Archive for the ‘Group exhibitions’ Category
Tracks and Traces: Contemporary Australian Art at the Negev Museum of Art
The Negev Museum of Art, Be’er Sheva, Israel, together with Sherman Contemporary Art Foundation (SCAF), Sydney cordially invite you to the opening of the exhibition Tracks and Traces: Contemporary Australian Art Curated by Emily Rolfe and Dalia Manor.
Monday 30 October 2017, 5 pm at The Negev Museum of Art.
Opening Address:
Mr Ruvik Danilovich, Mayor of Be’er Sheva
Dr Dalia Manor, Director and Chief Curator
Dr Gene Sherman, Director of SCAF
A tour of the exhibition guided by the curators will begin at 6 PM.
Artists: Vernon Ah Kee, Brook Andrew, Shaun Gladwell, Rosemary Laing, Danie Mellor, Shirley Purdie, Joan Ross, Hiromi Tango, Christian Thompson.
52 Portraits, 2013-17
Mixed media on Belgian linen
70 x 55 x 5 cm each
Gene & Brian Sherman Collection, Sydney
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Tracks and Traces
60 Ha’atzmaut Street, Be’er Sheva
Tel. 972-8-6993535
Mon, Tue, Thu: 10:00-16:00, Wed: 12:00-19:00 Fri, Sat: 10:00-14:00
http://www.ine-museum.org.il
A Working Model of the World at Parsons School of Design / The New School, New York
A Working Model of the World opens on Thursday 28 September 6-8pm (with curator’s walk-through from 5.30pm) at the Sheila C Johnson Design Centre, Parsons School of Design / The New School, 66 Fifth Ave at 13th St, New York.
Exhibition continues to 13 December 2017
Developed and Presented in partnership with UNSW Galleries, Sydney, the Sheila C. Johnson Design Centre, Parsons/The New School, New York and The Curators’ Department, Sydney. This project has been assisted by the Australian Government through the Australia Council, its arts funding, and advisory body.
Image: Tombs of Thought: Water, 2017. Installation view: A Working Model of The World, UNSW Gallery, Sydney, 2017. Photo Credit: Silversalt Photography
THE PUBLIC BODY .02, Artspace, Sydney
Please join us for the opening of THE PUBLIC BODY .02
Thursday 27th July, 6 – 8 pm
Artspace, Sydney
Even a failing mind feels the tug of history, 2009
from the Danger of Authority series 2009
woodblock print on handmade Japanese paper
76.0 x 61.0 cm (block), 97.0 x 67.0 cm (sheet)
Flow chart, 2011
neon, offset-photo lithographs, sapele (Entandrophragma cylindricum)
283.0 x 449.5 x 8.5 cm
Installation view, Brook Andrew: The Right to Offend is Sacred, the National Gallery of Victoria, Melbourne.
Photo: Dianna Snape
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Artspace
43 – 51 Cowper Wharf Road
Woolloomooloo NSW, 2011
Gallery Hours: 11am – 5pm, Mon – Fri. And 11am – 6pm Sat & Sun
21st Biennale of Sydney: March 2018
I am delighted to be participating in the 21st Biennale of Sydney directed by Mami Kataoka. The Biennale will be presented over twelve weeks from 16 March – 11 June next year.
“The Japanese curator, who has been chief curator at the Mori Art Museum in Tokyo since 2003 and is the biennale’s first Asian artistic director, said she was interested in the history of colonisation in Australia, and drew a parallel between the colonisation of Asian regions, highlighting the complexity of the competing ideas about land ownership throughout history. “I had been looking into the idea of nature from a Japanese perspective for quite a long time. But I think there is a beautiful resonance with [Australian] Indigenous culture, and how that would speak with western, modern idea of nature,” she told Guardian Australia.”
Stephanie Convery, more information in The Guardian, here.
The preliminary lineup also includes:
Eija-Liisa Ahtila (Born 1959 in Finland, lives and works in Helsinki)
Ai Weiwei (Born 1957 in China, lives and works in Beijing)
Oliver Beer (Born 1985 in England, lives and works in Paris and London)
Anya Gallaccio (Born 1963 in Scotland, lives and works in San Diego and London)
Laurent Grasso (Born 1972 in France, lives and works in Paris and New York)
N.S. Harsha (Born 1969 in India, lives and works in Mysore)
Mit Jai Inn (Born 1960 in Thailand, lives and works in Chiang Mai)
Kate Newby (Born 1979 in New Zealand, lives and works in Auckland and New York)
Noguchi Rika (Born 1971 in Japan, lives and works in Okinawa)
Nguyen Trinh Thi (Born 1973 in Vietnam, lives and works in Hanoi)
Ciara Phillips (Born 1976 in Canada, lives and works in Glasgow)
Koji Ryui (Born 1976 in Japan, lives and works in Sydney)
Semiconductor (Ruth Jarman, born 1973 in England, and Joe Gerhardt, born 1972 in England, live and work in Brighton)
Yasmin Smith (Born 1984 in Australia, lives and works in Sydney)
George Tjungurrayi (Born c. 1943 in Australia, lives and works in Kintore)
Nicole Wong (Born 1990 in Hong Kong, lives and works in Hong Kong)
Wong Hoy Cheong (Born 1960 in Malaysia, lives and works in Kuala Lumpur)
Yukinori Yanagi (Born 1959 in Japan, lives and works in Hiroshima)
Haegue Yang (Born 1971 in South Korea, lives and works in Berlin and Seoul)
Jun Yang (Born 1975 in China, lives and works in Vienna, Taipei and Yokohama)
SOVEREIGNTY at ACCA, Melbourne
Sovereignty is an exhibition focusing upon contemporary art of First Nations peoples of South East Australia, alongside keynote historical works, to explore culturally and linguistically diverse narratives of self-determination, identity, sovereignty and resistance.
Taking the example of Ngurungaeta (Elder) and Wurundjeri leader William Barak (c.1824–1903) as a model – in particular Barak’s role as an artist, activist, leader, diplomat and translator – the exhibition presents the vibrant and diverse visual art and culture of the continuous and distinct nations, language groups and communities of Victoria’s sovereign, Indigenous peoples.
Bringing together new commissions, recent and historical works by over thirty artists, Sovereignty is structured around a set of practices and relationships in which art and society, community and family, history and politics are inextricably connected. A diverse range of discursive and thematic contexts are elaborated: the celebration and assertion of cultural identity and resistance; the significance and inter-connectedness of Country, people and place; the renewal and re-inscription of cultural languages and practices; the importance of matriarchal culture and wisdom; the dynamic relations between activism and aesthetics; and a playfulness with language and signs in contemporary society.
Sovereignty provides an opportunity to engage with critical historical and contemporary issues in Australian society. The exhibition takes place against a backdrop of cultural, political and historical debates related to questions of colonialism and de-colonisation, constitutional recognition, sovereignty and treaty. Sovereignty is conceived as a platform for Indigenous community expression, and will be accompanied by an extensive program of talks, forums, screenings, performances, workshops, education programs and events.
Curators: Paola Balla and Max Delany
Australian Centre for Contemporary Art (ACCA), Melbourne
Until March 26, 2017
Image: Installation view Sovereignty, Australian Centre for Contemporary Art (ACCA), Melbourne. Photo: Andrew Curtis
‘Erewhon’ touring with NETS Victoria
Images: Harvest, 2015 and The Memory Archive, 2015 in Erewhon.
Installation view Margaret Lawrence Gallery, Victorian College of the Arts, Melbourne University, 2016.
A NETS Victoria touring exhibition. Photography by Christian Capurro.
Erewhon touring with NETS Victoria
Artists: Brook Andrew, Mikala Dwyer & Justene Williams, Tony Garifalakis, Claire Lambe, Clare Milledge. Curated by Vikki McInnes.
Asialink and NETS Victoria.
Erewhon is the (almost) return of Neverwhere, an exhibition that travelled to Istanbul last year, commissioned by Asialink as part of the ‘Australia in Turkey’ cultural festival. Neverwhere presented the work of eight contemporary Australian artists to disturb distinctions between our real and imagined selves, and between the authentic and the proposed. Narratives were informed by external – and often mysterious – forces, both seen and unseen; the exhibition shifted registers between sincerity and satire although its propensity was to shadowy psychological turns. And it is farther in this direction – towards the darker, more charged imaginings – that the work in Erewhon leads.
More correctly, of course, Erewhon is the (not quite syntactically correct) return of ‘Nowhere’ and title of a novel by Samuel Butler, first published anonymously in 1872. Erewhon was set in a fictional eponymous country – though one that strongly resembled the south of New Zealand in which Butler lived as a young man. The story provided a satire (and philosophical exploration) of various aspects of Victorian society, most notably crime and punishment, religion and science. For example, according to Erewhonian law, offenders were treated as if they were ill, whereas ill people were looked upon as criminals. Another feature of Erewhon was the absence of machines due to the widely shared belief by the Erewhonians that they were potentially dangerous. These ideas – among others (the effects of colonisation, technological progress, the impossibility of utopias, discipline and punishment) – form both the thesis and the point of departure for the exhibition Erewhon.
Margaret Lawrence Gallery
1 September – 1 October
Horsham Regional Art Gallery
19 November – 29 January
Warrnambool Art Gallery
11 February – 12 June
Benalla Art Gallery
22 September – 26 November
Latrobe Regional Gallery
16 December 2017 – 11 March 2018
“Soft Core” at Casula Powerhouse Arts Centre, Sydney
Soft Core
15 Oct 2016 – 4 Dec 2016
Casula Powerhouse Arts Centre, NSW
IMAGE: The Weight of History, The Mark of Time, 2015. Installation view: Soft Core, Casula Powerhouse Arts Centre, Sydney. Photo by Brenton McGeachie.
Soft Core presents artistic practices that explore the many facets of ‘softness’ – from large-scale inflatables to forms made from soft materials to materials that simply look soft. These artists are making works that demand attention – forms that are not simply bumped into while looking at paintings.
In the 20th century, artists began to disassemble the notion of traditional sculpture by adding and subtracting constructions, incorporating found objects and designating everyday items as art. These adaptive and divergent methods of form making continue today in a generation of artists who define sculpture in the negative condition: not bronze, not stone, not the macho force of the blast furnace.
The materials in this exhibition encompass air, inflatable nylon, unfired clay and plastics bags – materials that have been co-opted for their versatility and their mutability between function and emotion. Some of the works in this exhibition require activation – such as electricity or inflation to become whole while others inhabit their softness quietly.
Soft Core investigates these practices by presenting existing works and newly commissioned works by a diversity of artists who question the fluctuating meaning of what it means to be soft.
Curated by Micheal Do. The Weight of History, The Mark of Time, 2015 was Commissioned by the Barangaroo Delivery Authority as part of the Welcome Celebrations, September 2015, Sydney.
“For an Image, Faster Than Light”, Yinchuan Biennale, Museum of Contemporary Art (MOCA), China.
For an Image, Faster Than Light, Yinchuan Biennial
Hosted by the Museum of Contemporary Art Yinchuan (MOCA)
Yinchuan, China
Until December 18, 2016.
Curated by Bose Krishnamachari, For an Image, Faster Than Light is the inaugural Yinchuan Biennial, which includes more than 80 international artists from 34 countries representing all facets of the globe.
The theme chosen for this exhibition is a sonic examination in eternities that the contemporary artists are engaging into finding answers to the questions confronting a vitiated social, political, economic and physical environment. It aims at uncovering the confrontation of world we’re facing today by the power of global creativity as to build and convey possible propositions. The exhibition includes various forms of presentations like film, device, photography, painting, sculpture, etc. Contemporary creation, social dynamics and cosmic connections are the investigative avenues artists, curators, critics, and scholars are being invited to discover as part of the happenstances and interactions programmed during YC Biennale 2016.
Image: Building (Eating) Empire, 2016 via Universes in Universe – Worlds of Art.
“Nations Party” and “Antipodes” at the Australian Print Workshop; & the Museum of Archaeology and Anthropology, Cambridge
Bringing up the bodies Without fear or favour, 2016. Image: 49 x 70 cm.
A solo exhibition Nations Party was presented at the Australian Print Workshop, Melbourne part of Antipodes. The group exhibition, Antipodes: Cut Apart was shown at the Museum of Archaeology and Anthropology, Cambridge, UK
Nations Party
Australian Print Workshop
210 Gertrude Street, Melbourne
11 June – 9 July, 2016
Antipodes: Cut Apart
Museum of Archaeology and Anthropology
Cambridge, United Kingdom
22 June – 26 September 2016
A new collaboration between the University of Cambridge Museums in the United Kingdom and Australian Print Workshop brought together three of Australia’s most respected contemporary artists Brook Andrew, Tom Nicholson and Caroline Rothwell and is perhaps the Australian Print Workshop’s most ambitious and successful international partnership to date.
Hosted by the Cambridge Museum of Archaeology and Anthropology, APW and the Artists travelled to the United Kingdom to study rarely seen and highly significant collections relating to Australia and the Pacific.
The APW group met with eminent scholars and curators, and gained privileged ‘behind-the-scenes’ access to some of the most precious objects held in collections across the consortium of University of Cambridge Museums.
In London, the group had special access to world-renowned collections of early prints, drawings, watercolours and photographs housed at the National History Museum and The British Museum.
Exploring the interplay of natural history, empire, art and anthropology each of the Artists has now spent time in the print studio at APW, working in collaboration with APW Printers to produce reflective bodies of work in the print medium.
Project curated by APW Director Anne Virgo OAM and MAA Director Professor Nicholas Thomas. This project was made possible through the generous support of UCM, and APW’s long-standing philanthropic partner The Collie Print Trust.
‘Intervening Time’ for APT8
Intervening Time, 2015
8th Asia Pacific Triennial of Contemporary Art (APT8)
Gallery of Modern Art, Queensland Art Gallery (QAGOMA), Brisbane
Until 10th April, 2016
A museum intervention including TIME, 2012, a suite of six large-scale screenprints on canvas that draws on archival images; wall painting; and works from the Queensland Art Gallery’s Australian art collection.
Brook Andrew 