24.8.16

Adrian Hall - yes YOU WILL be - rolling program

John Gillies will re-present his 1991 Perspecta work,
at 6.30pm Saturday. 27th. August 2016.
Techno/Dumb/Show  
a work made in collaboration with the Sydney Front.                                                                                                                                                      
and conversations SHALL happen.
Recordings shall be made, as with all dialogue and visitations.



I do expect Cailin Richardson Hall,
to contact from New Zealand with conversation on the decisions facing 
school leavers in the Marlborough area. Saturday or Sunday.
Sometime Sunday, 28th August, 2016, Margot Nash has said she will visit -
conversation and dialogue guaranteed . . . at least.

Just been on the go with Terry Hayes on Skype . . .
He shall be here from 10am on Wednesday, 31.08.2016.

Frolics shall ensue to celebrate 200 years since 1816 . . .
there shall be swinging sounds of that time, 
then 100 years of Dada, 
where-bye Terry gets his rocks off his property, 
and we contemplate the shortness of two thick planks.

We could well be talking with Chris Fortescue 
in Vienna later on that day with images of Haus Wittgenstein. 
And more visible notions relating Chris says, to 1981.

I shall sporadically show recordings of old stuff, from Friday on,
and records of other Occurrences in N.Z. and Belfast,
as suits my whimsy. This morning I read from Francis Bacon,
an essay on "Riches" dedicated to Uncle Scrooge McDuck.
Previously on Tuesday I read "Learning" dedicated to those rascals in Callan Park - with my congratulations. 
These audio texts shall be on <adrianhall.space> shortly.
with other video recordings of occurrences and rants 
happening within "Yes you will be". And you will!

Today I also wrote to that veteran of flame-thrower combat in Italy, truly, the very first Head of S.C.A. and asked if he could help me locate one of those flame-throwers, 
which I might offer to those very students. 
Which direction it could be pointed, is a point in itself. 

This project is supported by funding from Leichhardt Council

15.8.16

Adrian Hall - yes YOU WILL be - opening Friday 26 August 11 am


Open 11am - 5pm  Friday - Sunday, 26 August - 11 September 2016

There will be no normal Friday opening event.

Instead, Adrian shall be running various seminars, events, and live presentations, which shall be posted here and streamed on  http://www.adrianhall.space/ . . . .

 

good not to miss any of it. . .


because you may have already missed: 

"Banzai, Parts One and Two:
DAY ONE - I thought about it - holding a pumpkin.
DAY TWO - I destroyed the world."

With Motoko Kikkawa -  DSA Gallery, Dunedin, N.Z. May, 2016.


Adrian also, amongst other tales and noises, told the story of T. E. Lawrence and Winston Churchill, sitting in a grand hotel in Cairo; drinking Cognac and smoking fine cigars, as they divided up North Africa, to create Palestine.
 






Yes, you WILL be is the first solo Sydney exhibition for over a decade, of the work of experimental sculptor, Adrian Hall, who describes his work as a concern with different kinds of space, including that between people and places - and times.  He has devised a program of live installation and performances in collaboration with Sydney-based artists, discussions with whom are likely to draw out practices and concerns of the Sydney art scene in the 1970s and 80s and 90s, among other things. This was the art scene that Adrian was a key part of.

This art scene was connected to the promise and energy supported by the forward-thinking arts-initiatives of those times. These initiatives included the establishment of Sydney College of the Arts (SCA) where Adrian Hall was the Head of Sculpture from 1979 to 1984, and the post-graduate programme of the School of Media Art at CoFA where Adrian was head in the early 1990s. There, he played a key role in the artistic development of many Australian artists of later generations. The experimental ethos of his programs lived on long after he had moved on, both through the continuation of the programs themselves and through the return of many of the artists his programs had produced to teach at Sydney and other art schools.

It also lives on in Articulate project space itself. Articulate was founded in 2010 by artists whose interest in experimental spatial practices had been developed through participation in the early SCA program in particular. Articulate project space was founded to support such practices as they have developed since then, and is extremely proud to have succeeded in persuading Adrian back to Sydney after all this time.

And so it is an ironic twist that this long-awaited return coincides with the announcement by the University of Sydney of its plans to dissolve Sydney College of the Arts, showing it is unable to recognise its unique contribution to the cultural life of Sydney and Australia. Articulate hopes that Yes, you WILL be can make a small contribution to growing demands on governments and institutions to take more seriously their responsibility to take a leadership role in support for the arts.  


This project is supported by funding from Leichhardt Council


1.8.16

Chantal Grech: Reading to the river - remembrance of things…

a project space project by Chantal Grech

Closing drinks Saturday 13 August 5 to 7 PM

This project follows on from a work in the Feminist Archive show (CrossArts Books 2015) where I proposed that an archive which documented a performance could be further worked on or be part of another work in an ongoing organic process of change and renewal rather than remain a static document recording a past moment.



In this work a series of readings again constituted a performance. This was documented in the form of stills and moving images. The readings were short fragments, some autobiographical, others not. A memorial poem, a work by the French poet Yves Bonnefoy, and a short series of remembrances were read at different times of the day in one place- the river Seine, on the bank closest to L’IMA, itself an archive of Arabic culture. The documentation of this performance will be used as the basis of an experimental project that aims to see what happens when different systems of representation are used to explore one work. This project shares the subject of readings to the empty space (Articulate 2012), which was about the nature of home and belonging but extends it to a meditation on loss, memory and the personal as a fractal of a larger community.



The performance is a lament for a moment that is gone, for the loss of a homeland that never was and can never be retrieved. The moment of performing is also past but by including it in a real space as part of a current experience the past becomes  part of the continuous present.


Chantal



http://chantalmgrech.com/

24.7.16

TWITCHERS - the works


Linden Braye above L: Wetlands Launch Pad: R: Birdwalk; Below: Ibis
















video


video

Below: Noelene Lucas Incidence of appearance 2016, 6-channel HD video and mixed media





































video


Anne Graham

Anne Graham Plucked (detail) 2016

Debra Porch My grandfather named all his parakeets Billy (detail) 2016

Juliet Fowler Smith Curleeee 2016

12.7.16

TWITCHERS opens Friday 15 July at 6-8pm

TWITCHERS is curated by Juliet Fowler Smith and Noelene Lucas.

Opening Friday 15 July 6-8pm
Open 11am - 5pm Fri - Sun, Saturday 16 - Sunday 31 July 2016 

INVITATION

TWITCHERS brings together artists who are delighted, amazed, curious and worried about our feathered friends. They are: Linden Braye, Juliet Fowler Smith, Anne Graham, Noelene Lucas and Debra Porch. Most bird watchers prefer to be called ‘birders’ these days, but we still like the word ‘twitchers’ as we definitely feel twitchy about the subject.

Juliet Fowler Smith Curlew pencil on wall 2015

 


























Birds...don't you just love them? Their grace, power, beauty, their songs and behaviour and, for some of us, their flavour!

Our feathered friends can be seen as ‘the canaries in the coal mine’ with their numbers and habitats dwindling as we hog or wreck life’s essentials: forests, clean air, water and wetlands (over 50% of wetlands in Australia have already been wrecked!).

While birds serve as metaphors for the soul, freedom, peace and war as well as symbols of national identity – raptors, for example, can stand for war, aggression and dominance – we also hunt birds for food, trophies and fashion. And we share their predicament as we irrevocably change the planet.

Anthropogenic climate change has caused populations of migratory birds to decline. It is tough for these birds, genetically programmed to think ‘I'm on my way to food and shelter’, to arrive exhausted and depleted at a wasteland, a garbage dump or dried up wetlands. Some birds get called vagrants when they change location and come to the city (the Ibis in Sydney), but they are often desperately responding to displacement, wild populations attempting to survive by adapting to conditions we humans have created. Scientists call this a ‘phenological mismatch’, when food availability no longer matches the birds’ timing for food and reproduction, a mismatch of our making, as we wreck bird habitats and sometimes even regard them as pests.

Some birds are just mind-bogglingly amazing: navigating vast distances, in tune with the climate, winds, currents, searching for tasty titbits and a place to rest and nest. Some demonstrate extraordinary behaviour, others make us laugh, touching our hearts and minds. Their songs lift our spirits and inspire us. Incredibly, more than half the world’s birds and all the songbirds have their origins in Australia. Don't we have some responsibility for their condition, their survival?


3.7.16

The Hidden Gesture - the works

Vilma Bader, The White Space of Mallarmé detail
Vilma Bader, The White Space of Mallarmé in process
Vilma Bader, The White Space of Mallarmé 2013,  Pigment ink on archival paper,
50, each 22.7 x 17.7 cm. 
Clara Chow  Currency II & III
2-channel digital HD video, 2015



Eliya Nikki Cohen
Embrace, silver gelatin print, 2010





Andrew Christie Tears of Joy

5.6.16

The Hidden Gesture opens Friday 24 June, 6-8pm

Open Friday - Sunday 11am - 5pm until July 17

The Hidden Gesture is curated by Andrew Christie

Works by Vilma Bader, Clara Chow, Frankie Chow, Eliya Nikki Cohen, Mitchel Cumming, Laura Turner and Joe Florio, Christina Lucia, Giuffrida, Aaron Moore

The Hidden Gesture displays work that communicates the unintentionally expressed and the intentionally unexpressed. These artists recognise the inevitable collapse and failure that accompanies probing into the available means of conveying intent – with a strong focus towards, yet not exclusive to, the body – through art. Inevitably each action reveals and conceals elements of our identity and the messages we wish to disseminate about ourselves and others. As identities and perspectives are in constant flow, these works aim to analyse how what is present and absent through intention transitions to its culminated artistic products and what that declares about artistic agency.




Aaron Moore
Stuff self, digital photography, 2015


Clara Chow
Currency II & III
2-channel digital HD video, 2015


Christina Lucia Giuffrida
Part of installation Why You Do This?, mixed media, 2015


Eliya Nikki Cohen
Embrace, silver gelatin print, 2010


Frankie Chow
Homesick, single-channel digital video, 2016


Laura Turner and Joe Florio
Figure in a Dark Landscape, single channel digital video, 2015



Mitchel Cumming
Ad Breakpromotional posters in custom A-frame, 2013



Vilma Bader
Everydayacrylic on panels mounted on wooden frames, 2011

31.5.16

Opening FRIDAY 3 JUNE - I’M OK, YOU’RE OK #2: Merryn Hull

Saturday 4 June to Sunday 19 June
Opening on Friday 3 June, 6-8pm

I’M OK, YOU’RE OK #2: Merryn Hull and
EXTRAORDINARY VIEWS (curated by Merryn Hull)
Ciaran Begley, Georgia Brown, Camilla Cassidy, Kirsten Drewes,
ek.1 (Katie Louise Williams + Emma Hicks), Stephen Little, James Nguyen



Image: Merryn Hull, 2016.


I’M OK, YOU’RE OK#2 and EXTRAORDINARY VIEWS present two groups of work showing concurrently at Articulate project space. I’M OK, YOU’RE OK#2 is a solo show of Merryn Hull’s work and EXTRAORDINARY VIEWS offers a collection of colleagues’ work curated by Merryn. Both exhibitions are positioned as exploratory research relating to Merryn’s PhD candidature.

Merryn Hull’s interdisciplinary practice reflects on the way we connect to the everyday. It does this by exploring objects and ideas configured in constructed environments so that they can be understood in ways discovered by the viewer. The idea behind both exhibitions is that the everyday becomes special if viewed in particular ways. Recognisable objects, both in substance as well as subject are transformed through context into art objects. The objects and materials used in this way give the works a twenty-first century focus acknowledging a culture that celebrates things that are no less brilliant despite their ready availability.

The exhibitions also investigate our capacity to look inwards at our lives. They do this by presenting a series of framed views which provide a kind of evidence relating to our current world while at the same time offering the opportunity to step into another world. They also comment on the nature of contemporary painting by referencing ideas which expand the notion of ‘painting’ as painting in terms of its traditional medium definition; ‘painting’ as installation which alludes to painting; ‘painting’ as photograph which functions as painting and ‘painting’ as video/projection which uses the moving image to evoke painting.

www.merrynhull.com