OCTOBER 2016 $6.00
AUSTRALIAâ€™S MONTHLY GUIDE TO GALLERIES, NEWS AND AWARDS
Nell Bienal de Cuenca Andrzej Zielinski
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GALLERY 9 20 OCT â€“ 12 NOV 2016 gallery9.com.au 9 Darley St, Darlinghurst Sydney +61 2 9380 9909 Dumah 2016 oil on aluminium composite panel 124 x 96 cm
AUSTRALIA’S MONTHLY GUIDE TO GALLERIES, NEWS AND AWARDS
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Deadline for November 2016 Issue: Tuesday, 4 October, 2016
Art Almanac is Australia’s monthly guide to galleries, news and awards. Established in 1974 we are Australia’s longest running art guide and the single print destination for exhibition previews, listings, art services and artist opportunities across the states and territories. Online we share news and a rolling coverage of what’s on. As we near celebrating 45 years of publishing we continue to be shaped by people who engage with art everyday. Our team and contributors have experience as artists, in critical writing, working in galleries and festivals, design, teaching, digital media and the curatorial field. Our practice supports the sustainability of our arts community in all its forms serving established and emerging artists, commercial and not-for-profit galleries and a readership of all ages. Art Almanac is more than a magazine. 4
In this Issue From the Editor As a new season takes hold we consider the idea that the only constant is change. Impermanence is key to the inimitable performances at ‘Liveworks’, spatial interventions in Canberra’s ‘Contour 556’ festival and further afield as Australian artists in Ecuador shift perspectives. In cross-country locations Japanese artist Chiharu Shiota and Polish-born Gosia Wlodarczak give form to our inner worlds. Eleanor Zeichner distinguishes how Andrzej Zieliński’s sculptures illustrate the damage of obsolete technology, and to mark her first major survey exhibition Nell discusses her practice and notes that “absoluteness is bullshit.” Chloe Mandryk and the Art Almanac team
On the Cover Nell Maitland is Nell’s first stomping ground and, as most teenagers (and adults) know, music can be a sweet escape. Inspired by artists who celebrate and challenge binaries, from Italian painter Lucio Fontana to Australian performers Nick Cave and AC/DC, Nell carries the harmony of joy, pain, energy, and light from darkness in her work.
The work on our cover belongs to a larger installation to be on view at SAM, originally made for the Adelaide Biennial titled, ‘The Wake’.
The Shepparton Art Museum (SAM) are hosting the show, and have commissioned Nell to assemble a wunderkammer of objects drawn from their collection. ‘3 words and good BYE’ is a little like a Haniwa, an ancient Japanese funerary figure. With its expressive mouth and wide-eyed stare we understand the power of symbolism, the face gives the object a spirit and the tears rolling down its cheeks speak to us without language.
Cover Image: Nell, 3 words and good BYE (from The Wake), 2015-2016, stoneware, underglaze, wooden stool, 132.8 x 38.8 x 41.5cm, 2 parts Courtesy the artist, Roslyn Oxley9 Gallery, Sydney and STATION, Melbourne
Shepparton Art Museum 8 October to 27 November, 2016 Victoria
Above Image: Nell, The Wake, 2014–2016, mixed media, variable dimensions, installation: Magic Object, The 2016 Adelaide Biennial of Australian Art, The Art Gallery of South Australia, Adelaide Photograph: Saul Steed
Xlll Bienal de Cuenca: Mutable Art in a materialistic society Impermanencia The ‘Bienal de Cuenca’ presented at the Salon del Pueblo in Ecuador is one of the oldest visual art events across the Americas. For the first time, the Bienal will include a satellite exhibition featuring four Australian artists; Reko Rennie, Maria Fernanda Cardoso, Janet Laurence, and Caroline Rothwell, alongside Latin American and European artists. This is an important development between Australian and Latin American artists to encourage future cross-cultural exchange, to place Australian artists on the Ecuadorian map and introduce them to curators, collectors, and media from the United States, Latin America, Canada and Europe. ‘Frágil’ curator Natalia Bradshaw, says, “There is an overall elegance consistent in the four installations in ‘Frágil’; I chose the artists specifically based on how they work and what they work with, as well as their relevance to the Bienal’s overall theme of ‘Impermanence’.” Rennie presents the centrepiece for the Australian Pavilion with his suspended banner. Amid colourful geometric and camouflage patterning
his powerful words, ‘I was always here’, will evoke a deep understanding with Ecuador’s own Indigenous peoples. Cardosa, inspired by the animal kingdom will premiere new video works of tiny male spiders performing dance rituals to woo a female mate. Incorporating sound and vibration, this work will be experienced from a purpose-built viewing platform. Rothwell showcases sculptures, and large photographic prints on sheer voile that cascade from ceiling to floor, and Laurence presents a collection of medicinal plants from Ecuador’s local environment alongside various laboratory apparatas, layed out on long tables veiled under shear white fabric. “The works will resonate exceptionally in the beautiful Salon del Pueblo, one of Cuenca’s special colonial buildings”, says Bradshaw. Salon del Pueblo 22 October to 31 December, 2016 Ecuador biennialfoundation.org Janet Laurence in the studio Photograph: Fabian Jensch Courtesy the artist
Nell by Lucy Stranger
Nell is an artist at play. Paradoxical and engaging, she has a diverse practice fuelled by sincere questioning of the paradigms that make up the world around her. The result is a curious culmination of influences that hold meaning for Nell – from Zen Buddhism to AC/DC and Japanese religious iconography to name a few. Ahead of her first major survey exhibition at the Shepparton Art Museum, Nell spoke with Art Almanac about finding the ‘in-between’. In your practice you reconstitute everyday objects for different purposes. What does this life cycle of reinvention mean for you – is it spiritually informed? I use everything available to me materially, spiritually, physically or mentally. Whatever it is I try to stay open to all its possibilities. It was important for me that The Wake (2014-2016) was made of a combination of materials I’d transformed through my own hand-making with natural materials like pearls, branches and feathers with the aged character of the stools. As an artist, all I really do is channel the inherent histories and magic of materials into objects that give my life meaning. And I figure if it means something to me then there is a chance it might be meaningful to others too.
There is a dark violence that echoes in The Wake – the orifices on the forms are crudely cut, or punctured. What attracts you to create forms that blend paradoxes of light and dark, humour and violence? My experience of life is that it is pretty fragile, and brutal, and mysterious. We have all these holes in our bodies where stuff is going in or going out – we are very porous, very leaky and very temporary. A lot of my work uses binary opposites that we easily recognise, like black/white, night/day, male/female, quiet/loud, and contained/uncontained. I use them 40
Jogja Calling by Melissa Pesa
Over the last few decades, the presence of contemporary art in South-East Asia has been on the rise. Indonesia has firmly established its place within this bourgeoning international art scene with Jogjakarta, often called Jogja, playing an essential role. Jogja is renown for the arts, both traditional and modern, that form the core of its identity as a recent a cultural powerhouse through annual art events, biennales, cross-cultural exhibitions and exchange residencies. The city has become a leading destination for Australian artists looking to expand their practice. Such programs have assisted in developing a rapport with their Indonesian counterparts, creating artistic networks and collaborative partnerships that have significantly influenced their respective practices, framing their works as extensions of their friendships. ‘Jogja Calling’, an exhibition at Sydney’s 4A Centre for Contemporary Asian Art examines the long-standing relationship between the Australian and Indonesian art communities. Mikala Tai, Director and Curator of 4A, affirms this connection, “As our closest northern neighbour, Indonesia’s cultural ties with Australia extend back to the days of our earliest trade. The links, 46
networks and friendships between our nations are long celebrated but it has been in the last few decades when the contemporary art scenes have become significantly more aligned. As we started researching these links it became apparent very quickly that residency programs of exchange have played a major role in fostering these links.” Within this framework, Melbourne-based artist Reko Rennie and Jogja-based artist Uji ‘Hahan’ Handoko Eko Saputro’s light yet critical examinations of cultural identity reveal the urban landscape as a defining influence. Both artists place themselves within each other’s urban environment – Hahan in Melbourne and Rennie in Jogja – emphasising the concept of foreign interaction. Photographs from Hahan’s series Welkome Mate (2012) explores the concept of migration, memory and story through a traveling figure visiting various locations around Brisbane. His identity concealed beneath an embroidered quilt that reads ‘Welkome Mate’. Rennie’s Warriors Come Out To Play (2014) references two dystopian cult films – Walter Hill’s ‘The Warriors’ (1979) and George Miller’s ‘Mad Max’ (1979) – and the social interrogations apparent within their narratives. Rennie’s film incorporates this behaviour into the contemporary Australian urban bikie and outlaw archetype, linking this counter-culture and his own Indigenous ancestry through black leather patch designs and the strong symbolism of the open road.
Previews Juz Kitson You are here; right here, right now by Chloe Mandryk
‘You are here; right here, right now’ is a call to action. The work of Juz Kitson is enigmatic and a reminder to live consciously and embrace the present moment. Her pieces fuse the rot and stuff of ‘us’ (hair, teeth, flesh) with delicate orbs, spikes and droplets of porcelain. New work and some pieces that were shown in the Adelaide Biennial will now form her first solo show at Jan Murphy Gallery. This series represents more than three months exploring new bodies, glaze surfaces, mould making techniques and the creation of thousands of hand built and slip-cast components. As we go to print Kitson is in the latter stages of her build; bronze casting, glass blowing, silversmithing and woodcarving. Inching toward the New Year the artist will continue down her fascinating path to a commission in China, a residency in Indonesia and Taiwan, and then a curatorial opportunity in the western desert, Australia. This itinerant lifestyle took hold in 2011. Following an ArtsNSW residency between The National Art School and Tsinghua University Academy of Art and Design Beijing, she stayed on as a studio assistant to Lin Tianmiao, an artist she greatly admired and an important mentor. Kitson has since exhibited in solo and group shows at 798
Art District Beijing, Today Art Museum and Qingdao Sculpture Art Museum. Going between her Jingdezhen studio where ‘time never stands still’, and in Hill End where she revels in the ‘silence and solitude of the Australian bush’, is a divergence crucial to the ongoing development of her practice. It is clear you take pleasure in contrasting textures. Is there poetry in this as well as stimulation? Definitely, material is important to me. I consciously choose certain animal pelts or hides to contrast against the porcelain and evoke a sense of warmth and security, familiarity and certainty. Though, like the flip side of the same coin I use teeth and echidna quills to represent the harsh and brutal potential of nature. What do you learn by considering mortality? I learnt at a very early age to appreciate life you must understand death. I accepted death at an early age and have explored it for 1 the duration of my practice to date. Like life itself, my practice is a process of evolution; through drawing on materials that connote a certain meaning and hold hidden deeper sinister meaning. When you gather are you ‘communing’ with the objects or is it more clinical? I have a scientific approach to collecting. I collect specimens, brumby pelvises, kangaroo vertebrae, bore teeth, emu feathers, fox pelts, goat hides,
Tricky Walsh Tiefenzeit
Graham Fletcher Dear Stranger
Tricky Walsh reconfigures relics of technology and the symbology associated with past scientific enquiry. During a recent residency in London, Walsh was “completely overwhelmed by the breadth and depth of its technological history.” Today in Tasmania she has regrouped in an installation of sculpture, painting, smell and sound. Uniquely, her clarity is conveyed in a collision of sensory experiences. The paintings are both abstract and graphic sampling from the appearance of early code. She’s curious about how iconography inspires gesture or a different appreciation of space, without using language. By staging ‘conflict’ between materials she encourages us to reconsider what drives our perception of space.
Setting the scene for strange encounters, artist Graham Fletcher leaves the door ajar, inviting the viewer into the living space of a modernera home furbished with displaced Pacific art objects. Characterised by flat planes and open interiors, Fletcher’s paintings epitomise the core of contemporary architecture; minimalistic décor. Rooms comprise of abstract furniture like Tulip chairs, accentuated by colourful wall art and Van Gogh-esque flowers with subtle inclusions of objects such as masks or totems that reflect the New Zealand artist’s mixed Samoan and European heritage. Fletcher creates an environment where old and new collide and cross-cultural intermingling between Western and non-Western forms of material culture are appropriated.
Contemporary Art Tasmania 8 October to 15 November, 2016
Gow Langsford Gallery Until 22 October, 2016
Auckland, New Zealand
the electro and magnetoterrestrial spectra, 2016, gouache on paper, 56 x 76cm Courtesy the artist and Contemporary Art Tasmania, Hobart
Untitled, 2016, from ‘Dear Stranger’ series, oil on canvas, 152 x 122cm Courtesy the artist and Gow Langsford Gallery, New Zealand
Artist Opportunities Art Almanac prides itself on being a resource for artists. We have selected a few galleries and funding bodies calling for submissions for Art Awards, Artist Engagements, Grants, Public Art, Residency Programs and Exhibition Proposals. Enjoy and good luck! ACCELERATE is a leadership skills development programme designed to provide Aboriginal and Torres Strait Islander arts professionals with the skills and networks to generate, and engage in leadership positions. The 2016 participants are Kamarra Bell-Wykes, Travis De Vries, Jonathon Saunders, Glenn IsegerPilkington, Jilda Andrews and Francoise Lane. Presented by the British Council and the Australia Council for the Arts in partnership with Arts NSW, Arts NT, Arts Queensland, Creative Victoria and Department of Culture and the Arts WA with additional support from SBS NITV. Keep an eye on britishcouncil.org.au to participate in 2017.
ACCELERATE 2016 participants (L-R): Kamarra Bell-Wykes, Travis De Vries, Jonathon Saunders, Glenn Iseger-Pilkington, Jilda Andrews and Francoise Lane. Photograph: Mark Gambino ÂŠ Courtesy the British Council, 2016
Sculpture at Scenic World 2017 Entries close 28 November, 2016 Open to local, interstate and international artists for artworks across all sculptural and installation mediums. Selected works will be situated throughout the rainforest at Scenic World in the Blue Mountains, April 7 to May 7, 2017. scenicworld.com.au/sculpture
Montalto Sculpture Prize 2017 Entries close 31 October, 2016 The Montalto Sculpture Prize is an annual acquisitive award open to all artists working in any medium. Each year selected works from the prize are showcased across the Montalto grounds alongside 20+ permanent sculptures. montalto.com.au/sculpture
Ramsay Art Prize Entries close 12 December, 2016 This new $100,000 acquisitive visual arts prize invites submissions of new work by Australian artists under the age of 40 in any medium; sculpture, painting, drawing, photography, installation, sound, digital and live art. artgallery.sa.gov.au/ramsay
KAAF Art Prize 2016 Entries close 31 October, 2016 The Korea-Australia Arts Foundation call for entries in 2D artworks. kaaf.org.au
Australia Council for the Arts Peer Assessor Nominations close 3 November, 2016 The Australia Council for the Arts is seeking practicing artists, arts workers or industry advisors, with knowledge and experience across a wide range of arts practices and roles to join their peer register. Committed to forming diverse and balanced panels with peers across Australia who are representative of geography, cultural backgrounds, age, gender and ability. australiacouncil.gov.au
M16 Drawing Prize Entries close 4 November, 2016 A prize for drawing in traditional drawing media and techniques, or non-traditional works with a total prize pool of $6,500. m16artspace.com.au
Albert Park College New Location 40 Bay Street, Port Melbourne 3207. E firstname.lastname@example.org W www.albertparkcollege.vic.edu.au/artshow Oct 15 to 16, 10-4pm (Gala opening Fri Oct 14, 7-11pm) Albert Park College Art Show. Gala tickets online $35. Enquiries Trudy Rice 0410-596-415.
Alcaston Gallery (map ref 11-G) 11 Brunswick Street, Fitzroy 3065. T (03) 9418-6444 F 9418-6499. E email@example.com W www.alcastongallery.com.au Director: Beverly Knight (approved to value Aboriginal paintings, ceramics, sculpture, textiles and artefacts for the Cultural Gifts Program) and Marielle Soni. H Tues-Fri 10.00 to 6.00, Sat 11.00 to 5.00 or by appt. To Oct 15 Kanichi – On Top People by Naomi Hobson. Oct 25 to Nov 19 All of a sudden I felt very powerful and strong, then suddenly, I didn’t by Jaye Early. Also, Pink Terraces by Dean Smith.
Alternating Current Art Space 248 High Street, Windsor 3181. T (03) 9528-2459. E firstname.lastname@example.org W www.alternatingcurrentartspace.com Wed-Fri 3.00 to 8.00, Sat-Sun 11.00 to 3.00.
& Gallery presented by djprojects (map ref 14-A) within Upper West Side Tower, 220 Spencer Street, Melbourne 3000. E email@example.com W www.djprojects.net H Thurs-Sat 12.00 to 5.00.
Anita Traynor Fine Art (map ref 10-T) Level 1, 394 Glen Huntly Road (above the ANZ Bank), Elsternwick 3185. T 0413-157-157. W www.anitatraynor.com H Tues-Fri 10.00 to 4.00. Mon by appt only. Supporting emerging and unrepresented artists – Dean Bowen, Leigha White, Josef Marzi, Laura Matthews and others. Art consultancy service available.
Anna Pappas Gallery (map ref 12-T) 2-4 Carlton Street, Prahran 3181. T (03) 9521-7300. E firstname.lastname@example.org W www.annapappasgallery.com Director: Anna Pappas (Director of ACGA). H Tues-Fri 10.00 to 5.00, Sat 11.00 to 5.00.
Anna Schwartz Gallery (map ref 14-E) 185 Flinders Lane, Melbourne 3000. T (03) 9654-6131. E email@example.com W www.annaschwartzgallery.com Director: Anna Schwartz. H Tues-Fri 12.00 to 6.00, Sat 1.00 to 5.00. Oct 7 to Nov 5 Absent Bodies by Chiharu Shiota.
ARC ONE Gallery (map ref 14-F) 45 Flinders Lane, Melbourne 3000. T (03) 9650-0589. E firstname.lastname@example.org W arcone.com.au Directors: Fran Clark and Suzanne Hampel (member of ACGA). H Tues-Sat 11.00 to 5.00. Oct 4 to Nov 5 (opening Wed Oct 5, 6-8pm) Salvation by Guan Wei.
Art at Linden Gate (map ref Melway 275 H2) 899 Healesville-Yarra Glen Road, Yarra Glen 3775. T (03) 9730-1861. E email@example.com W www.artatlindengategallery.com.au H Fri-Mon 10.00 to 4.00. Oct 14 to Nov 21 Body Works – life drawing by Studio 4 artists.
Art at St Francis Contemporary Art (map ref 13-C) 326 Lonsdale Street, Melbourne 3000. T (03) 9663-2495. E firstname.lastname@example.org Contact: Brigitte Remmen. H Mon-Fri 9.00 to 5.00, Sun 9.00 to 3.00. Oct 27 to Dec 4 Letting go recent paintings and mixed media work by Barb Henderson.
Arts Project Australia (map ref 3-E) 24 High Street, Northcote 3070. T (03) 9482-4484 F 9482-1852. E email@example.com W www.artsproject.org.au H Mon-Fri 9.00 to 5.00, Sat 10.00 to 5.00. For artwork enquiries please contact the gallery. To Oct 15 Rhythms of the Handmade: A survey show of work by Terry Williams – the first survey exhibition of Terry Williams work over a 27 year career that spans drawing, painting, printmaking, animation, ceramics and sculpture. Although Williams is known most for his lively soft sculptures, this exhibition presents a diverse selection of work dating back to 1989. The exhibition celebrates Williams tactile and process driven approach to making handcrafted works of art from ordinary materials. Curated by Sim Luttin and James McDonald. Oct 22 to Nov 26 (opening Sat Oct 22, 3-5pm) i heart rock (rock is the total work of art) – featuring a selection of artists from the Arts Project Australia studio alongside external contemporary artists, i heart rock (rock is the total work of art) is a playful exploration of fandom, nostalgia and homage through
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Showing: 1 - 4 December 2016 We invite established and emerging contemporary artists to exhibit in our 12th innovative outdoor undercover exhibition in the unique Burnley Harbour precinct. Enter paintings, drawings, ceramics, photography, sculpture & other media. Entries $7 per work, max 6 works per artist. Enter online: See website for details. Deadline 17 November 2016. Contemporary Art Society of Victoria Inc. ph: 03 9428 0568 or 0407 059 194
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(map ref 8-H) Parkes Place, Canberra 2600. T (02) 6240-6411. E firstname.lastname@example.org W www.nga.gov.au Admission to the permanent collection is free. H Daily 10.00 to 5.00. To Oct 30 Diane Arbus. To Nov 6 Foreign Looking by Mike Parr (see inside front cover). To Nov 20 Nervous by Heather B. Swann. To Jan 29, 2017 Mud men by Ramesh Nithiyendran. Oct 29 to June, 2017 Artists of the Great War.
(map ref 8-H) 17 Kendall Lane, NewActon 2601. T (02) 6287-6170. E email@example.com W newacton.com.au/place/nishi-gallery H Wed-Sun 11.00 to 3.00. To Oct 9 Canberra Botanical – this group exhibition explores the structure of Australian native plants and their innate beauty through drawing and painting. Oct 13 to 30 Mutable Realities – looking beyond the everyday, ‘Malleable beings/ Mutable’ realities draws together artists who use their work to explore the inexplicable intangible realms where meaning might be found or reason lost. Patsy Payne, Trish Roan, Chloe Bussenschutt, Matthew Smith, Peter Jordan and Sara Freeman navigate different pathways through these threshold spaces in an exhibition of new work at Nishi Gallery, New Acton. Through assemblage, sculpture, paintings and digital prints, the exhibition journeys from quirks and discomfort in everyday spaces, into fantastical worlds of shadow and uncertainty, meditative pools of silence and colour, and alchemical wrestling with materials and embodiment, seeking the cracks in the everyday that change our sense of the world.
National Library of Australia
(map ref 8-H) 53 Colbee Court, Phillip 2606. T (02) 6282-3886. E firstname.lastname@example.org W www.hadfieldgallery.com H Mon-Sat 10.00 to 5.30. Artist own gallery/studio, displaying diverse and extraordinary talent. Paintings largely inspired by the landscape of the region and gum branches, with some of Margaret Hadfield’s portraits of inspiring Australian women. New Waterfall series. See ad page 141.
National Gallery of Australia NGA
(map ref 8-H) Parkes Place, Canberra 2600. T (02) 6262-1111. W nla.gov.au Free entry. H Daily 10.00 to 5.00.
National Portrait Gallery (map ref 8-H) King Edward Terrace, Parkes, Canberra 2600. T (02) 6102-7000. W www.portrait.gov.au H Daily 10.00 to 5.00. Collection highlights tours daily, 11.30. To Oct 16 Tough and Tender – featuring art from the 1960s to the present day by a group of American and Australian artists, this exhibition explores the complexities of personal relations and individual expression. To Nov 27 Dissections – this display sets two impressive portraits from the collection into direct dialogue. Together they explore physical and psychological manifestations of the strata of self-hood.
Australian Capital Territory
Margaret Hadfield Gallery and Studio
(map ref 8-H) 90 Stockdill Drive, Holt 2615. T (02) 6254-2134. E email@example.com W www.strathnairn.com.au H Thurs-Sun 10.00 to 4.00. Sept 29 to Oct 16 Woolshed gallery: Keeping Company – Kylie Fogarty, Carole Osmotherly and Judy Witherdin. Oct 13 to 30 Gallery 1 + 2: Relax & Unwind – Barton Estate Drawing Prize. Oct 27 to Nov 20 Woolshed gallery: Metamorphisis – Strathnairn Members Exhibition.
M16 Drawing Prize Entries due Friday 4th November
Judges: eX de Medici and Professor Susan Best, Queensland College of Art, Griffith University. Total prize pool of $6,500 including the Beyond Bank Prize and the Canberra Art Patrons Organisation Prize.
For details and how to enter: www.m16artspace.com.au/opportunities-for-artists 139
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Christopher Sanders Photography christophersanders.zenfolio.com T 0411-489-680. E email@example.com Photo documentation at competitive rates.
Lupo Bianco Photography and Design lupobianco.com.au T 0439-675-240. E firstname.lastname@example.org Documentation of all kinds of artworks. See ad page 91.
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