Continental drift opens next Friday 27 November 6-8pm

an installation by Lesley Giovanelli

Opening Friday 27 November 6-8pm

Open 11am - 5pm Friday - Sunday 28 November  - 13 December 

In her latest installation Giovanelli will suspend oversized bags throughout Articulate Project space.
These colourful patchwork bags or sacks are made from fabric, much of it collected directly from the makers during her travels in Yunnan, Laos and India. The traditional hand made Asian textiles are given a new reading by juxtaposing them with modern mass produced designs from Europe, Japan and Australia. The bags conjure associations with containers, wool sacks, shoulder bags etc. but are also strongly physical, corresponding to the body as they stretch taut or slump, fill with air or deflate.

see Giovanelli's previous installation, Cottage Industry


Burnt Stars: resistance, resilience and systems - Opening Friday 13 November 6-8pm

a multi-screen installation by Jenny Brown,

Curated by Nicholas Tsoutas.

Open 11am - 5pm Friday - Sunday 14 -22 November.

Burnt Stars is a multi-screen installation that draws on the revolutionary horizon of German-born political thinker, Hannah Arendt (1906 – 1975), in the context of action for the common good. Burnt Stars uses the actions of three actors to juxtapose different representations of being in the world for this. These are Annalena Kirchler as herself and Hannah Arendt, Adam Nankervis as Joseph Beuys (1921 – 1986) and Jean Denis Romer as German philosopher Martin Heidegger (1889 – 1976). 

Jenny Brown Burnt Stars 2015 (detail showing prop from the production:  Hannah Arendt's book 'On Revolution' and perforated metal tins for scraping sustenance from trees in concentration camps.)

Jenny Brown Burnt Stars 2015 (detail of prop from the production:  
Joseph Beuy's parachute from his crash landing on Martin Heidegger's hut.)

Jenny Brown Burnt Stars 2015 (detail - Hamburg activist Annalena Kirchler meets Harry Lime from the Third Man on the ferris wheel ride.)
Burnt Stars developed out of research to creatively interpret the life and legacy of  Hannah Arendt that Jenny Brown undertook in 2012 and 2013 while in Germany on a Deutscher Akademischer Austauschdienst (DAAD) scholarship. This research focused on the reassessment of critical readings of her work as well as the story of her life, framed by an investigation of contemporary activism more broadly. 

The Burnt Stars installation consists of wall and floor screens depicting both Annalena Kirchler’s activism within the city of Hamburg and more abstract references to the theoretical positions of Hannah Arendt. Kirchler is proactively building community awareness about the rich history and potential of a derelict building, the former Schiller-Oper, by holding events around it. In its first year this was a large street festival. Burnt Stars includes documentation of the festival, together with the animations projected onto the building as part of it made by Gerald Rocketson and Petronius Amund (Rocket and Wink).

The screens also depict exterior scenes of Joseph Beuys’ fictional rescue by the Tartars, which is extended to include a crash landing on the roof of Martin Heidegger’s hut. Burnt Stars includes props used in the filming and a version of the hut Heidegger regularly stayed in in Todtnauberg. Like the original, it includes a picture of a young woman from the Black Forest and a wreath. The hut represents Heidegger’s narrow thinking along with his sentimentality about nature and dwelling places, a sentimentality that glorifies the native and excludes the foreign, and which underpins the ethnic chauvinism of Nazism.

The central motif in the work is the star in various states including when it is hurtling forward when already burnt out. The different representations include light from the torch, a bulb suspended from the ceiling in the Beuys performance, fireworks, stained glass windows, as well as their prismatic effects in the animation sequence that was projected onto the Schiller-Oper as part of Kirchler’s festival. Another representation is the light bulb from the Marburg building where the young Arendt met her teacher and lover Heidegger in his office, when he left the light on to indicate he was available to see her.

The individual performances by all the characters in the film, set theatrically within a Berlin gallery space, provide another thread in the work. In her role as Arendt, Kirchler repeats some of the text on remembrance, whilst climbing a two-metre high platform from which prisoners of the Gurs prison camp in France in 1940 would defecate into large tubs that collected excrement. Setting Arendt’s theorising of poetic thinking against her experience of this amplifies the origins of her fears of totalitarianism.

More detail on Burnt Stars here.



The Opening

above photos: William Seeto 

The Work: 
Rose Ann McGreevy Interrupting the Spatial Plane 2014

Rose Ann McGreevy Inside-Out Sculpture 2014-5  (interior view from South end)

Rose Ann McGreevy Targets 1992
Rose Ann McGreevy Inside-Out Sculpture 2014-5 (interior view from North end)

Rose Ann McGreevy L-R: plans for Inside-Out Sculpture 2014; Inside-Out Sculpture 2014-5; Targets 1992

Rose Ann McGreevy  A space for Inconsistencies (maquette) 2014

Rose Ann McGreevy The man who rolled a stone up a hill 2014-5
Rose Ann McGreevy Reconfiguring Space 2011

Rose Ann McGreevy Non-identical Set#1 2009

above photos: Margaret Roberts

This project is supported by funding from Leichhardt Council


ROSE ANN MCGREEVY 1945 - 2014 opens Friday 23 Otober 6-8pm

Curator: Barbara Halnan
Exhibition Coordinator: India Zegan


Opening night Friday 23 October 6-8pm 
Opening remarks by Mikala Dwyer and Steve Sinn
Open Friday - Sunday 11am - 5pm 24 October - 9 November

ROSE ANN McGREEVY 1945-2014, celebrates the life and work of the Irish-Australian experimental artist, Rose Ann McGreevy, and will include works and documentation not seen publicly before.  These include Inside-out Sculpture, planned by Rose in the year prior to her untimely death: 

Inside-out Sculpture

Inspiration taken from Pompidou Centre, Art Gallery in Paris, France whose ‘working’ bits are mostly on the outside - not hidden - a transparent architecture. How something is made is fascinating to me and to have that articulation seen is paramount to this sculpture. Inside will be white, sheer and clean lines and the exterior will have all the marks and mechanisms of its construction. The inside will bring to mind the unmitigated perfect white walls of a gallery. It will be tall enough so that the viewer will have to peek in and therefore be made aware that they are looking into the sculpture as opposed to looking at it - a transparent sculpture which cannot be seen through but looked into as one might a crevice and yet like all sculpture it will envelope, employ, contain and define space. Rose Ann McGreevy 2014

Rose Ann McGreevy Drawing for Inside-Out Sculpture 2014

In the last year of Rose's life some friends and colleagues approached her suggesting a  one-person exhibition at Articulate project space. With this in mind Articulate applied to Leichhardt Council for seed funding. Rose made drawings conceptualising new works for this exhibition, which was scheduled for March 2015 in the gallery at Articulate. From mid-2014 her health declined rapidly, and she died in October after a long and difficult battle with cancer.

It was decided to proceed with plans for this exhibition, but to postpone it until October 2015. The major work, Inside-Out Sculpture, will be constructed in the project space by a team of workers reflecting  her concept as closely as possible. As I have worked with Rose over many years making work ranging from installations to sculptural works, it has been my pleasure and responsibility to orchestrate the presentation of this work, with the help and support of others.

The man who rolled a stone up a hill
 A second new work The man who rolled a stone up a hill was constructed in the spirit of Rose's writings. Thanks to Paul Cooper for making this work possible.

Using technology ... the boots travel a prescribed distance from the wall and then contract backwards to their original position - continuous motion, but so slowly that at first one doesn't realise the 'boots' are moving. We seem to want machines to like us - our relation to machines has always been complicated - from the Luddites to the Japanese robot makers who are getting close to making the robot in our image.  This work questions the conundrum of desire, activity and beauty. R.A. McGreevy

Other parts of the exhibition include some of her notebooks, a slide show of drawings to give an indication of the power and energy of her mark-making, and maquettes and re-creations of earlier work. A catalogue is also being produced to accompany the exhibition.

Barbara Halnan
August 2015 

The exhibition also includes a 2005 interview with Rose from Artist Archive by Anne Kay and Jane Polkinghorne, and unpublished interviews with Rose by Pam Aitken for the Factory 49 archive. 

Rose's most recent previous work at Articulate project space is Interrupting the Spatial Plane 2014:
Rose Ann McGreevy Interrupting the Spatial Plane 2014 (centre)  Photo Fiona Kemp


This project is supported by funding from Leichhardt Council