprises one percent of its landmass. While the bulk of it is designated as national park, the Australian Alps are also the site of quite complex industrial and commercial enterprises including alpine resorts and hydroelectric power schemes. Hydroelectricity is posited as a sustainable source of renewable energy. Through massive earthworks and complex technical infrastructure, pressurized water is mobilized to generate the electricity required to power the everyday spaces that we inhabit. The range of infrastructure used to exploit the gravitational force of falling or flowing water including turbines, pumps, sub stations, dams and aqueducts and the manner in which they inhabit the natural environment provides a rich source for investigation for a wide range of artists. The relationship between the natural and constructed environment used to collect and exploit this water supply is quite complex and variegated, providing a compelling subject for consideration given the current discourse surrounding sustainable methods of energy production.