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


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

28.5.16

On Parramatta Road - last weekend


On Parramatta Road is open Saturday and Sunday.
11am-5pm until May 29.


Gallery drinks all weekend at Articulate project space, 497 Parramatta Rd, Leichhardt.

The solo exhibition by photographer Lyndal Irons preserves Australia’s first highway, a stretch perpetually threatened by change. It is a field study of life on a road considered dead, across car yards, brothels, bed shops and around 20 suburbs of greater Sydney. Part documentary photography and part road trip, On Parramatta Road restores a sense of journey to a road better known for daily transit.

Supported by the 2015 Pool Grant and The POOL COLLECTIVE. Part of the 2016 Head On Photo Festival. Sponsored by SUNSTUDIOS.

Media

On Parramatta Road exhibition a tribute to the life of a Sydney thoroughfare, Sydney Morning Herald: http://www.smh.com.au/entertainment/art-and-design/sydney-arts/on-parramatta-road-exhibition-a-tribute-to-the-life-of-a-sydney-thoroughfare-20160524-gp26b7.html
Photography exhibition reveals the secrets of Parramatta Road: http://www.smh.com.au/national/clique/photography-exhibition-reveals-the-secrets-of-parramatta-road-20160419-goa51m.html
The Thousands: http://thethousands.com.au/sydney/look/lyndal-irons-on-parramatta-road
Sydney Outsider: http://www.sydneyoutsider.com.au/SydneyOutsider/on-the-road/
PAN Magazine: http://www.sydneyoutsider.com.au/SydneyOutsider/on-the-road/
South Sydney Herald: http://www.southsydneyherald.com.au/roadside-reportage/#.V0OMSKR97IW
Daily Mail: http://www.dailymail.co.uk/news/article-3574248/Pictures-weird-wacky-sights-Parramatta-Road.html

9.5.16

On Parramatta Road opens Friday 13 May, 6-8pm

Opening Friday 13 May 6-8pm

Open Wed - Sun 11am - 5pm 13 -29 May



In The 2015 Pool Grant: On Parramatta Road Lyndal Irons documents and preserves Australia’s first highway, a stretch perpetually threatened by change. It is a field study of life on a road considered dead, across car yards, brothels, bed shops and around 20 suburbs of greater Sydney.

“I aim to restore a sense of journey to a road better known for daily transit. Part documentary photography and part road trip, my series preserves today's road for future reference and encourages a deepened experience of everyday life.” - Lyndal Irons. 


  
On Parramatta Road is a long term project, consisting of work previously recognised as a finalist in numerous photographic prizes, including the Australian Life Photographic Prize (2011,2012) and the Bowness Prize (2015). As recipient of the 2015 Pool Grant, Lyndal has been supported and mentored by The POOL COLLECTIVE. The Pool Grant provides emerging artists with support and mentoring to complete a photographic project - the new recipient of the 2016 grant will be announced on the opening night of On Parramatta Road.

see more in Sydney Morning Herald
On Parramatta Road is part of the 2016 Head On Photo Festival and supported by The POOL COLLECTIVE.

Contact Lyndal Irons http://lyndalirons.com.au/

17.4.16

Blown Away is open from Friday 22 April - the opening event is Saturday 30 April 6-8pm


Blown Away - Reflections on the Casualties of War

Open 11am - 5pm Fri - Sun, 22 April - 8 May 
Opening event 6-8pm Saturday 30 April
The exhibition is to be opened by Nick Vickers

This is a Head On event

INVITATION pdf

FACEBOOK EVENT

Blown Away is a collection of art works that deal with issues particularly urgent for today. Encompassing photography, sculpture, drawing and installation, the works in this exhibition are a collaborative project by two artists, Vivienne Dadour and Liz Ashburn. Here they reconsider the well known facts surrounding the US bombing of Laos in 1964 to 1973, and the continuing carnage in the Middle East. These actions are not hidden as they have been reported in the media, but their very notoriety obscures and obliterates the individual tragedies and cultural displacement that are part of the reality of past and present, war and conflict in these regions. The artists’ engagement in focusing on such events aligns with the political sub-texts often found in their previous artwork. Documentation of what may have been obliterated, ignored, hidden or obscured provides the continuing ideological basis of their collaboration. 


Blown Away continues their concerns over the failure to recognize the humanity of others, the indifference to the rights of civilians in situations of armed conflict and the reliance on aggressive solutions in preference to negotiation. The actions and influence of the producers of munitions, bombs and landmines in continuing the industrial slaughter begun in World War 1 is indefensible as these products result in blighted lives, displacement, mental illness and the destruction of many cultural and artistic endeavours.

Blown Away makes visible what becomes evaporated in war — truth, life and culture.  They have deliberately chosen to exhibit over the Anzac period as this time of meditation on conflict seems to invite both reconsideration of the past and renew a desire for a future where there is peace.



Vivienne Dadour -Meeting Place (installation detail) 2016 Archival digital prints, artifacts, paint, string. dimensions variable
In Meeting Place and My Grandpapa and Uncles Used To Be Soldiers Vivienne Dadour connects the paradox between the gentle culture of Laos people and the “secret battlefields” of the Vietnam War. Between 1964-1973 the US Air Force dropped more than 2 million tons of ordnance on Laos for the general purpose of killing and exterminating civilians in order to prevent the entry of arms into Vietnam.  viviennedadour.com




Liz Ashburn- IED (Improvised Explosive Device) with Butterfly Bombs (installation detail) 2016, ceramic artillery shells rewired to become landmines, ceramics, acrylic and electrical wires. dimensions variable.

In Iraq Suite Liz Ashburn places the richness of Muslim decorative traditions in contrast to the imagery provided by Western mass media about the armed conflict in the Middle East. Know Your Landmine! introduces the use of landmines, which kill 15,00 t0 20,000 people every year and cost the people they were used against, US$3 -15 to produce and US$300 - 1,000 to remove.
lizashburn.com/ 

14.4.16

2016 SYDNEY ARI SHOW - discussion and works

Maria Miranda speaking with ARI directors at the Sunday ARI discussion

Foreground: Mahalya Middlemist (MAP)

Linden Braye (Articulate)

Gary Warner (Articulate)

Lynne Eastaway (SNO)

Louise Kate Anderson (BIG FAG PRESS)

Diego Bonetto & Mirra Whale (BIG FAG PRESS)

Wayne Hutchins (Ultimo)

L-R: Ingrid van der Aa (NORTH), Sue Pedley (Ultimo), Brad Allen-Waters (MAP)

Penelope Cain (SAFARI)


John Demos (BIG FAG PRESS)

 Logan Brunt, Lucas Ihlein, Kim Williams, John Demos (BIG FAG PRESS)

Therese Kenyon (ULTIMO PROJECT)
Miriam Williamson (MAP)

Sherryl Ryan (CULTURE AT WORK)



Tamsin Salehian (NORTH)

Fleur Wiber (NORTH)

Julian Day (SAFARI)

L: Kieran Butler (MOP)

Alex Thorby (NORTH)

Jenny Brown (Articulate)

John Demos (BIG FAG PRESS)