Issue 80 June 2011

JUNE 2011

FREE

PUNCTUM & UNDUE NOISE present

THYMOLPHTHALEIN Fresh from the Melbourne International Jazz Festival, this brilliant French-Australian quintet will present an exciting exploration of prepared acoustic instruments manipulated through electronics.

With Natasha Anderson, Will Guthrie, Jérôme Noetinger, Clayton Thomas and Anthony Pateras.

Saturday 11th June, 8pm Phee Broadway Theatre, Castlemaine

WORKSHOP/STUDIO: 6pm – 7pm, Booking Essential for workshop, info@punctum.com.au PERFORMANCE: $15 full $13 concession Enquiries: jacques@cajid.com www.punctum.com.au

2 0 11

THE BRUNSWICK PROJECT A SERIES OF SITE-RESPONSIVE INSTALLATIONS FROM THE SLOW ART COLLECTIVE TONY ADAMS CHACO KATO ASH KEATING DYLAN MARTORELL & GUESTS

17 JUNE - 17 JULY COUN I HAN GALLE RY

In Brunswick

233 SYDNEY ROAD, BRUNSWICK, MELBOURNE 03 9389 8622 counihangallery@moreland.vic.gov.au Open Wed to Sat 11am – 5 pm, Sunday 1 pm – 5 pm

Wednesday 15 June, 1pm (schools) and 8pm Wednesday 15 June, 1pm (schools) and 8pm Information and Bookings:

and Bookings: 5333 Information 5888 or www.hermaj.com

Jus’ Drawn:

The proppaNOW Collective A Linden Centre for Contemporary Arts & NETS Victoria touring exhibition www.netsvictoria.org.au Vernon AH KEE Unwritten (detail), 2010 charcoal on paper Courtesy the artist and Milani Gallery, Brisbane

Until 3 July Benalla Art Gallery Bridge Street Benalla VIC 3672 T: +61 3 5762 3027

MCO 2011 concert series series concert

AIRS AIRS AND AND GRACES GRACES

june

Shostakovich Shostakovich Two pieces piecesfor for Two string octet, octet, op op1111 string Bach Bach Brandenburg Brandenburg concerto no no55 concerto Ravel Ravel Introduction Introduction and and allegro allegro Bach Bach Air Air from fromSuite Suite no no33in inDD Mozart Mozart Violin Violin concerto concerto no no 55 in in A, A,KK219 219

Wendouree Centre Centre for for Performing Performing Arts Wendouree Arts 7.30pm Tuesday 21 June 7.30pm Tuesday 21 June Phone: 5338 5338 0980 0980 or or www.wcpa.com.au www.wcpa.com.au Phone:

Calling for Submissions The La Trobe University Visual Arts Centre 2012 Exhibition Program Contemporary artists and curators are invited to submit proposals to exhibit in the VAC Gallery and Access Gallery in 2012.

Visit the VAC website for application guidelines: www.latrobe.edu.au/vacentre Deadline for applications is Wednesday 31 August 2011

La Trobe University Visual Arts Centre 121 View Street Bendigo, VIC, 3550 +61 3 5441 8724 latrobe.edu.au/vacentre

La Trobe University Visual Arts Centre 121 View Street, Bendigo, VIC, 3550 T: 03 5441 8724 121 View Street E: vac@latrobe.edu.au Bendigo, VIC, 3550 W: latrobe.edu.au/vac +61 3 5441 8724 Gallery hours: Tue - Sun 10am - 5pm latrobe.edu.au/vacentre

La Trobe University Visual Arts Centre

1 June – 9 July 2011

IMAGE: Peter Lyssiotis and Theo Strasser, Eyewitness, artist’s book, Deakin University Art Collection.

Inventive and thought-provoking artists’ books, along with a number of works on paper, from the collections of Deakin University and the City of Whitehorse. Including works by Heather Shimmen, Juli Haas, Angela Cavalieri and Peter Lyssiotis.

An illustrated talk Books and Ideas will be given by Peter Lyssiotis on Thursday 16 June 2011. Bookings are essential on 03 9262 6250.

WHITEHORSE ART SPACE, 1022 Whitehorse Road, Box Hill VIC 3128. T: (03) 9262 6250 HOURS: Tues and Fri 10am - 3pm, Wed and Thurs 9am - 5pm, Saturday noon - 4pm. www.boxhilltownhall.com.au The exhibition will be shown concurrently at the Deakin University Art Gallery.

Please visit www.deakin.edu.au/art-collection or phone 03 9244 5344 for more details.

2011 Melton Art Show 1 – 9 September 2011

Community Hall, 232 High Street Melton

Non-Acquisitive Awards The Photography Award $1,000 The 3D Object Award $1,000 The 2D Any Medium Award $1,000 The Encouragement Award $500 Entries close Friday 8 July at 4.45pm For an application form and conditions of entry contact Council’s Arts and Cultural Officer: artsandculture@melton.vic.gov.au or 03 9747 7200

JUNE 2011

FEATURES (14)

GUSTAV KLIMT

[16]

SYDNEON

[19]

Inga Walton Bambam

HOW TO EAT A GUAVA Cate Kennedy

(22)

10 YEARS IN TOORAK

(24)

MELBURNIN’

(32)

JUNE SALON

(44)

ADAM NUDELMAN

(46)

WONNANGATTA

(60)

Bambam

Courtney Symes Scrumptious and scary Marguerite Brown Ben Laycock

DREAMWEAVERS Steve Proposch

(64)

GREENWASH #23

(66)

EAT MY WORDS

Patrick Jones Portable 2

LISTINGS (18) (20) [21] (26) (48) (56) (57] (58) (58) (59)

NSW / SYDNEY ACT TASMANIA MELBOURNE CENTRAL VICTORIA MURRAY RIVER BAY & PENINSULA EASTERN VICTORIA NORTHERN VICTORIA WESTERN VICTORIA

WARNING: Trouble magazine contains artistic content that may include nudity, adult concepts, coarse language, and the names, images or artworks of deceased Aboriginal or Torres Strait Islander people.

Treat Trouble intelligently, as you expect to be treated by others. Collect or dispose of thoughtfully.

InstrAmental Music Centre

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The best little music centres in the heart of Central Victoria. Both stores have friendly staff, ample parking, and a great atmosphere. We stock all your instrument and accessory needs and offer a wide variety of professional tuition. The Kyneton store is also your independent CD seller. We pride ourselves on friendly service and if we haven’t got what you are looking for, we will do our very best to get it in for you.

Open 10am - 5.30pm Monday - Friday 9am - 2pm Saturdays

www.instramental.com.au 12 TEMPLETON ST. CASTLEMAINE PH 03 5470 5913

33 HIGH ST. KYNETON PH 03 5422 1083

Gustav Klimt:

by Inga Walton

the world in female form “No self-portrait of me is in existence. I am not interested in myself as the ‘subject of a painting’, but rather in other people, above all women... If anyone wants to know anything about me as a painter – and that is the only question worthy of consideration – let him carefully study my works, and try to read in them what I am and what I wish for.”

Gustav Klimt, Commentary on a non-existent self-portrait, n.d.

H

IS WORKS ARE AMONG THE MOST TRANSCENDENT and celebrated in the world; the gleaming aureole of gold surrounding the eternal lovers of The Kiss (1907-08); the explosive depiction of the ‘fatal woman’ in Judith and Holofernes I (1901), with its potent eroticising of her murderous act; the voluptuous swooning of Danaë (1907-08). In 2006, cosmetics magnate Ronald S. Lauder paid a reported US$135 million to obtain for his Neue Galerie the supreme example of Klimt’s ‘gold period’, the scintillating ‘Byzantine’ decadence of Adele Bloch-Bauer I (1907). Later that same year, Adele Bloch-Bauer II (1912) fetched US$87.9 million at Christie’s, New York.

For sheer ubiquity, few other artists in history can compete with the way Klimt’s art has been reproduced across countless formats. His instantly recognisable figures and orientalised scrolling are incorporated into advertising, just as manufacturers have appropriated and modified his imagery to suit a host of unrelated objects. The innumerable uses to which Klimt’s works are put, from bathroom tiles to textiles, reflect the timelessness of his central themes. Predictably, the Austrian luxury jewellery and enamelling firm of Frey Wille (est. 1951) have an entire range inspired by Klimt. As part of Vienna: Art & Design, the NGV will exhibit nine Klimt works – the most ever seen at one time in Australia – which explore his lasting cultural omnipresence in the context of his contemporaries, and the period in which they worked.

Gustav Klimt (1862-1918) was born in Baumgarten, a country suburb of Vienna, the second of seven children to Ernst Klimt, a gold engraver, and Anna Finster, an aspiring musician. It was an artistically minded household, but also a poor one; work was scarce in a country going through an economic depression, and the family moved frequently. In 1876 Klimt left school having been granted a bursary to attend the Vienna School of Arts and Crafts (Kunstgewerbeschule) where he received training as an architectural painter under Ferdinand Laufberger (1829-81), and Julius Victor Berger (1850-1902).

Younger brother Ernst Klimt (1864-92) enrolled there the following year, and together with their fellow student, Franz Matsch (1861-1942), they formed the Künstlerkompagnie (Artists’ company).

The trio were involved in the production of decorative artwork and historical genre paintings for some of Vienna’s new monumental buildings nearing completion on the Ringstraße, particularly the Kunsthistorisches Museum. As Klimt was already working on lunettes and panels for the new Burgtheater, the Vienna City Council commissioned Auditorium/Interior View of the Old Burgtheater (1887-88), as a pictorial record of the building on the Michaelerplatz before it was demolished.

In 1897, Klimt became one of the founding members and president of the ‘Union of Austrian Artists’, later known as Wiener Sezession (Vienna Secession), and regular contributor to the group’s periodical (1898-1901) Ver Sacrum (Sacred Spring). Klimt was principally active in the group during its first two years, as his time was increasingly consumed by the ill-fated commission from [contrinued on page 68] > Fritza Riedler (1860–1927) (detail) 1906, oil on canvas, 152 x 134 cm, (Österreichische Galerie Belvedere, Vienna).

DATELINE: JUNE 2011

by Bambam

Sydney is sexy, don’t you think? Our city harbour has romantic views coming out of its romantic views, from urban to country, historic to contemporary, to awe inspiring.

Wherever you can gain enough height to see it, the landscape of the coast and the architecture sitting on it work as one to make you want to stop for a while and take it all in like a deep, clean breath.

The Sydney Observatory is the perfect place for such a jaunt, with the bonus of an interesting self-guided tour most days.Take some time out already! Close by at The Rocks Discovery Museum there lies the remains of two Head On Photo Festival exhibitions: Discovering Country - NSW Pathways and Saltwater Country, until 11 June.The exhibitions “celebrate the distinct natural environments of New South Wales and the stunning Dampier Peninsula in Western Australia, respectively.” Discovering Country features the work of nine photographers who worked in collaboration with NSW National Parks and Wildlife Service Aboriginal Discovery Rangers and historians and education officers from Sydney Harbour Foreshore Authority to produce these impressive photographs.

Vivid Sydney will also be underway by the time this issue is published, but events continue up until 13 June so there is still time to catch some of the best of it if you are quick. On 10 – 12 June for example you may see one of the most amazing benefits that a festival of “light and ideas” can bring to the cultural life of any city. X|Media|Lab is an internationally acclaimed digital media think-tank held annually and in a new place each year. Previously these summits have been held in London, Beijing, Shanghai, Mumbai, Amsterdam, Malmö, Kuala Lumpur, Singapore, Auckland, Wellington and Seoul, and this year it is here, playing at Sydney’s Opera House as part of Vivid Sydney. Tickets to the conference day are hefty at $250 per individual-slash-entrepreneur, but just check out the line up.

Martyn “Teddy Bear” Ware is a founding member of 80s pop band Human League. He was also responsible for Heaven 17, and now runs Future of Sound in London.

Eric Zho is Executive Producer of China Idol, apparently the most watched TV show in the history of television.

Christopher Tanner created the patented technology now known as a little thing called Google Earth! >

17

> Announced on 24 May, Ben Hammersley, Wired magazine’s Editor-at-Large and the man credited with coining the word ‘podcast’, was confirmed to appear.

In addition to being an editor at Wired Ben is an advisor to 10 Downing Street on digital technologies, and a reporter for the BBC and four broadsheet newspapers in the UK. Hammersley will reportedly “impart his views on technology’s transformative effects” at the conference.

spilled across Enmore Road to see some of the artists perform interactive live painting. DJ’s Dean Dixon and Dave Fernandes of HAHA industries headlined a host of other turntable talents on the night, and the main thing was that no one was hurt.

Medium:Vinyl 2011 - art on vinyl records, 263 Enmore Road Enmore, until 11 June - hardwaregallery.com.au

In news for any ambitious theatre-slash-festival directors out there, Short+Sweet is looking for a new festival director for its key (and original) Sydney festival. The announcement follows the news that In the visual arts I have seen some interesting long time director Alex Broun is to step down from images float past from Conny Dietzschold Gallery in the helm. Broun’s association with Short+Sweet Waterloo. They are by Sydney-based artist Catherine includes running festivals in Melbourne, Brisbane, Cloran, who “draws inspiration from the way nature Rockhampton, Auckland, Singapore and last year’s co-exists and collides with the urban culture of the first ever Short+Sweet Delhi in India. According to city.” The images show nature-fringed urban dams and Mark Cleary, Short+Sweet’s Artistic and Executive waterways that at first glance seem serene before Director, Broun has been a driving force in the the floating plastic bottles, chip packets and discarded organisation and responsible for introducing rubber gloves become apparent. In one print the sky innovations including the time limit, awards, public is reflected thorugh a layer of toxic-looking scum voting and the developmental Wildcards program. and green algae. In another there is a black swan “Alex has also been a powerful advocate for artists approaching a large piece of bread, while a torn plastic and new writing and has left the Sydney festival on a bag floats idly by.You get the drift. very solid footing,” he said.

X|Media|Lab: Global Media Ideas, 10 – 12 June, Sydney Opera House - http://vividsydney.com/

To explain the exhibition Cloran offers a quote from writer Rebecca Solnit, in A Field Guide to Getting Lost: “Sometimes while walking I catch sight of what at a little distance looks like a jewel or flower and turns out a few steps later to be trash.Yet before it is fully revealed, it looks beautiful.”

Conny Dietzschold Gallery, 2 Danks Street, Waterloo, until 8 June.

Hardware Gallery has another good looking exhibition on at the moment. It’s their 3rd annual art-on-vinyl record exhibition titled Medium:Vinyl.

Gallery Director Lew Palaitis, who first instigated this idea of putting art onto vinyl records after seeing a similar event in New York, explains: “We allow anyone to enter a work. It celebrates the cross generational appeal of vinyl records ... Almost every medium imaginable has been used. Some artworks literally spin on the wall. I personally love the fact that Ray Hadley and Alan Jones feature in one work and in another are miniature people having sex on a weird lunar landscape. Julia Gillard makes an appearance as does Bob The Builder. This show has everything!”

Interested? - shortandsweet.org Finally we offer early notice for the 9 July gig at Enmore Theatre as we’re sure it will be a blast.

Celebrity Theatresports is back on and with a Spanish theme this year. Some of the performers confirmed so far are Peter Fitzsimons, Andrew O’Keefe, Julia Zemiro, Adam Spencer, Thank God You’re Here star Daniel Cordeaux, and Penny Biggins from Playschool.

Note, very good improv may make your head explode. If at any stage you feel your temples bulge during this performance quickly make your excuses and run for the toilets.

2011 Celebrity Theatresports® - raising money for CanTeen, Saturday 9 July, 8pm at the Enmore Theatre.

SYDNEON continues in next month’s issue of Trouble and welcomes your comments, party pics, performance and exhibition news, and invitations.

Send to: sydneon@introuble.com.au

Opening night for the show looked promising.

Jane Gazzo from Channel V officially launched the exhibition (almost on time) before hundreds of guests Sydneon logo by Robert Pollard

Numbers You Can Numbers Count On* You Can Count On* *When audited by the CAB

*When audited by the CAB

18

SYDNEY / NSW

blacktown

• Blacktown Arts Centre Open Tues - Sat 10am - 5pm (closed public holidays). 78 Flushcombe Road Blacktown. T: (02) 9839 6558 E: artscentre@blacktown.nsw.gov.au www.artscentre.blacktown.nsw.gov.au

cowra

• Cowra Regional Art Gallery 77 Darling Street Cowra NSW 2794. Tues to Sat 10am - 4pm, Sun 2 - 4pm. Free Admission. www.cowraartgallery.com.au

newtown

• At The Vanishing Point Inc. 565 King Street Newtown NSW 2042, Thur - Sun, 10am - 6pm. T: (02) 9519 2340 See our website for more details of shows in June - www. atthevanishingpoint.com.au

sydney

• Art Gallery of New South Wales Until 26 June, Archibald, Wynne & Sulman Prizes 2011. Until 10 July Unguided tours: Anne Landa award for video and new media arts 2011. Until 7 Aug Eikoh Hosoe: theatre of memory. 18 Jun - 4 Sept The poetry of drawing: Pre-Raphaelite designs, studies and watercolours. Until 3 May 2012 New contemporary galleries featuring the John Kaldor Family Collection. Art Gallery Road, The Domain, Sydney NSW 2000. T: (02) 9225 1744, www.artgallery.nsw.gov.au • Carved Trees - Aboriginal Cultures of Western NSW Until 26 June, Carved Trees - Aboriginal Cultures of Western NSW. A free exhibition at the State Library of NSW. Macquarie Street State Library of NSW, Sydney, NSW 2000.

• Liquid Architecture A national festival dedicated to investigations into the traditional lineage and contemporary form of sound art. Sydney events include concerts, sound massages and forums. National festival dates 27 June – 3 July 2011. See website for full festival program: www.liquidarchitecture.org.au Proudly Audited by

For more information visit www.auditbureau.org.au Proudly Audited by

For more information visit www.auditbureau.org.au

windsor

• Hawkesbury Regional Gallery Till 3 July, The Golden Age + HRG show, Mon - Fri 10am - 4pm, Sat and Sun 10am - 3pm, (Closed Tues and public holidays), Free admission.

Deerubbin Centre -1st Floor, 300 George Street Windsor 2756. T: (02) 4560 4441, F: (02) 4560 4442, www.hawkesbury.nsw.gov.au

How to eat a guava First rinse the fruit, rub the skin and inhale make an incision with the eye tooth

a bite with a seesawing motion to break that curved yellow moon surface eat it

like you would kiss a long-lost lover

like you would taste the skin behind an ear you cannot worry about juice

separate the seeds from the flesh with your tongue sift them down your throat

recall custard in expensive, affair-soaked hotels lemon mousse drowning the mouth in reckless garden sunsweat tussles eat it

like you would plunge into a river in moonlight

like you would open your mouth and let the river in

like you would eat a stolen pear, a hot fig lush as a lovebite eat it

like you would crush it onto skin, lower your head confusing perfume with texture, tasting scent

under a collarbone, like you would lick a line of sweat up a spine bite skin, flesh, seeds, juice eat it fast

like you were ravenous

parched, gluttonous, flushed with secrecy eat it slowly

lick your fingers Cate Kennedy from The Taste of River Water, new and selected poems by Cate Kennedy (Scribe $24.95 rrp) • www.scribepublications.com.au

ACT

20

acton

• ANU Drill Hall Gallery 26 May – 3 July: Home and Away: A return to the South. Kingsley Street, Acton ACT. T: (02) 6125 5832, www.anu.edu.au/mac/content/dhg

braddon

• QL2 Centre for Youth Dance Inc Home of Quantum Leap youth dance ensemble.

QL2 has a 12 year track record of excellence in youth dance. It is home of Quantum Leap: an auditioned youth dance ensemble; and to the Soft Landing program: assisting the best dance graduates to find their creative pathway. Gorman House Arts Centre, Ainslie Avenue, Braddon ACT 2612. T: (02) 6247 3103 www.QL2.org.au

canberra

• Midsumma Call for Visual Artists open now “It was a pleasure to look into the audience and see queers, queens, freaks and fabulous folk from the GLBTIQ community. I love Midsumma!” - Sarah Ward, Circus Oz. More info: admin@midsumma.org.au; midsumma.org.au • National Gallery of Australia New Aboriginal and Torres Strait Islander art galleries: The Aboriginal and Torres Strait Islander art collection at the National Gallery of Australia comprises over 7500 works and is the largest in the world. Each of the new gallery spaces specifically designed for a different geographic region or aspect of Indigenous art and, where possible, paintings and sculptures

are illuminated overhead by natural daylight; Coming Soon: 8 July, 2011: Out of the West - Art of Western Australia from the national collections. Out of the West is the first survey exhibition outside Western Australia to present a large sample of Western Australian art from pre-settlement until today. Works by established early artists, ROBERT DALE, THOMAS TURNER, and KATHLEEN O’CONNOR, as well as those by more recent artists such as HERBERT MCCLINTOCK, ELISE BLUMANN, and RODNEY GLICK, will be shown, alongside significant works by many less familiar names.

Open daily 10am - 5pm. Parkes Place, Parkes, Canberra 2600. T: (02) 6240 6411, www.nga.gov.au.

griffith

• PhotoAccess Huw Davies Gallery 2 to 19 June DAvID WONG and CHRIS HOLLY: Seeing Grasslands and ‘Logic will get you from A to B but imagination will take you everywhere’ Albert Einstein - a group show, and in the Multimedia Room MARGARET MCHUGH: Please don’t stop me. 23 June to 10 July NAIDOC Week Emerging Indigenous Photographers, and BRONWYN JEWELL: Erub July 1. PhotoAccess Huw Davies Gallery, Manuka Arts Centre, Manuka Circle Griffith ACT. Tuesday to Friday 10am to 4pm, weekends 12 noon to 4pm. T: (03) 6295 7810; www.photoaccess.org.au

TASMANIA

devonport

• Devonport Regional Gallery 25 June – 17 July, 2011, opening Friday 24 June, 6pm, Main Gallery, Before the Move: works from the Permanent Collection. In Conversation with Ellie Ray, lunchtime series Tuesday 28 June, 12.30pm. The Little Gallery, Emerging Artist Program DAWN BLAzELY Unfolded Untouched. Exhibition coinciding with NAIDOC Week (3 – 10 July). Open Mon - Sat 10am - 5pm, Sun and pub hols 12 5pm. 45 Stewart Street, Devonport, Tasmania 7310. E: artgallery@devonport.tas.gov.au T: (03) 6424 8296, www.devonportgallery.com

hobart

• Inflight ARI re(presentation) - LAURA HINDMARSH, 3 – 25 June. In 3 acts, see website for details. Gallery hours: Wed - Sat 1 - 5pm. 100 Goulburn Street, Hobart. www.inflightart.com.au • The Knowing Stone Heads are exploding. The end is coming soon.

If you knew what I know you would head to that place #3HT where we went that time. Doors will close on 30 June, 11.59pm.

• Midsumma Call for Visual Artists open now “It’s nice to perform in front of an open and diverse audience, and to support a non-commercialised mainstream festival. I’d love to do it again, every year would be amazing...” - Mason West, Circus Oz. More info: admin@midsumma.org.au; midsumma.org.au

• MONA, Museum of Old and New Art, Hobart Opening exhibition, Monanism containing DAvID WALSH’s favourite works. 22 January – 19 July 2011. Including: Egyptian antiquities, numismatics, Snake by SIDNEY NOLAN, ARTHUR BOYD, ALBERT TUCKER, BRETT WHITELEY, along with some of the more infamous Young British Artists (YBAs) JAKE and DINOS CHAPMAN, MAT COLLISHAW, MARC QUINN, and DAMIEN HIRST. Along with WIM DELvOYE’s Cloaca Professional. Hours: 10am to 6pm daily; Coming up: August 6 to October 17: Experimenta Utopia Now. Also: The Source Restaurant, Mona Pavilion accommodation, Moorilla winery, Moo Brew micro-brewery, a wine bar and cellar door. T: (03) 6277 9999, www.mona.net.au, Entry FREE. 655 Main Road, Berriedale, Tasmania 7011

salamanca place

• Salamanca Arts Centre Long Gallery: Weld Echo 2011, 2 – 12 June; Long Gallery: Hobby Artists of Tas Inc (HAOTI) Exhibition 2011, 15 – 28 June; Sidespace Gallery: Circadian Rhythms, photographs by FIONA FRASER, 9 – 14 June; Sidespace Gallery: Boom Boom Pow, new works by CALLUM DONOGHUE, 17 – 28 June. 77 Salamanca Place, Hobart. T: (03) 6234 8414, E: info@salarts.org.au, www.salarts.org.au

by Bambam

I love it when an artwork can take me by surprise. One minute I might be on a perfectly ordinary excursion to the local nail manipulation centre for a routine buff and colour appointment, the next I am transported to a world where inside is outside, and there is deep and clear meaning in the shape of a stitched shir t.

“I made this sculpture in 2009,” says Eliza-Jane Gilchrist of her work Softcore, which won the Tok H Centre Award at the recent Toorak Village Sculpture Exhibition after exhibiting all May long at nail care and beauty shop, Toorak Nails.

Gilchrist came to Australia two years ago from Britain, and has since exhibited in solo exhibitions Inside Story (2010) at Seventh Gallery, Melbourne, and Hard Face Soft Belly (2008) in the Front Gallery, Canberra, as well as in group shows such as the Lot 19 Spring Salon (2010) in Castlemaine.

Australia. For the entire month of May, each year since 2002, Toorak Village businesses have displayed contemporary sculptures in their windows and bolted to the pavements of Toorak Road. These new works join previous works by Rudi Jass and Julia Anderson that were purchased by the Traders in 2008 and 2009. Tony Fialides, Director of the exhibition and President of the Toorak Village Traders Association, says “the Toorak Village Traders stage this event every year and happily give up very valuable window space to display sculptures.”

“I’ve been working for a while with the idea of shells, as a protective coating for a soft interior and as a relic of a stage outgrown so that they become a symbol for change,” Eliza explains. “Because clothing is an interface between our inner selves and the outside world, because of its ubiquity and familiarity, it’s a good medium for interventions that explore these ideas. I use found clothing, discarded by someone, thereby already containing a history.

John Topfer’s Growth was the major winner this year, taking out the $5,000 City of Stonnington Award.

“Growth is a development of a piece I first made in 2010,” says John. “It is, as the name suggests, an exploration of the segmented way that many living things grow, particularly some succulent plants but also animals such as crustaceans (think crab legs).

It is on its face a simple concept, but is (I suggest) evocative of these natural phenomena.”

“It also tickles my imagination that we use our bodies as metaphors for more abstract notions.

‘Backbone’ is the metaphor for strength of character. The title ‘softcore’ is a play on this idea.

The sculpture reverses what is hard and what is soft. In it is the idea of a constructed personal interior, one put together in pieces but having strength and providing support. Or possibly the support comes from the exterior shell. The vertebrae are hand sewn and hollow, allowing for some distortion to the shape that makes each one unique. The template was painstakingly worked out over some weeks of stitching, unstitching, cutting and re-stitching.

In a seemingly courageous move by curator Malcolm Thomson, Daniel Hourigan’s The Mortality Mirror was exhibited at Toorak Village Dental Care.

The Mortality Mirror is a simple ‘pepper’s ghost’ trick, where the viewer looks into a mahogany obelisk only to be “confronted with your own reflection and the ghosted image of a skull superimposed over the top. It’s like Photoshop, but real,” explains the artist. “The obelisk contains a mirror that reflects the viewer’s face. In front of this is a piece of glass placed on a 45-degree angle. Because the box is dark inside, the glass is effectively invisible, and because of the angle it does not reflect the viewer’s face. In the base of the obelisk a replica human skull, which is lit by two LED lights, is placed so that it reflects onto the angled glass. “

“Pattern usually adorns the outside of a garment.

By embroidering on the inside of the shirt I meant to combine the floral decoration with a reference to veins and the spinal cord and to hint at a skin alive with countless connections.”

The Toorak Village Sculpture exhibition is unique in

While unlikely to save time and money on X-rays for the clinic, the work does exhibit a tendency to remind patients of approximately what their naked jaw looks like, almost immediately prior to >

23

> having said jaw poked at ruthlessly with a whirry drill bit. A bit of a dark horse therefore from this emerging artist, who took out the $2,500 Toorak Village Traders Award. “I was thrilled to even get into the show,” says Daniel.

“I appreciate the risk that they took in accepting me. This is the first major sculpture exhibition I have entered and to win a prize is great encouragement for me.”

Another winner was Anne F Dupuis, who took the 2nd Tok H Centre Award with shop exhibit no 80, Diverting Figures, a wire sculpture shown at Simon Johnson. Overall in 2011 The Toorak Village Sculpture Exhibition proved that after ‘A Decade of Sculpture’ it remains as a strong, stand out and unique art event in this nation’s annual calendar.

Says John Topfer: “I think that the quality, number and variety of works on display at the exhibition is a testament to the strength of the exhibition. It is very professionally run and I have thoroughly enjoyed being involved.”

IMAGE: Eliza-Jane GILCHRIST, Softcore, mixed media, cotton shirt with stitching.

DATELINE: JUNE 2011

by Courtney Symes

Art often acts a social snapshot, historically

Stuart SPENCE, Going Somewhere (this time) (detail) 2008, Kodak Supra Endura archival paper, 819 x 602mm, Ed. 1/8.

recording our reaction to specific events and life in general. Current Melbourne exhibitions such as Black and White: documenting Indigenous Australia, Eugene von Guérard: Nature Revealed, Albert Tucker’s Images of Modern Evil and Mannequin play an important role – artistically and historically – by providing social, political and environmental commentary on past and present Australian culture. Looking to the future is important too, and exhibitions such as Current 10: DUAL at Footscray Community Arts Centre nurture the work of emerging artists – our next generation of ‘social commentators’.

Bundoora Homestead’s Black & White: documenting Indigenous Australia features a collection of photography focusing on Indigenous Australians from the 1800s to present day, including a mixture of commercial conceptual photographic works. Black and white prints included in the exhibition are thought to be symbolic; perhaps representing the ‘black and white’ clarity of Australia’s colonial history or even signifying “a grey history of uncertain encounters and ambiguous relationships.” Artists featured in the exhibition include Charles Bayliss, Gordon Bennett, Brenda L. Croft, Max Dupain, Rennie Ellis, Axel Poignant, Ricky Maynard and David Moore. Curator Stephen Zagala will host an exhibition discussion on 7 July before the show closes on 10 July.

- www.bundoorahomestead.com Eugene von Guérard has made a significant contribution to Australian history through his prolific documentation of Australian landscapes in his superlative paintings. NGV exhibition, Eugene von Guérard: Nature Revealed presents over 150 of von Guérard’s works, including numerous Australian landscapes from the mid-1800s, some of his early European works, as well as a collection of sketchbooks used throughout his career. Key Australian compositions include his studies of Gippsland, the Otways, Western Victoria and the Illawarra region in NSW, as well as Kosciuszko and New Zealand’s Milford Sound. Runs until 7 August.

- www.ngv.vic.gov.au Images of Modern Evil at Heide Museum of Modern Art reflects Albert Tucker’s personal perspective of society at the height of World War II, when he created this series. This collection, although not originally created as a finite group (in contrast to Sidney Nolan’s Ned Kelly series) acts as a milestone, identifying a new era of Australian modern art. The works share several

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common characteristics, including night-time settings and repetitive use of the female figure, as well as large, emphasised lips. The collection of correspondence, photographs, interviews and archival records featured in the exhibition also assists in examining the way the series was received during the 1940s. Following the National Gallery of Australia’s acquisition of twentyeight images (out of thirty-nine), this is the first time that these pieces have been displayed together. Runs until 26 June. - www.heide.com.au The growth of the fashion industry during the 1950s and 60s increased the demand for professional models to support designers, photographers and retailers.

Mannequin at Como House until 3 July explores the rise of professional modelling with an extensive display of photographs, images from newspapers and magazines, as well as personal memorabilia and garments. Models of this era were expected to be organised and skilled – capable of doing their own hair and make-up and often required to bring their own accessories to each booking. Mannequin is set throughout Como House and visitors are encouraged to take their time viewing the exhibition to also appreciate the building’s exquisite period features. A coffee at Como’s Café Bursaria or a wander through the gardens is also highly recommended.

- www.comohouse.com.au Current 10: DUAL at Footscray Community Arts Centre features the work of six emerging Melbourne artists who explore a broad variety of themes, such as space and memory recurrence, which relate to “the dual nature of the gap found between object, situations and their representation.” Robert Mangion has curated the diverse works across disciplines such as photography, sculptural installation, drawing, video and more. The six artists featured in the exhibition include Michelina di Mauro, Wendy Ewert, Caroline Graham, Paola Joyce, Michael O’Hanlon and Marisa Ramos. Runs until 26 June. - www.footscrayarts.com.

This month Flinders Lane Gallery presents the work of artist and mathematician, Peter James Smith in his solo exhibition, Light. Inspiration for this exhibition derives from the natural beauty of landscapes, upon which Smith overlays his thoughts, notes and equations (that often relate to his role as a mathematics professor).

The two elements, exquisite painting and text, bring the piece together, enhancing the viewer’s overall experience of the work, much like “viewing different facets of the same diamond”. The exhibition title, Light, represents spiritual enlightenment and awakening, whilst also referencing Smith’s recent journey to the South Pole (as Antarctic New Zealand Artist Fellow), where light and dark play an extreme role. Smith is an accomplished mathematician and artist, holding a BSc (Hons), MSc, PhD with a Master of Fine Art in Painting

and is also a Professor of Mathematics and Art at RMIT. Holding several solo exhibitions a year, his work also appears in public and private collections throughout Australia and New Zealand. Runs 7-25 June.

- www.flg.com.au Mike Nicholls explores the ancient craft of carving through his contemporary totems, featured in his two exhibitions at MARS Gallery and McClelland Gallery and Sculpture Park this month. MARS Gallery will feature a combination of Nicholls’ paintings and sculptures inspired by his visits to Aboriginal communities in Cape York, whilst McClelland Gallery and Sculpture Park will present a retrospective collection of Nicholls’ spiritually inspired sculptures.

Nicholls is a skilled artist, confidently interchanging between carving and painting. “He is as adept with the paintbrush as the chainsaw, the pencil and the chisel.

His paintings over recent years have been pared back, bordering at times on the minimal. His sculpture is the opposite — gnarled and elegant, brutal and beatific, it is nothing if not complex,” says Ashley Crawford of Nicholls’ work in his forward for Nicholls’ recently published book, A Work in Progress. Mike Nicholls: Primitive Soul runs 2-26 June at MARS Gallery and until 7 August at McClelland Gallery and Sculpture Park.

- www.mcclellandgallery.com - www.mikenicholls.com.au Also at MARS Gallery this month, Stuart Spence presents his latest exhibition, What Gives from 2-26 June. Spence explains that “The process for shows is strange for me. When I’m shooting I’m working instinctively. See something, don’t over intellectualise it, trust my instincts and blaze away. I set nothing up. It’s only when I’m working on the photographs afterwards that the themes start to emerge. Like some monster coming to life.” Spence was a celebrity photographer during the 1980s and 90s, with some of his clients including Minogue, Whiteley, Kidman and Jackman, amongst others. Despite his glittering background, change was inevitable and Spence recognises that taking a break from celebrity photography was what he needed to set him on a new path. “After a long time, I took a break, and without me noticing it, out snuck a side of me I hadn’t seen ... I had never shot photographs just for myself.Very strange. Now I was taking photographs, almost in auto pilot, just for me.

I’d get home and look at them and think, ‘Who shot that?’ It took me a while to actually accept what was happening.” These days, Spence’s work takes a different approach, focusing on people, movement, and those fleeting, yet significant moments “where something’s changing, or at least might just be about to change”.

- www.marsgallery.com.au - www.stuspence.com melburnin’ logo by Ryan Ford

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box hill

• Alcove Art Shop Box Hill Community Arts Centre, 470 Station Street Box Hill. Winter Delights Exhibition, 27 June – 9 July. Unique hand crafted gifts, More details: www.alcoveartshop.org.au, Proudly sponsored by Box Hill Community Arts Centre and City of Whitehorse.

• Box Hill Community Arts Centre Healesville Indigenous Arts Enterprise, 30 May – 5 June; Box Hill Art Group, 6 – 11 June; Box Hill Hand Spinners and Weavers, 16 – 19 June; Global Gathering, 20 – 26 June. 470 Station Street Box Hill, T: (03) 9895 8888, bhcac.com.au • Whitehorse Art Space 1 June – 9 July, Ephemeral by Nature - Lasting

by Design, Inventive and thought-provoking artists’ books, along with a number of works on paper, from the collections of Deakin University and the City of Whitehorse. Including works by HEATHER SHIMMEN, JULI HAAS, ANGELA CAvALIERI and PETER LYSSIOTIS. An illustrated talk ‘Books and Ideas’ will be given

by Peter Lyssiotis on Thursday 16 June 2011.

Bookings are essential on T: (03) 9262 6250.

Tues and Fri 10am - 3pm, Wed and Thurs 9am - 5pm, Saturday noon - 4pm. T: (03) 9262 6250, 1022 Whitehorse Road, Box Hill vIC 3128, www.boxhilltownhall.com.au

brunswick

• Brunswick Arts Space Solo shows by ELIzAvETA MALTSEvA and JASON BEALE, Opening 3 June, 6 to 8pm, running until 19 June; 2011 Candle Ends Festival,

the mini performance festival. Wed 22 Jun – Sat 25 Jun, 7 - 10:30pm, $15/10. 2a Little Breese street, Brunswick. Thu - Fri 2 - 6pm, Sat - Sun 12 - 5pm. www.brunswickarts.com.au • Counihan Gallery in Brunswick Until 5 June: Reclaim and Sustain, in celebration of National Reconciliation Week, including MEGAN CADD, MAREE CLARKE, vICKI COUzENS, LEE DARROCH, ROBYNE LATHAM, BRIAN McKINNON and MANDY NICHOLSON. Curated

by Edwina Bartlem and Lauren Simmonds; 17 June – 17 July: The Brunswick Project, a series of site-responsive installations from the Slow Art Collective, including TONY ADAMS, CHACO KATO, ASH KEATING, DYLAN MARTORELL and guests. Gallery closed 6 – 16 June. 233 Sydney Road, Brunswick T: (03) 9389 8622. Hrs: Wed - Sat 11am - 5pm, Sun 1 - 5pm. Closed public holidays. Gallery closed 1 – 12 May.

burwood

• Deakin University Art Gallery 1 June to 9 July. Ephemeral by Nature – Lasting

by Design: Works on paper and artists’ books from the collections of the City of Whitehorse and Deakin University. Artists included (but not limited to) are HEATHER SHIMMEN, RICK AMOR, DAvID FRAzER, PETER LYSSIOTIS, ANGELA CAvALIERI, JULI HAAS, GARY SHEAD, JOHN WOLSELEY, GEOFFREY RICARDO and JUDY HOLDING. Gallery hours 10am - 4pm Tuesday to Friday, 1 - 5pm Saturday.

Closed Public Holidays, Free Entry. 221 Burwood Hwy, Burwood 3125. T: (03) 9244 5344, F: (03) 9244 5254, E: artgallery@deakin.edu.au www.deakin.edu.au/art-collection

carlton

BENDIGO RICHMOND

ESSENDON SUNBURY

FIND ALL YOUR ARTISTIC NEEDS AT ARTHOUSE www.arthousedirect.com.au

• La Mama At La Mama Theatre, 205 Faraday St: 1 – 12 June, Last Songs by KATE O”BRIEN; 15 – 26 June, Manacle by BRETTCARDIE INGRAM; from 30 June, Sarajevo Suite by HELEN LUCAS. At La Mama Courthouse, 349 Drummond St: 1 – 5 June, Post: short works by emerging artists from Platform Youth Theatre and 8 – 19 June, Crossed by CHRIS SUMMERS; 22 – 26 June, She Turned On The Light by WENDY WOODSON (N.Y); from 30 June, Conspiracy

by JOHN KIELY. Bookings T: (03) 9347 6142 or www.lamama.com.au

MELBOURNE

collingwood

• James Makin Gallery Exhibiting: ADAM NUDELMAN, Archiving the Nights, 2 – 25 June; Artist Talk: 18 June 2 - 4pm. Gallery Hours: Tues - Fri 10am - 5.30pm, Sat 11am - 5pm. 67 Cambridge Street, Collingwood, 3066. T: (03) 9416 3966; E: info@jamesmakingallery.com; www.jamesmakingallery.com • Off the Kerb 24 June – 15 July RMIT Printmaking Graduate Exhibition (Opening Friday 24 June 6pm9pm). 66B Johnston Street Collingwood 3066. www.offthekerb.com.au

dandenong

• Walker Street Gallery ANASTASIA KLOSE, Refuse to lose; KA-YIN KWOK, Lessons; PETE MATHIESEN and JOHN WYNN-TWEGG, Water and fire; Reception: 6pm Thursday 2 June. Exhibition: 2 – 27 June 2011; Performance by ANASTASIA KLOSE, Dark night of the soul; 6pm to 6am Thursday 9 June.

Walker St Gallery Cnr Walker and Robinsons Streets Dandenong 3175. Mon - Fri 11am to 5pm, Sat 11am to 3pm. Closed Sunday and

public holidays. T: (03) 9706 8441, F: (03) 9706 7651, E: walkerstreetgallery@cgd.vic.gov.au www.greaterdandenong.com

deer park

• Hunt Club Community Arts Centre Galleries 25 May to 15 June Reconciliation. 20 June to 30 July; Bubblewrap by SUSAN NICHOLS (foyer gallery). 775 Ballarat Road, Deer Park 3023. T: (03) 9249 4600; F: (03) 9360 4570; E: huntclub@brimbank.vic.gov.au; www.brimbank. vic.gov.au/arts Mon-Thurs 9am to 7.30pm, Fri 9am to 4.30pm, Sat 9am to 12.30pm. Closed public hols. Free admission.

doncaster

• Manningham Gallery Galnyan Yakurrumdja, curated by MEGAN CADD and LEE DARROCH, 25 May – 11 June; Green Space, by SIMON GRENNAN 22 June – 9 July. Manningham Gallery, 699 Doncaster Road, Doncaster 3108. Open Tuesday to Friday 11am to 5pm, Saturday 2 to 5pm. E: gallery@manningham.vic.gov.au, www.manningham.vic.gov.au/gallery

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east melbourne

• Colour Factory Gallery Contemporary Landscapes, curated by LINSEY GOSPER, artists: LEIGH BACKHOUSE, TIM HANDFIELD, DAvID-ASHLEY KERR, RHIANNON KING, CHRISTOPHER KOLLER, LIzzIE HOLLINS, ROHAN HUTCHINSON, JULIA NORLANDER, PATRICK RODRIGUEz, STEPHEN WICKHAM. 3 – 25 June. Opening night: June 2, 6 - 8pm. 409 - 429 Gore Street, Fitzroy 3065. T: (03) 9419 8756, F: (03) 9417 5637. Gallery hours: Mon - Fri 10am - 6pm, Sat 1 - 4pm. E: Gallery@colourfactory.com.au, www.colourfactory.com.au/gal

eltham

• Port Jackson Press Print Room Exhibiting: Colour and Movement, a group show featuring WAYNE vINEY and ELIzABETH BARNETT, 7 May – 18 June; Little Window of Opportunity: KYOKO IMAzU, Bride - from the Names series, 14 May – 11 June. Tues - Fri 10am - 5.30pm, Sat 11am - 5pm. 61 Smith Street, Fitzroy, 3065. T: (03) 9419 8988; E: info@portjacksonpress.com.au; www.portjacksonpress.com.au

• The Johnston Collection House Museum and Gallery Fairhall: Francis W Dunn Rearranges Mr Johnston’s Collection, 7 March – 24 June.

Antique dealer and collector, FRANCIS DUNN reinterprets Fairhall, the residence and collection of the late WILLIAM JOHNSTON; Gallery: Oh, Do Grow Up... Childhood in England 17501850, 7 March – 24 June. Explores images, accounts and artifacts of childhood from 1750 - 1850. Bookings essential: T (03) 9416 2515, www.johnstoncollection.org • Eltham Library Community Gallery 3 – 22 June: Moments in Time by THOU ART MUM; 24 June – 5 July: Oils and Art by DAMIEN SKIPPER. Hours: Mon - Thurs 10am - 8.30pm, Fri - Sat 10am - 5pm, Sun 1 - 5pm. Panther Pl, Eltham, Melway 21 J5.

fairfield

• NMIT – Bachelor of Illustration A degree for those wishing to be a specialist in the creative industries. For information visit www.nmit.edu.au/illustration or call T: (03) 9269 8888

fitzroy

• Brooklyn Arts Hotel Brooklyn is beautiful, friendly, quiet, interesting, quirky and personal, within walking distance of central Melbourne. 48-50 George Street Fitzroy.

T: (03) 9419 9328 www.brooklynartshotel.com.au

footscray

• Magnani Papers Australia Beautiful fine art papers for printmaking, painting and drawing. Mention this Trouble ad and get 10% off! 40 Buckley Street Footscray 3011. T: (03) 9689 5660, www.magnani.com.au E: james@magnani.com.au

MELBOURNE

langwarrin

• McClelland Gallery + Sculpture Park Australia’s leading Sculpture Park and Gallery.

29 May to 7 August Your Move: Australian artists play chess, a Bendigo Art Gallery travelling exhibition. 29 May to 7 August MIkE NICHOLLS: Primitive soul. McClelland Sculpture Survey and Award 2010, 21 November to 17 July 2011.

390 McClelland Drive, Langwarrin (Mel. Ref. 103 E3 only 45 min from St Kilda!) T: (03) 9789 1671. Gallery Hours: Tues - Sun 10am - 5pm (Entry by donation). McClelland Gallery Café, Tues - Sun 10am - 4.30pm. Guided Tours: Wed and Thurs 11am and 2pm, and Sat and Sun Sculpture Park at 2pm. Prior bookings highly recommended. E: info@mcclellandgallery.com, www.mcclellandgallery.com

melbourne

• Ballarat International Foto Biennale Looking for salvation? Well the Ballarat International Foto Biennale may not be the best place to look. But if photography is your passion, don’t miss BIFB’11. 20 Aug – 18 Sep 2011. www.ballaratfoto.org • Blindside Artist Run Space 1 – 18 June (opening Thursday 2 June, 68pm): Before and After, SUSIE QUILLINAN. Universe, GREG HODGE. Nicholas Building, 714/37 Swanston Street (enter via Cathedral Arcade lifts, cnr Flinders Ln), Melbourne. Hours: Tue to Sat 12 - 6pm.

T: (03) 9650 0093, www.blindside.org.au • fortyfivedownstairs 20 May – 12 June, The Haunting of Daniel

Gartrell by REG CRIBB, directed by LUCY FREEMAN, Theatre; 31 May – 11 June, Between the Lines, Contemporary Chinese Paper Art, group show, curated by JADE YANG. 15 – 25 June, Heartlands Multicultural Arts victoria Refugee Art Prize 2011, mixed media; 17 June – 7 August, The Burlesque Hour Loves Melbourne, FINUCANE & SMITH, theatre; 28 June – 9 July, Coloured In by REG MOMBASSA, works on paper; 28 June – 9 July, Figurative Paintings by TONY TUCKSON, paintings. 45 Flinders Lane, Melbourne, 3000. T: (03) 9662 9966; www.fortyfivedownstairs.com • Liquid Architecture A national festival dedicated to investigations into the traditional lineage and contemporary form of sound art. Melbourne events include concerts, sound massages and installation programs. National festival dates 27 June – 3 July 2011. See website for full festival program: www.liquidarchitecture.org.au • Matt Irwin Photographic Gallery Photographic art from canvas to card. Mention Trouble for 10% discount! Shop 4, 239 Flinders Lane (enter via Scott Al) www.mattirwin.com • Midsumma Call for Visual Artists open now “It’s nice to perform in front of an open and diverse audience, and to support a non-commercialised mainstream festival. I’d love to do it again, every year would be amazing...” - Mason West, Circus Oz. More info: admin@midsumma.org.au; midsumma.org.au

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• RMIT Gallery Friday 17 June – 14 August Gioielli d’Autore.

Padova e la Scuola dell’oro. Italian Contemporary Jewellery. Padua and its Jewellery School.

Highlighting the importance of the city of Padua as a centre at the forefront of contemporary jewellery, this exhibition explores the creative development of artists whose innovative jewellery designs and education philosophy led to the creation of the renowned Padua Jewellery School, from its origins in the 1950s until today. More than 100 breathtaking works on display reveal how the artists made their innovative choices based on research of materials, aiming at reaching harmonious balance and purity of form. Public programs: Friday 17 June 12-1 pm: Italian jewellers featured in the exhibition, ALBERTA vITA and LUCIA DAvANzO, speaking about Padua and its jewellery school. Friday 24 June 10.30 – 12 noon The EU Centre at RMIT and RMIT Gallery present: Jewellery in Europe and Australia: Alberta vita and Lucia Davanzo in conversation with Melbourne jewellers ELFRUN LACH and THERESA LANE Includes Italian morning tea. Free but reserved seating. Location - Storey Hall conference rooms 1 and 2, Level 7, Building 16. Bookings essential (03) 9925 1717 RMIT Gallery: 344 Swanston Street, Melbourne 3000. T: (03) 9925 1717 F: (03) 9925 1738. E: rmit. gallery@rmit.edu.auwww.rmit.edu.au/rmitgallery.

Free admission. Lift access. Mon-Fri 11am to 5pm, Sat 12.00 to 5pm, closed Sun and public holidays.

Note: Open for RMIT Open Day Sunday 14 August 12-4 pm. Become a Fan of the Gallery on Facebook. Follow us on Twitter@RMITGallery.

narre warren north

• Artgallop Gallery Shop June: Vicarchies Portrait Competition. Entries invited any style or medium $10 each. Quaker Barn 3a Reservoir Rd. T: (03) 8790 4756 E: rosmead@gmail.com; www.artgallop.net

northcote

• Arts Project Australia ALAN CONSTABLE Viewfinder. Exhib dates Sat 30 April – Wed 1 June 2011. Showcasing more than 60 works selected from a body spanning more than 20 years, Viewfinder offers new and rich insights into the unique art of Alan Constable.

This Sensual World. Exhib dates Sat 4 Jun – Wed 20 Jul 2011. Opening Sat 4 Jun, 3-5pm.

This Sensual World explores and celebrates the diversity of expression of human sexuality present in Arts Project artists’ work. Featuring work by JOHN BUTTON, BRIGID HANRAHAN, PAUL HODGES, ADRIAN LAzzARO and CHRIS MASON amongst others. STEvEN PERRETTE Solo. Exhib dates Sat 4 Jun – Wed 20 Jul 2011.

Opening Sat 4 Jun, 3-5pm. With eye-searing colours and heavy pencil renderings, Steven Perrette’s works on paper depicts the poignant journeys of the traveler in this modern world. This is Perrette’s first solo exhibition. Gallery Hours: Mon to Fri 9am - 5pm Sat 10am - 1pm. Location and contact details: Arts Project Australia, 24 High Street Northcote victoria 3070. T: (03) 9482 4484 F: (03) 9482 1852 E: info@artsproject.org.au; www.artsproject.org.au. For artwork enquiries and appointments please contact Arts Project Australia gallery.

• Midsumma Call for Visual Artists open now “It was a great opportunity for me personally to step into a more performative role at Circus Oz and to ramp up the queer politics.” - Bec Matthews, Circus Oz. More info: admin@midsumma.org.au; midsumma.org.au

preston

• NMIT Visual Arts Courses Design, Graphic Design, Photoimaging, Painting, Printmaking, Photography, Illustration.

Full and Part time options plus short courses. See our website for all information www.nmit.edu.au/visualarts. T: (03) 9269 1431

MELBOURNE

southbank

• ACCA - Australian Centre for Contemporary Art NATHAN COLEY - Appearances. Scottish artist and Turner prize exhibiting artist Nathan Coley creates a major commission and exhibition for ACCA, transforming the exhibition hall into an Oscar Niemeyer inspired civic plaza, and creating a scale model of Melbourne’s Scots’ Church. A highlight of the exhibition will be a new ‘lecture’ work, where actress CATE BLANCHETT becomes architect, narrating a slide show of ‘supposed’ architectural projects her office has undertaken. NATHAN COLEY, Appearances, 28 May – 24 July 2011. Australian Centre for Contemporary Art, 111 Sturt Street, Southbank.

Gallery hours: Tuesday - Friday 10am 5pm. Weekends 11am - 6pm. Mondays by appointment. T: (03) 9697 9999. Admission: Free. www.accaonline.org.au • The Knowing Stone In the end only scorched shoes shall remain. If you know about that we would suggest you head to that place #3MS where we went that time and be early. Doors will close on 30 June, 11.59pm.

st andrews

Simon Grennan, Dalek in Landscape 2011, Oil on Linen. (detail)

• The Baldessin Press and Studio Workshops, art retreats, studio access in the bush. See www.baldessinpress.com or T: (03) 9710 1350

upway

• Burrinja Gallery Naked Beast – Where the Wild Things Are, until Sun 26 June, new works by artists in the Dandenong Ranges. Attitude from Altitude: oil paintings by ROBERT LOGIE, until Sun 17 July.

351 Glenfern Road. Tue to Sun 10.30am - 4pm.

T: (03) 9754 8723; www.burrinja.org.au

wheelers hill

• Monash Gallery of Art (MGA) Special Exhibition Gallery, Time Machine: SUE FORD, 7 April to 19 June 2011; Wilbow Gallery, Age of Aquarius: the photography of PAUL COx, 7 April to 19 June 2011; Focus Gallery, PRUDENCE MURPHY: Boys with guns, 1 June to 17 July 2011; Special Exhibition and Wilbow Galleries, In the Spotlight: ANTON BRUEHL photographs 1920s -1950s, 23 June to 11 September 2011. Monash Gallery of Art, 860 Ferntree Gully Road (cnr Jells and Ferntree Gully Roads), Wheelers Hill 3150. Director: Shaune Lakin. Tues - Fri 10am to 5pm, Sat - Sun 12 to 5pm, Closed Mon. Gallery gift shop, Lamp Café and sculpture park. T: (03) 8544 0500, E: mga@monash.vic.gov.au; www.mga.org.au • This Space For Rent No, really. E: listings@introuble.com.au

Green Space Simon Grennan 22 June – 9 July 2011

699 Doncaster Road, Doncaster p (03) 9840 9367 www.manningham.vic.gov.au/gallery

JUNE SALON

1. Dean HOME, Just a Little Sun 2011, oil on canvas, 140 x 122 cm. Metro Gallery, 1214 High Street Armadale (vIC), stock item $12,500.

2. Aly AITKEN, From the Estate of Edvard Munch 2008, abandoned Christmas tree trunks, timber, padding, leather, found objects, 185 x 90 x 36cm. Private collection. Dreamweavers, Gippsland Art Gallery, 70 Foster Street, Sale (vIC), 14 May – 10 July.

NEXT SPREAD: 3. Simon GRENNAN, Dalek in Landscape 2011, oil on canvas, 183 x122 cm. Green Space, Manningham Gallery, 699 Doncaster Road, Doncaster (vIC), 22 June – 9 July. 4. Damiano BERTOLI, Continuous Moment: Do it in the road 2003, photograph and pencil on board, 47.5 x 41.5 cm (framed), courtesy the artist and victoria Hobday.

ACCA ART#2 Regional Tour, Horsham, Saturday 11 June – Sunday 12 June 2011, Free.

Join us for a weekend of free events, interventions, screenings and performances taking place in the streets and clubhouses of Horsham and Natimuk for ACCA’s ART#2 program. Artists include: Agatha Gothe-Snape, Nathan Gray, Helen Johnson, Laresa Kosloff and Andy Thomson, Gabrielle de vietri.

ART#2 continues in Hamilton and Warrnambool later in 2011.

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JUNE SALON

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5. Princess Dramas, written by Elfriede JELINEK, translated by Gitta Honegger.

Red Stitch Actors Theatre, Rear 2 Chapel Street, St Kilda (vIC), 8 June – 2 July 2011.

Bookings: www.redstitch.net (discounted tix) or on 03 9533 8083.

JUNE SALON

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6. Philip J. PIKE, Untitled (portrait of Robert Tudawali as Marbuck in Charles Chauvel’s Jedda) c 1954, gelatin sliver print, 24.3 x 19.2cm. Black & White: documenting Indigenous Australia, Bundoora Homestead, 7/27 Snake Gully Drive Bundoora (vIC), until 10 July. 7. Tim vAGG, Le Grande Reve Australien (detail) 2011, mixed media on linen, 61 x 46 cm. Tim Vagg: The Boxer Paintings, Kick Gallery, 4 Peel Street, Collingwood (vIC), 7 – 25 June, opening 6-8pm 9 June.

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8. Meghan O’ROURKE, Peacock Series Brooch 2011, silver sterling, titanium and niobium, 85 X 80 X 10mm.Contemporary Australian Silver & Metalwork 11th Biennial Leviny Commemorative Silver Exhibition, Buda Historic Home and Garden, 42 Hunter Street Castlemaine (vIC), 5 June - 19 June 2011. 9. Julie COLLINS and Derek JOHN, You me and everybody 2010, steel. Shared Journey, Stockroom, 98 Piper Street, Kyneton (vIC), until 12 June - stockroomkyneton.com.

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JUNE SALON

10. MELBOURNE PIANO TRIO debut Australian season in Melbourne, Sydney and Adelaide in June 2011. The program for their Australian Subscription Series includes: Beethoven – Trio in D major op 70 no 1 “Ghost”; P. Dean – Fractured Moments World Premiere; and Dvorak – Trio no 3 in F minor, op 65. The Australian season national tour dates: (vIC) Melbourne at the Australian National Academy of Music, Tuesday 7 June, 8pm; (SA) Adelaide at Scott Church, Wednesday 15 June, 7.30pm; and (NSW) Sydney at The Independent Theatre, Miller Street, Friday 17 June, 7.30pm. Photo by Samantha Turley.

NEXT PAGE: 11. Callum DONOGHUE, Boom Boom Pow (detail) 2010, watercolour, ink, soy sauce, 50 x 95 cm. Boom Boom Pow, Sidespace Gallery, Salamanca Arts Centre, 77 Salamanca Place, Hobart (TAS), 17 - 28 June 2011.

JUNE SALON

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44

Adam Nudelman

Archiving the Nights

Marguerite Brown

I

N THIS EXHIBITION Adam Nudelman harnesses the symbolic power of architectural forms that he paints suspended in the marshy coastline of Port Albert, in Eastern Victoria.

In doing so he seems to be looking backward, coming to terms with his ancestral roots from the distant and not-so distant past. Nudelman’s art draws on a universal fact of being – that our experiences of culture and of family shape who we become, how we interact with the world, and contribute to our notion of identity. For Nudelman these experiences find expression in various forms that exist in his paintings, from the 1950s commission houses of Reservoir where his family laid roots, or Melbourne’s Princess Pier, where the majority of Melbourne’s migrant community (including Nudelman’s own relatives) were first ‘processed’, and walked onto Australian turf. The depiction of these structures as empty delineated forms contributes to their surreal quality as they float in the landscape, acting like markers of memory. Their lack of wholeness in some ways also references the nature of memory itself – the solid essence remains long after the details have gone away.

In certain works the mention of street addresses which have some personal, familial association to the artist act in a similar way – like a keystone or signpost pointing to past experiences, but leaving the viewer to ascertain what these might be. Nudelman’s depiction of Stone Henge, in The 3rd Sunday (where once was the place) re-visions an ancient ancestral icon. The strangely undulating form of this monolith seems all the more otherworldly due to its hollowness. It has travelled through space and time, across the centuries and through the English fields to find itself lodged in Port Albert’s tranquil foreshore. While the vibrant colours of a fey twilight illuminates the sky, unifying the pagan with the poetic.

Alongside this dialogue with history and personal identity, Nudelman exhibits a purely aesthetic appreciation of beautiful form and innovative design. This is present in the buildings of architectural giants such as Frank Lloyd Wright, which the artist pays homage to in certain works. And of course at the heart of these paintings is Nudelman’s stunning portrayal of land, sea and sky. Sometimes his grassy foregrounds seem partially submerged, a liquefied, dissolved mass that allows the structures to float in a manner that defies reality. His changeable skies are painted with a lyrical sensibility, which draws on moving visions of the organic world, transformed through the painter’s deft touch. In this exhibition Nudelman’s palette has also expanded to include vivid shades of peach, orange and purple, injecting heat to otherwise cooler pictures.

In bringing the landscape together with evidence of society’s interaction with it, Nudelman has forged a distinctive and consistent oeuvre. The artist marks this vision or personal style with an ability to innovate within it, and push into new territory. It’s compelling progress to watch that excites and inspires.

Adam Nudelman, Archiving the Nights, James Makin Gallery, 67 Cambridge Street Collingwood (VIC), June 2 – 25.

BACKGROUND IMAGE: Archiving the Nights (14 Summerhil Rd) (detail) 2011, 1220 x 2000mm, oil on linen.

by Ben Laycock

I recently spent a week picking walnuts on the lovely Wonnangatta River near Dargo.

A mate of mine casually asked if we would like to spend Easter at his parent’s walnut farm in a steep mountain valley, far from the madding crowd. ‘Will we get to pick some walnuts?’ I asked. “Oh yes there will be plenty of time to pick walnuts between drinking red wine and swimming in the river and singing songs around the camp fire.” Little did we realise we were being seduced into a full scale industrial operation involving a mind boggling array of machinery that I had never dreamed existed.

We began with a simple tractor attachment that shook the living daylights out of the trees, leaving sticks, leaves, bird’s nests, bird’s eggs, sleepy possums and walnuts strewn hither and thither. Next cab off the rank was some kind of new fangled street sweeper that brushed the nuts into neat little rows, all ready for the approaching behemoth, the biggest vacuum cleaner I have ever laid eyes on, sucking up everything in sight, deftly sorting the detritus; sticks, leaves, birds, eggs, possums, my hat, etc, then popping the nuts into hessian sacks ready for the oxen to transport them to the next shiny whirligig, the sorting barrel. And so it went on from dawn to dusk, day after day with us little ants scampering about, keeping the giant machines whiring. As the sun set behind the lofty mountains, we were finally allowed to down tools and down beers. (Luckily the sun sets around 4pm in the deep river valley.) Then, just as the sweat begins to dry and the aching in the weary bones subsides, the wailing begins. It turns out we are the only slaves who have turned up without the prerequisite number of offspring in tow; three being the optimum number. You would call them rug rats if only they would confine themselves to the rug. In this case we had identical twins operating in tandem.

No sooner were they plonked on the said rug, than Birthmarkonforehead distracts my attention by making a beeline for the roaring log fire, while Nobirthmark manages to evade my defences, pull itself up the arm of my chair, and pour my entire glass of cold beer over its grinning little dial. I was not amused, junior was non plussed, while the parents scowled at me under their breath as if the entire fiasco was caused by my lack of understanding of early childhood development.

Although I do have to admit to the odd moment of sublime contemplation while the recalcitrant machines were in repair mode, or whilst I swept up the walnuts with a wooden broom in the anachronistic fashion of our ancestors, feeling not unlike your proverbial Zen Buddhist. It was during one of these times of heightened consciousness that I experienced a moment of ‘cognitive dissonance’; an epiphany, no less. It is the substance of that revelation that I would like to share with you here on this very page.

While we were all whistling merrily or idly chatting as we went about our simple tasks (except those manning – and womanising – the machines) the thought popped into my head: ‘why don’t we abolish work altogether and forever from the face of the earth?’ I mean here we all are, having a jolly time of it, raking or cleaning or sorting or stacking, a crystal clear river chortling in the background, surrounded by the exquisite beauty of the natural world. We are eating good food, quaffing good wine, sharing good company, and watching the next generation grow up around our feet. What more could you ask for? This is not work. The farm is small, with twenty able bodies to easily pick and pack three tonnes of walnuts in less than a week; not including the children under five (over half the workforce) being well fed despite making no positive contribution. Plus we all got a lovely sack of organic walnuts. (Unless we were slack, then we just got the sack.)

I whiled away my lunch break gnawing on my ration of bread and cheese as my mind extrapolated.

Surely most of the drudgery of nine to five – five to six days a week could be replaced by the fun of a bunch of friends sharing the novelty of doing something completely different for a week or so, to be replaced by another group next time, and so on and so on? It is said that a change is as good as a holiday. In the fruit picking game, growers are screaming out for people to do what soon becomes a tiresome job, yet pickers do enjoy the camaraderie of their fellow toilers. Well, let’s take the Holy dollar out of the equation – wouldn’t that be nice for a change? The farmer gets a cut for running the show, and everyone else comes away with a meaningful experience. The profits could be salted away by the farmer for a change, for a not-so-rainy day when the time for new machinery or repairs inevitably comes around, thus doing away with the need for an expensive bank loan.

Everyone does well except maybe the banks, but on the bright side there will be plenty of walnut picking jobs around for young ex-clerks on the move.

CENTRAL VIC

48

ballarat

• Art Gallery of Ballarat Exhibitions: Local Treasures – A celebration of Ballarat’s private collectors and their obsessions, until 13 June. EUGENE vON GUERARD – Australian Landscapes, until 13 June. von Guérard’s 1867 Australian landscapes, a series of 24 tinted lithographs which illustrated some of the most striking landscapes of South Eastern Australia. LYN PLUMMER – Modulations Re Calling the Blood Tears, until 13 June. A dark and mystical installation exploring ritual and religion. The Stony Rises Project, until 26 June.

Ten contemporary artists and designers share their vision of the rich, layered histories of victoria’s Western District. A NETS victoria touring exhibition. Let It All Hang Out! Australian Arts of the 1970s, 18 June – 7 August. A diverse collection of works in different media that are confronting, unusual, often humorous but always political in some shape or form.

KAT PENGELLY – Launch Pad, 25 June 14 August. Launch Pad is an exhibition of ‘conceptual haute couture’ by Kat Pengelly, who uses sculptural and image-making processes to create artful outfits. Events:Free Sunday Concert - Piano Students of BRON SOzANSKI, 5 June, 2.30pm. Upstairs at the Gallery Concert - WANG zHENG-TING with ADAM SIMMONS, 22 June, 7.30pm. Ticket prices: Adult $25, Concession and Gallery Member $20, Student/Child $15.

Series discount for 3 or more concerts in the Upstairs at the Gallery series. Free lunchtime

RADMAC

art * graphic * office and school supplies

*we supply service* 104 Armstrong St North, Ballarat 3350 Phone (03) 5333 4617 Fax (03) 5333 4673 Email radmac@ncable.net.au

talk - Dr Anne Beggs Sunter: The relationship between Eugene Von Guerard and James Oddie. 8 June, 12.15pm. Free lunchtime talk - DOUG WRIGHT: Recent Artist Residency in Scotland ... and more, 22 June, 12.15pm. Free Sunday Concert - The Choir of the University of the Third Age, Sunday 26 June, 2.30pm. Art Gallery of Ballarat, 40 Lydiard Street North, Ballarat vic 3350. Open Daily. Free entry. T: 5320 5858; E: artgal@ballarat.vic.gov.au,; www.artgalleryofballarat.com.au • Arts and Cultural Development City of Ballarat For arts and cultural initiatives, events, art register, support or advice please call T: (03) 5320 5643 or go to our website www.ballarat.vic. gov.au and follow the links from community and culture, arts to art connections.

• Ballarat Arts Foundation Grants Rounds for emerging artists: 1 – 31 March and 1 – 30 September. visit Downloads on www.ballaratartsfoundation.org.au or T: (03) 5332 4824 or M: 0409 352 268 • Ballarat International Foto Biennale Interested in Mongolian throat singing? Well the Ballarat International Foto Biennale may not be your cup of tea. But if photography is, don’t miss BIFB’11. 20 Aug – 18 Sep 2011. www.ballaratfoto.org • Gallery on Sturt 2 – 30 June (opening night Fri 3 June). Art on the Met, exhibition featuring a unique collection of art posters as displayed on Melbourne’s public transport network in 1996. Headlined by legendary Australian artists ALBERT TUCKER and LIN ONUS, combining great visual art with contemporary poetry. Mon - Fri 9am - 5.30pm.

Sat 10am - 2pm, Sun open by appt. 421 Sturt St, Ballarat 3350 www.galleryonsturt.com.au • Her Majesty’s Thursday 2 June, 8pm Rainbow’s End; Tuesday 7 June, 8pm and Wednesday 8 June, 2pm TURNS, a pantomime with a twist; Wednesday 15 June, 1pm (schools) and 8pm Statespeare by shake&stirtheatreco; Tuesday 28 June, 8pm Bell Shakespeare’s Julius Caesar. Her Majesty’s Theatre, 17 Lydiard Street South, Ballarat. Box Office/Ticket Sales: MajesTix T: (03) 5333 5888 Box Office hours - Monday to Friday, 9.15am - 5pm and one hour prior to performance starting times.

Let It All Hang Out Australian Art of the 70s

18 Jun - 7 Aug Image: Frank Littler, Pro News (detail), circa 1975, oil on composition board. Collection: Art Gallery of Ballarat, 1977

Art Gallery of Ballarat 40 Lydiard Street North Ballarat Victoria 3350 Telephone: 03 5320 5858 artgalleryofballarat.com.au

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CENTRAL VIC

• Kat Pengelly – Launch Pad @ the Art Gallery of Ballarat 40 Lydiard Street North, Ballarat. An exhibition of artful outfits: 25 June – 14 August 2011. Opening Sat 25 June 7pm. Calling all fashionistas and paparazzi to the opening fashion parade of KAT PENGELLY’s sartorial art. Dress to excess for an eventful evening of artful fashion. Arrive 7pm for 7:30 performance. After party with DJ Dave Chestwig.

Enquiries to the Art Gallery of Ballarat. E: artgal@ballarat.vic.gov.au T: (03) 5320 5858 • Kirrit Barreet - Aboriginal Art and Cultural Centre Now exhibiting community works. 403-407 Main Road. www.aboriginalballarat.com.au • The Knowing Stone Heads are exploding. The end is coming soon.

If you knew what I know you would head to that place #23Bv where we went that time. The first party there shall be annointed with the perfume of avon. Doors will close on 30 June, 11.59pm.

• The Known World Bookshop & Apartment Great s/h books, coffee bar and a boutique city apartment. 14 Sturt Street, Ballarat.

T: (03) 5332 8114 • Midsumma Call for Visual Artists open now “It was a pleasure to look into the audience and see queers, queens, freaks and fabulous folk from the GLBTIQ community. I love Midsumma!” - Sarah Ward, Circus Oz. More info: admin@midsumma.org.au; midsumma.org.au

Art on the Met 2 - 30 June 2011

Albert Tucker, Portrait of Martin Smith, poster size 74 cm length x 30cm height. Reproduction courtesy of Barbara Tucker.

421 Sturt Street Ballarat VIC 3350 (03) 5331 7011 www.galleryonsturt.com.au www. accentframing.com.au

• Post Office Gallery Wed 8 – Sun 26 Jun NAIDOC: Indigenous Visual Arts; Wed 29 Jun –Sat 9 Jul STEvE BRUECHERT: The Lens of Perception. Post Office Gallery, Arts Academy, University of Ballarat. Cnr Sturt and Lydiard Sts Ballarat. vIC. 3350. Mon/Tue by appt. Wed - Sat 1 - 4pm.

T: (03) 5327 8615, E: s.hinton@ballarat.edu.au www.ballarat.edu.au/artsacademy.

• Radmac Radmac Gallery 104 Armstrong St (Nth) Ballarat 3350. T: (03) 5333 4617, Gallery Hours: 8.30am to 5.30pm Mon - Fri, 9am to 12pm Sat. Entry Free. Enrol now for art classes. Gallery and studio space available.

bendigo

• 3x3.

La Trobe University Third Year Art Exhibition.

Nine artists cover a range of mediums, exploring contemporary practice. Friday 3 – Friday 17 June 2011. Dudley House, view Street Bendigo.

Opening 6:30pm Friday 3 June. Hours 11am - 3pm Thursday - Sunday. M: 04 2916 8424.

E: ajmawson@bigpond.com • Artsonview Framing and Gallery Expert custom framing by GEOFF SAYER. Conservation and exhibition framing also available. Plus a small but interesting range of original artwork and photography. New ceramics

by RAY PEARCE now in stock. 75 view Street.

T: (03) 5443 0624, E: sayer@iinet.net.au • Bendigo Art Gallery Exhibition: American Dreams: 20th century photography from George Eastman House, to 10 July; Art and Tea 10.30am Wednesday 15 June.

This month’s guest speaker is ceramicist TONY CONWAY, who will discuss his current art practice, this is a free event, all welcome. 42 view Street, T: (03) 5434 6088. www.bendigoartgallery.com.au • Bob Boutique bob boutique presents the CHELSEY FREYTA exhibition Hello Bear on until 13 June. 17 Williamson Street, Bendigo. Open: Sat Sun 11am - 3pm, Mon - Fri 11am - 3pm. www.bob.net.au • Book Now Secondhand bookseller. Proprietor Garry Murry.

1 Farmers Lane Bendigo. Open 7 days 10am - 5pm. T: (03) 5443 8587

BILL SAMPSON Longer Little Deaths To 12 June

CAROLINE PHILLIPS, TIMOTHY KENDALL EDSER, CATHERINE EVANS, MARK FRIEDLANDER, KATE JUST, CLARE RAE, JULIE SHIELS AND INEZ DE VEGA. Interior Architecture 15 June – 24 July La Trobe University Visual Arts Centre

ERNA ROCHE 121 View Street Bendigo, VIC, 3550 Feeling the Omnipresence To 12 June

+61 3 5441 8724 latrobe.edu.au/vacentre

SUE ROGERS Feeling the Omnipresence 15 June – 10 July

La Trobe University Visual Arts Centre 121 View Street, Bendigo, VIC, 3550 T: 03 5441 8724 121 View Street E: vac@latrobe.edu.au Bendigo, VIC, 3550 W: latrobe.edu.au/vac +61 3 5441 8724 Gallery hours: Tue - Sun 10am - 5pm latrobe.edu.au/vacentre

La Trobe University Visual Arts Centre

Image: Mark Friedlander, Hallway, (detail), 2011, bronze.

Photography by Mark Friedlander

• The Capital Info and tickets online at www.thecapital.com.au.

T: (03) 5441 6100 or visit 50 view Street, Bendigo. Capture the Flag, Friday 20 June, 8pm and Saturday 11 June, 8pm. Full list of shows at website.

• Ceramics handbuilding with Maria Vanhees New beginners’ classes starting Wed 8 June, 6 – 9pm. $350 for 10 weeks. M: 0428 991 294 • Community & Cultural Development (CCD) www.bendigo.vic.gov.au - for arts, festivals and events info at your fingertips. Select Council Services, then Arts Festivals and Events for Events Calendar and Arts Register. The CCD Unit is an initiative of the City of Greater Bendigo. E: eventscalendar@bendigo.vic.gov.au T: (03) 5434 6464 • La Trobe University Visual Arts Centre vAC Gallery: To 12 June BILL SAMPSON Longer Little Deaths. 15 June – 24 July CAROLINE PHILLIPS, TIMOTHY KENDALL EDSER, CATHERINE EvANS, MARK FRIEDLANDER, KATE JUST, CLARE RAE, JULIE SHIELS and INEz DE vEGA. Curated

by CAROLINE PHILLIPS Interior Architecture.

Access Gallery: To 12 June ERNA ROCHE Feeling the Omnipresence. 15 June – 10 July SUE ROGERS Instinct and Inclination. Studio 1.06 and Brockley Auditorium: to 12 June LAURENS TAN Arena: Post Boom Beijing. visit www.latrobe.edu.au/vac for screening details. Gallery hours: Tue - Sun 10am-5pm.

121 view St, Bendigo. T: (03) 5441 8724; www.latrobe.edu.au/vac

CONTEMPORARY AUSTRALIAN ART & DESIGN

GALLERY

CUSTOM, EXHIBITION AND CONSERVATION

FRAMING

74 MOSTYN STREET (ENTER VIA UNION ST) CASTLEMAINE VIC 3450 TELEPHONE: (03) 5470 6446 (FORMERLY TEMPLETON STUDIO)

• Liquid Architecture A national festival dedicated to investigations into the traditional lineage and contemporary form of sound art. Bendigo events include performance concert and sound massages. National festival dates 27 June – 3 July 2011. See website for full festival program: www.liquidarchitecture.org.au • Midsumma Call for Visual Artists open now “It was a great opportunity for me personally to step into a more performative role at Circus Oz and to ramp up the queer politics.” - Bec Matthews, Circus Oz. More info: admin@midsumma.org.au; midsumma.org.au

campbells creek

• Bush Dance Against Want Sat 4 June Campbells Creek Comm Centre 6 - 10pm. Bush Band JANE THOMPSON, JAMES RIGBY and friends. For Oxfam T: (03) 5470 5747

carisbrook

• Music Recording by Mark Woods Bald Hill Music Studio - Professional recording and mastering. T: (03) 5464 1346 www.myspace.com/markwoodsaudio

castlemaine

• Arts Pathway Course 2010 at Continuing Education. T: (03) 5464 3299 E: info@con-ed.com.au • Art Supplies Castlemaine Extensive range, art gift ideas, kids art materials, 10% art student discount, special orders welcome.

Tues - Thur 9am-5pm, Fri 9am - 5.30pm, Sat 9am-1pm. 25 Hargraves Street. T: (03) 5470 5291, E: artsuppliescastlemaine@gmail.com • Arts Officer - Jon Harris Community Activity and Culture Unit Mount Alexander Shire Council Jon Harris (Tues, Wed, Thurs, Fri) PO Box 185 Castlemaine 3450. T: (03) 5471 1793, M: 0428 394 577, E: arts@mountalexander.vic.gov.au • Bent Ironwork Artist’s sculptural work, architectural and wrought iron work by STEvE ROWE. 54 Bagshaw Street Harcourt. M: 0400 538 344

CENTRAL VIC • Buda Historic Home and Garden 11th Biennial Leviny Commemorative Silver Exhibition - contemporary Australian silver and metalwork by some of Australia’s foremost metal artists, along with emerging artists and students of silversmithing. Sunday 5 June to Sunday 19 June, 12 noon to 5 pm daily, in the Garden Room at Buda, 42 Hunter Street, Castlemaine 3450. T/F: (03) 5472 1032; E: admin@budacastlemaine.org; www.budacastlemaine.org. House and garden open Wed - Sat 12 noon to 5 pm, Sunday 10am to 5pm. Groups by appointment.

• Burke’s Music Specialising in independent music. 66 Mostyn Street.

E: music@burkesmusic.com.au T: (03) 5470 6003 • CASPA To be announced: acrylic paintings on canvas

by LESLEY LITTLE. Opening 6pm Friday 3 June 2011 until 26 June, 10am - 5pm every day.

Above Stoneman’s Bookroom, Hargraves Street. www.castlemainefringe.org.au/caspa • Castlemaine Continuing Education Arts Pathways Course, expressions of interest for 2011 Arts Pathways Course now being

taken. T: (03) 5472 3299 • Cherry Tennant’s Studio Gallery At any time view Cherry’s paintings, drawings, photographs, greetings cards and poetry books. 160 Hargraves Street (cnr Hall St), Castlemaine. To ensure she’s there phone first.

T: (03) 5470 6642. You may also contact her for tuition details.

• Falkner Gallery 2 June – 14 August (Gallery closed July) International Art Posters. 35 Templeton Street, Castlemaine Hours: 11am - 5pm Thurs - Sun T: (03) 5470 5858, E: falknergallery@tpg.com.au • greenGraphics: web and print design Domain (www) registration and web hosting. T: (03) 5472 5300, E: info@greengraphics.com.au www.greengraphics.com.au • Instramental We stock all your instrument needs, have a full digital recording studio, and tuition spaces. 12 Templeton Street, Castlemaine 3450. T: (03) 5470 5913, www.instramental.com.au • John Gleeson Down to earth pottery with soul. Selling at Wesley Hill Market every Saturday. M: 0419 879 923

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• Louise Smith Fine Art Art Consultant and valuer, Australian and Indigenous Art. Houghton Park. 43 Odgers Road, Castlemaine vic 3450.

M: 0418 519 747 E: louiseart@bigpond.com www.louisesmithfineart.com • Lot 19 Music: Sal kimber and the Yearlings, 4 june; Art: The Winter Salon Exhiber - seeking a5 submissions from artists for exhibition 8 – 10 July; The lot19 spring sculpture prize - seeking submissions for this acclaimed indoor/outdoor prize, now incorporating the tonksculpture prize.

Check the website for details lot19art.com • Phil Elson Pottery Fine hand thrown porcelain tableware and large porcelain bowls. 89 Templeton Street. T: (03) 5472 2814 www.philelsonpottery.com • The Union Studio Contemporary Australian art and design gallery, custom, exhibition and conservation framing, hand finished Australian hardwood frames, canvas stretching and stretchers. The Union Studio, 74 Mostyn Street (enter via Union St) Castlemaine. T: (03) 5470 6446 Open 7 days.

daylesford

• Woodshed Gallery Exhibition – J.A. Jones presents ... More Than Meets The Eye, designer artwork product range launch, at The Woodshed Gallery, 21A Raglan Street, Daylesford. Opening Night: 11 June, 5 - 7pm, Runs From 11 June – 10 July. More Info: T: (03) 5348 4050

heathcote

• The Heathcote Artists Inc. Has the pleasure to invite you to their own gallery, opening Saturday 12 June. Open all weekends and public holidays from 10am ‘til 4pm. Heathcote Art Gallery, High street, Heathcote vIC 3523.

kyneton

• Gallery 40 Current exhibition: Australia - Far and Near. varied photos by MARGARET CHANDRA of Lake Eyre, Uluru. Local photos by HOWARD MAYLOR and MARNIE TOLE. Open by appointment. 40 Mollison Street, Kyneton.

Contact Margaret Chandra: M: 04 3835 6025.

E: chandramarg@yahoo.com.au; http://galleryinkyneton.blogspot.com/ • Kyneton Daffodil & Arts Festival Prize for Art Kyneton Daffodil and Arts Festival will award $500 to the winner of the 5th Annual Art Prize for an art work containing daffodils and relating to the region. People 17 and older are invited to enter. Winner announced at Festival Opening September 1 and on exhibition during Festival.

Entry Guidelines www.kynetondaffodilarts.org.au or on application to the Festival (03) 5422 2282.

• Stockroom Makers, artists and project space. 18 June – 10 July, Here with You, RHETT D’COSTA, ROBIN KINGSTON, FRAN vAN RIEMSDY; and Trucks and Landscapes, OLIvER COLE. Opening Saturday 18 June. 98 Piper St, Kyneton 3444. T: (03) 5422 3215. Wed - Sun 10:30am to 5.00pm. www.stockroomkyneton.com

CENTRE STATE PRINTING 52 Loch Street, Maryborough, Vic, 3465 Ph: (03) 5460 4222 Fax: (03) 5461 1424 Email: ben@csprinting.com.au

Multi & Full Colour Printing Specialists

CENTRAL VIC

lancefield

• MAD Gallery and Café 27 May – 23 June 2011 John Hitch Retrospective, prints, drawings and watercolour paintings by the late JOHN HITCH, including works by other artists from his private collection. Opening 2-5pm, Sunday 5 June. 24 June – 3 July 2011 Post Your Art, postcards, sponsored by Macedon Ranges Shire Council.

Opening 7-9pm, Tuesday 24 June. 26 June 2011 2-5pm: Sunday Sounds #22, open mic.

Music afternoon, free to all. Contemporary 2D and 3D fine art, new exhibition every 4 weeks. 19 High Street, Lancefield.

T: (03) 5429 1432, E: art@madgallery.com.au, www.madgallery.com.aum, Café and Gallery open daily 10am to 5pm.

macedon ranges

• Phoenix - Macedon Ranges Art & Craft Inc Exhibition and Sales 2011, Old Gisborne Courthouse, Hamilton Street Gisborne. Queen’s Birthday Weekend. Queens Birthday Long Weekend, Opening Night: Friday 10 June 7.30pm. Saturday 11 June l0am - 4pm, Sunday 12 June l0am - 4pm, Monday 13 June 10am - 4pm. Admission Free.

maldon

• Cascade Print Workshop Biting Issues exhibition open until 30 June.

Fri/Sat 10 - 6pm and by appointment.

KAREEN ANCHEN, NICKY CAREY, PHILIP DAvEY, PETER DIAMOND, DAvID FRAzER, JEFF GARDNER, CRAIG GOUGH, JACKIE HOCKING, JUDY HOLDING, MARTIN KING, ANITA LAURENCE, ROBERT MACLAURIN, RHYLL PLANT, LYDIA POLJAK, WENDY STAvRIANOS, DEBORAH WILLIAMS. Cascade Print Workshop, 482 Bendigo Rd Maldon. T: (03) 5475 1085, www.cascadeprintworkshop.com

maryborough

• Station Antique Emporium - Lic. Café Regional Wine Centre and Gallery Built in 1890 over 372 sq. metres of antiques and art. Delicious menu, exquisite coffee and teas.

10am - 5pm, closed Tues. Café by Night Thurs (carvery night), Fri and Sat. Live entertainment every Fri from 7.30pm. Café open Saturday nights. T: (03) 5461 4683

newstead

• Dig Café New exhibition Recent Watercolours by local artist JULIE PATEY, 7 June – 19 July. Work on display and sale. Closed Mondays, open public holidays, open Tues - Thurs 9am - 5pm, Fri - Sat 9am ‘til late, Sun 9am - 9pm. T: (03) 5476 2744 • Karen Pierce Painter, Illustrator, Art Teacher, community artist, quality prints and cards. T: (03) 5476 2459, www.karenpierceart.com • The Knowing Stone A major shift is afoot. Next month is a new reality. You know the place and you know the time. The first party there shall be annointed in the perfume of avon. very the occasion will be celebrated. very the oaths shall be drunk. very shall horseback riding be done in the nude.

• Newstead Press Home of Trouble since 2004.

Net Results, linocuts by Drew Taylor, 4 ‒ 13 June

• Penny School Gallery and Café NORMA BAILEY-RAMSAY and JULIANA HILTON: Two Women Painters. Portraits, still life and landscapes. Until 13 June 2011. Then mixed exhibition. Opening hours Wed - Sun, 11am - 5pm. Dinner from 6pm Fri and Sat. Penny School Gallery/Café, 11 Church Street Maldon.

T: (03) 5475 1911, E: psgallery@netcon.net.au

Door 3 Gallery, 39 East Street Daylesford

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CENTRAL VIC

• Newstead Short Story Tattoo 2011 Thanks Newstead for another great event in 2011! Congratulations and well done to all concerned. Look out for next NSST in 2013 - www.newsteadtattoo.org

seymour

• Old Post Office Art Gallery and Restaurant ROSS PATERSON paintings to 12 June, plus DAvID TAYLOR, DAvID CHEN and GLENN HOYLE. Wed to Sat day and eve plus Sunday lunch.T: (03) 5792 3170, www.artseymour.com.au

talbot

• The Corridor Art Gallery Upstairs at London House, Talbot. Open weekends. M: 0408 596 524.

taradale

• Shelf Life Gallery at Taradale Wine & Produce Featuring: Curiosities by ANTOINETTE DE MORTON, until 10 June. Taradale Wine and Produce, 120 High Street, Taradale. Fri, Sat and Sun 11am - 6pm. T: (03) 5423 2828

woodend

• Woodend Art Group June Art Show. Woodend Art Group at the Railway Station 11,12 and 13 June. 10am - 5pm.

Come and see beautiful paintings by local artists, Gold coin donation, 3 prizes, 1 each day and a lovely warm atmosphere.

mildura

• The Art Vault To 6 June: JANE ROPER - Insights and Insects, small gallery; To 6 June: Art Vault Studio Artists, main gallery; 8 – 27 June: DEBORAH KLEIN, Winged Women, main gallery; 8 – 27 June: BRENDA RUNNEGAR, Mandrakes and Miracles, small gallery; 29 – 18 July: GEORGE MATOULAS, Pharos, main gallery; 29 – 18 July: ANDREW GUNNELL, Idea Drift, small gallery; Artists In Residence: ROBERTO MARQUEz, DEBORAH KLEIN, BRENDA RUNNEGAR, GEORGE MATOULAS. 43 Deakin Ave, Mildura, vic. Wed - Sat 10am - 5pm, Sun - Mon 10am - 2pm. T: (03) 5022 0013. Director: Julie Chambers. www.theartvault.com.au • Mildura Arts Centre Mildura Arts Centre Regional Gallery is closed while the Centre undertakes an exciting redevelopment of Mildura’s arts and cultural precinct. For details on Mildura Arts Centre Outreach projects, see our website for more information. 199 Cureton Avenue, Mildura vIC 3500. T: (03) 5018 8330; F: (03) 5021 1462; www.milduraartscentre.com.au • Mildura Writers Festival 14 to 17 July 2011. Four days of food wine and words. www.artsmildura.com.au/writers/

MURRAY RIVER

BAY & PENINSULA

• White Cube Mildura Three micro galleries in three locations in Mildura. June: NEIL FETTLING, CHRIS FRASER and KERRYN SYLvIA. Stefano’s Café Bakery, 27 Deakin Ave. Klemm’s Newsagency, 53 Langtree Mall. Shugg Group, 126 Lime Ave. E: whitecubemildura@gmail.com, www.whitecubemildura.blogspot.com

June, Playhouse; JOHN BOWLES My Life in the Musicals with Michelle Fitzmaurice – Musical Mornings, 8 – 9 June, Playhouse; The Adventures of Alvin Sputnik: Deep Sea Explorer - GPAC’s Shaken + Stirred - 16 – 17 June, Drama Theatre; Men of Steel - GPAC’s Family Magic, 25 June, Drama Theatre; Capture the Flag - GPAC’s Alcoa Theatre Season, 28 June – 2 July, Drama Theatre. 50 Lt Malop Street Geelong. Info and tickets online at www.gpac.org.au or phone T: (03) 5225 1200. Find us on Facebook www.facebook.com/geelongperformingartscentre

swan hill

• Swan Hill Regional Art Gallery 13 May to 26 June: Outsider, SELBY WARREN; 13 May to 26 June: Rural Rules (Ee-aye Ee-aye Oh. Ok.), NEIL BERECRY BROWN; 6 June to 3 July: Women in Art, ESTHER KIRBY and SUE CHARLES. Horseshoe Bend, Swan Hill 3585. T: (03) 5036 2430, www.swanhill.vic.gov. au/gallery BAY & PENINSULA

geelong

• Geelong Gallery CHRISTOPHER HEATHCOTE - When lights are low until 5 June; PENNY BYRNE - Commentariat until 26 June; ROBERT BAINES - Metal, until 3 July; Beyond Big Land (includes works by CHRISTINE ADAMS, LESLEY DUXBURY, LES WALKLING and STEPHEN WICKHAM); until 3 July. BARRY GILLARD - Persistent folly, 11 June to 24 July. Little Malop Street, Geelong. T: (03) 5229 3645, www.geelonggallery.org.au, Free entry. Open daily 10am to 5pm.

• Geelong Performing Arts Centre Turns – GPAC’s Alcoa Theatre Season, 1 – 4

• Metropolis Gallery 17 June – 2 July MICHAEL GROMM: takemetodisneyland. 64 Ryrie Street Geelong 3220. T: (03) 5221 6505. Director: Robert Avitabile. www.metropolisgallery.com.au • Midsumma Call for Visual Artists open now “It’s nice to perform in front of an open and diverse audience, and to support a non-commercialised mainstream festival. I’d love to do it again, every year would be amazing...” - Mason West, Circus Oz. More info: admin@midsumma.org.au; midsumma.org.au

mornington

• Mornington Peninsula Regional Gallery 12 May – 19 June : Experimenta Utopia Now, International Biennal of Media Art. Civic Reserve, Dunns Road, Mornington. Tue - Sun 10am - 5pm.

Open 10am - 5pm Queen’s Birthday, Monday 13 June. T: (03) 5975 4395, E: mprg@mornpen.vic. gov.au, http://mprg.mornpen.vic.gov.au/

60

gippsland

• Gecko Studio Gallery Opposites. Group Exhibition, 5 – 18 June.

14 artists. Works on paper. Opening Sunday 5 June from 2 - 5pm. AILEEN BROWN Recent Linocuts, 19 June to 16 July. Opening Sunday 19 June from 2-5pm. Gecko Studio Gallery. 15 Falls Rd, Fish Creek, vic 3959.

E: framing@geckostudiogallery.com.au; T: (03) 5683 2481; www.geckostudiogallery.com.au Open 10 – 5pm, Thur to Mon. • Gippsland Art Gallery, Sale Until 10 July, Dreamweavers - featuring ALY AITKEN, ELOISE CALANDRE (UK), JAMES GLEESON, ADAM LAERKESEN, SAM SPENSER (UK), JOEL zIKA. A Gippsland Art Gallery and NETS victoria touring exhibition; Until 3 July, The Seventh Day is a new series of highly elaborate photographs by MAGDALENA BORS which implicate the sublime within the everyday; 11 June to 24 July, The Shilo Project is based on NEIL DIAMOND’s 1970 album, the cover of which features a connect-the-dots portrait of Diamond for fans to complete. A NETS victoria touring exhibition developed by the Ian Potter Museum of Art, the University of Melbourne. Gippsland Art Gallery, Sale, 68 Foster Street Sale vIC 3850. T: (03) 5142 3372 F: (03) 5142 3373. Open: Mon - Fri 10am - 5pm, Sat - Sun 12 - 4pm. For public holidays hours visit our website. Director, Anton vardy.

E: gallery_enquiries@wellington.vic.gov.au www.wellington.vic.gov.au/gallery • Maffra Exhibition Space Until 18 June, From the Mountains to the Sea Landscape paintings by popular South Gippsland artist JASON FOSTER; 25 June to 7 August, Of Wrecks, Ruins and Derelicts – CHARLES DESIRA. Maffra Exhibition Space, 150 Johnson Street, Maffra Open Mon and Wed - Fri 10am - 6pm, Sat 10am - 12pm, Closed Tues and Sun. Enquiries to Gippsland Art Gallery, Sale T: (03) 5142 3372.

• Kerrie Warren, Abstract Expressionist kerriewarren.com.au and kerriewarrendesigns. com.au NORTHERN VIC

benalla

NORTHERN VIC

EASTERN VIC

• Benalla Art Gallery Jus’ Drawn Proppa Now, NETS Touring Exhibition 21 May – 3 July; RICHARD DUNN, 4 Paintings after

Albert Namatjira, to July. Bridge Street, Benalla, victoria, 3672, Opening hours 10am - 5pm, T: (03) 5760 2619. E: gallery@benalla.vic.gov.au, www.benallaartgallery.com

milawa

• LiTTLE ArtSpace Exhibitions changing monthly. 4 – 30 June, Come Fly With Me sculpture by ELLY BUCKLEY; 1 – 31 July, Bundled & Bound eco dyed textile works by KATE MARTIN, SUSAN MATHEWS and KATHY BEILBY. LiTTLE ArtSpace (adjacent to The Olive Shop) 1605 Snow Road, Milawa.

Mon - Wed 10am to 4pm, Thur - Sun 10am to 5pm. E: littleartspace@gmail.com

shepparton

• Glasson’s Art World, High St Shepparton Art Supplies, Graffiti Art Products, Artists Designer Gallery, Dookie Art Retreat, Archival Framing. E: info@glassonsartworld.com.au, www.glassonsartworld.com.au • Shepparton Art Gallery Until 17 July, The Drawing Wall #4: RICHARD LEWER; Gallery Eastbank Centre, 70 Welsford Street, Shepparton vIC 3630. Director: Kirsten Paisley. Free entry. Closed for redevelopments from 16 May until 2012, please visit the website for updates. Will reopen Tues - Sun 10am to 5pm, public hols 1 to 5pm. Café. T: (03) 5832 9861, E: art.gallery@shepparton.vic.gov.au, www.sheppartonartgallery.com.au

wangaratta

• Wangaratta Art Gallery 4 June – 17 July 2011, The second biennial, Wangaratta Contemporary Textile Award.

Featuring 42 contemporary textile artists from all over Australia; 4 June – 17 July 2011, Contemporary textiles by LIz WILLIAMSON, vALERIE KIRK and MANDY GUNN, Installed Wangaratta Perfroming Arts Centre foyer (next door to Gallery in Arts Precinct), Coincides with textile award; 4 June – 26 June 2011, Gallery Textile Collection, Selected works, Coincides with textile award; 29 June – 12 July 2011, Stitched Up Textile Festival, exhibitions and workshops, Coincides with textile award.

Wangaratta Art Gallery. Director: Dianne Mangan, F: (03) 57 222 969, T: (03) 57 22 0865, E: d.mangan@wangaratta.vic.gov.au or gallery@wangaratta.vic.gov.au

WESTERN VIC

ararat

• Ararat Regional Art Gallery Town Hall, vincent Street. Mon, Wed to Fri 10am – 4.30pm, w/ends 12 - 4pm. T: (03) 5352 2836 araratregionalartgallery.blogspot.com • Mountain Grand Boutique Hotel Enchanting getaway in Halls Gap. Delightful dining in The Balconies restaurant with fine local wines and live jazz on weekends. Conferences and functions are our specialty. If you have a longing for the way things used to be. Your hosts Don and Kay Calvert. T: (03) 5356 4232 E: don@hallsgap.net www.mountaingrand.com

hamilton

• Hamilton Art Gallery The Spirit in the Land, 19 May – 10 July.

Contemporary Australian Studio Glass 24 May – 31 July. Australian Drawings 31 May – 24 July.

107 Brown Street, Mon - Fri 10am - 5pm, Sat 10am - 12pm and 2 - 5pm, Sun 2 - 5pm. T: (03) 5573 0460, www.hamiltongallery.org

horsham

• Horsham Regional Art Gallery Art #2: ACCA Regional Tour. The Horsham Regional Art Gallery (HRAG) in partnership with the Australian Centre for Contemporary Art (ACCA) presents ART#2, an exhibition designed to bring the latest works from Melbourne’s leading contemporary art space. ART#2 will open on May 6th at Horsham Regional Art Gallery with an exhibition of works that respond to the photographic focus of the Horsham Collection. Highlight of the ART#2 is a two day festival of art events, interventions, happenings and activities in Horsham and Natimuk, on the

Queens Birthday weekend. For the full program visit www.accaonline.org.au/ART2RegionalTour.

Artists include: FIONA ABICARE, BENJAMIN ARMSTRONG , DAMIANO BERTOLI, AGATHA GOTHE-SNAPE, NATHAN GRAY, MATTHEW GRIFFIN, BIANCA HESTER, HELEN JOHNSON, LARESA KOSLOFF , NICHOLAS MANGAN, Tv MOORE, JOSHUA PETHERICK, STUART RINGHOLT, ANDY THOMSON, JUSTENE WILLIAMS and GABRIELLE DE vETRI. Exhibition dates: 7 May – 3 July 2011, HRAG Jubilee Hall, 21 Roberts Ave, Horsham.

Tues - Fri 10am - 5pm, Sat - Sun 1 - 4.30pm.

T: (03) 5362 2888; E: hrag@hrcc.vic.gov.au; www.horshamartgallery.com.au

natimuk

• Goat Gallery A new show every month featuring the widely ranging skills of local artists. 87a Main Street.

Weekends 1 - 4pm and by appointment.

M: 0418 997 785 www.goatgallery.com.au • Print Council of Australia Inc. Printmakers and print collectors stay in touch with print exhibitions, events and technical issues through IMPRINT magazine. Members receive frequent email updates and information about opportunities (courses, forums, group exhibitions and competitions). Subscriptions $65/year or $45 concessions see website: www.printcouncil.org.au or phone T: (03) 9328 8991 for membership details.

Joel ZIKA, Faรงade #1 (detail) 2007 Photographic print (mounted on lightbox) 100 x 200cm Courtesy the artist

DREAMWEAVERS – Catalogue Essay

THE BLUES HAS BECOME THE BLACK DOG

Steve Proposch

The human soul will forever harbour the darkness and fear of its beginnings.

Freedom from pain and horror, the seeking of shelter, is one of our most primeval drives, the equal of food and sex. Darkness holds the promise of infinite possibility, and therefore infinite danger. It represents everything that we don’t know. Here is where our fascination begins.

“Children will always be afraid of the dark,” writes Howard Phillips Lovecraft in his essay Supernatural Horror in Literature [1], “and men with minds sensitive to hereditary impulse will always tremble at the thought of the hidden and fathomless worlds of strange life which may pulsate in the gulfs beyond the stars, or press hideously upon our own globe in unholy dimensions which only the dead and the moonstruck can glimpse.”

Fabulously gothic was old HP. To read him you’ve got to love that meaty, thick-edged prose, to take joy from his voluminous descriptions of enormity, the massiveness of what is unknown, perhaps unknowable. “Lovecraft’s guiding literary principle was what he termed ‘cosmicism’ or ‘cosmic horror’, the idea that life is incomprehensible to human minds and that the universe is fundamentally alien.”[2]

This seems to be the opposite view of Voltaire’s “best of possible worlds” where Candide, and especially his philosopher companion Pangloss, claim to know exactly how it all works. “It is demonstrable,” says Pangloss (a metaphysicotheologo-cosmolonigolist, no less) “that things cannot be otherwise than they are: for all things having been made for some end, they must necessarily be for the best end.”[3] Yet, following on from this assertion our two adventurers are promptly ejected from their idyllic surroundings and into the real world, where they are subjected to such horrible pains, miseries, and unfortunate circumstance as to test their theory to its limits.

universe would be destroyed ... you would not be here to-day, eating preserved citrons and pistachio nuts”[4]. His theory seems to be borne out after all, and with the onset of peace the story is ended. No one wants to read about that part, apparently. Peace is the destination, not the adventure. But the final lines of the book express Voltaire’s real ambition in writing this tragi-comic tale. Candide simply replies: “That’s very well said, and may all be true ... but let’s cultivate our garden.”[5]

Ultimately Voltaire rejects Pangloss’ view that we might ever comprehend some universal plan to life.

Candide is on the much wiser path than his poor tutor now. After all of the chaos and cruelty he has witnessed, how could Candide ever put his faith in certainty again? He knows only too well how tenuous our hold on the good life can be.

This is essentially a match to Lovecraft’s cosmic pessimism, and a view that is extremely common in all human artistic endeavours. In order to be relevant, artists need to ask questions, often big ones, and the truth is that whenever we question anything in this world, darkness lurks close by.

That which is visible can be explained, it can be known, and become familiar, but to be left in the dark promotes imaginings. Art critic Weiland Schmied defines as fantastic “anything that lies outside what a particular epoch takes for granted.”

Sometimes we may need to look at a thing for a very long time to see everything there is to see about it, because we are naturally driven to get to the end of a task, to know all about it, before we At the end of Candide, after plentiful suffering, can properly put it to the back of our minds. In our heroes end up once again in a beautiful place, this way darkness secretly obsesses all of us. We a garden needing only their pleasurable attention. try to keep it out of our daily lives, but when the Here Pangloss proposes that: “If a single link in the sun goes down it is always there, waiting for us, great chain were omitted, the harmony of the entire waiting for answers, and reminding us of death. continued >

continued from previous page

Death is a darkness of the everlasting kind. Its effect on the human psyche cannot be underestimated. In the effort to understand we throw all the light in our possession at it – all the computers, science and medicine we can invent, and all the heavens and nirvanas we can think of. In Gothic architecture we see religious structures that were designed to appear as literal gateways to the afterlife, wielding light and height as their ironic wands to draw you into the arms of God. Technological marvels of their time, these buildings combined a number of existing or formative technologies such as the flying buttress, ribbed vault and pointed arch, to construct vast, impressive interiors filled with a light of uncommon beauty.

The intent is so wonderfully conveyed that you could be forgiven for feeling like stepping into them is like stepping into an antechamber of heaven itself.

Despite such incredible efforts we may never hide the fact that beyond death lays the unknown. Our frustration at this is obvious. Modern art and culture abounds with images of everything that death may be, with ever more graphic representation of the kinds of monstrosities – both human and alien – that may cause it. The blues has become the black dog, in a sense, where the symbols and identities that used to define our fear or sadness are no longer potent enough to scare us.

Where expressions of a lost love or a gained addiction once went something like: “Gee, but it’s hard to love someone / when that someone don’t love you”[6], they are now expressed as guttural screams of emotional ache: “Didn’t take too long ‘fore I found out / what people mean by down and out”[7]; or for a more pointedly vicious example: “red-neck burn-out Midwest mind / who said date rape isn’t kind?”[8] These are different only in style, but it is a sign of the times. < Aly AITKEN, From the Estate of Edvard Munch (detail) 2008, abandoned Christmas tree trunks, timber, padding, leather, found objects, 185 x 90 x 36cm. Private collection.

Dreamweavers / Steve Proposch

The modern vampire is certainly not as physically scary as the skeletal, creeping and otherworldly Nosferatu, transformed as it is into the boys and girls next door, who can run really fast, look really hot, like, forever, and get off by sucking your blood; but psychologically they more than make up for that lack in their closeness, and their abundance. These monsters are not lonesome creatures living halfway across the world, ensconced in gothic castles. They go to your high school. They are everywhere you go.

Today we make more noise than ever in the attempt to block out the everlasting silence.

The reason for this can be found in the tremendous tension that exists at the threshold of light and dark.

Here is where we sit, between life and death, wanting desperately to know what is on the other side, to end the uncertainty, but at the same time knowing it pushes all the wrong buttons. Equally as desperate is the desire not to think about it too much, and to pursue happiness instead. Polite society still shuns dark subjects, so to choose gothic, or nihilistic punk, as a fashion statement is to reject the values of a homogenous lifestyle. Bringing attention to death by painting your face white, or piercing your body with pins, is anti-social. Humans are visual beings, we reason, and light is vision. If we are plunged into a bare, dark room, wide awake, we would find ourselves thinking more about the absence of light than we do about the dark. This is true. In the light I observe the bare walls and the absence of anything else, looking for chinks in the armour of nothingness. In the dark I find myself waiting for the light to return.

In the real world there is no black and white, no absolute good or bad. What we call evil is really just the stuff that gets in the news because it’s “mediapathic”, as Neal Stephenson might say. It’s not the social norm. Instead we inhabit the threshold, and unconsciously most of us believe that if we were able to measure every big and little piece of good and bad that happens each minute, every day, exactly accounting for the countless greys – adding and subtracting maims and bonuses with perfect accuracy, truth and justice for all – that we’d end up with pretty

much a fifty-fifty light and dark total. Of course there would be a little bit of light in the dark and, you know, vice versa. We like to believe in the symbol of Yin and Yang because it leads directly to another belief, that no side is more powerful than the other. We reason that neither side would exist without the other existing as a comparative opposite, thus we are safe from darkness ever overcoming us completely.

Cosmically this may or may not be true, and is probably not a very important question anyway as far as the universe is concerned, but as a species our belief in this kind of universal balance is critically important. Without it lays madness and emotional ruin. All houses of Faith have been built to shore up these beliefs and help them from ever faltering, even after death. Yet however hard we strain we cannot absolutely know. Indeed it seems the more we discover the larger the darkness becomes. Bummer, the answer is always far away. All we can hope for then is to see and learn as much as we can about our chosen sport before darkness closes in on us forever.

Perhaps there is good reason for this too. In the opening of his 1926 tale The Call of Cthulhu Lovecraft wrote: “The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age.”

I suspect that we want to know, even if knowing kills us, turning us into pillars of salt. The most amazing thing that art can offer then is a playground in which to freely exchange tantalising glimpses of the space between them and us.

Dreamweavers, Gippsland Art Gallery, 70 Foster Street, Sale (VIC), 14 May – 10 July.

FOOTNOTES: [1] H.P. Lovecraft, Dagon and other macabre tales, Panther Horror (Granada) 1969, p. 143. First published in 1927 in the one-shot magazine The Recluse (S. T. Joshi and David E. Schultz, “Supernatural Horror in Literature”, An H. P. Lovecraft Encyclopedia, p. 255). [2] Wikipedia. [3] André Maurois, The Living Thoughts of Voltaire, Cassell and Company, third edition 1946, p.22. [4] Ibid, p.60. [5] Ibid, p.60. [6] Hunter/Austin, Down-Hearted Blues, transcribed from Cab Calloway and His Orchestra, recorded November 18, 1931. From Cab Calloway and His Orchestra 1931 – 1932; The Chronological Classics, 526. [7] Led Zepplin, Black Dog, Led Zepplin IV 1971. [8] Marilyn Manson, Cake and Sodomy, Portrait Of An American Family 1994.

64

PATRICK JONES

greenwash

#23

Goodly Spores Bacteria and fungi are organisms as instrumental in determining ecological health as plants and animals. Survey anyone in the street, however, and expect his or her opinion of these things to be mainly negative. Super billboards emanate with dominating propaganda of sterility – a totalising absence of these earthly, autonomous beings. This is the legacy of a half-century of shareholder science, which, with the vile work of advertising partners, has simulated for us a barren world devoid of biodiversity, devoid of an ethnology that sees humans equally as parasites, pestilence and disease.

The real (unmediated) story is that we are all players, every singular to multicellular organism.

Less than one percent of bacteria cause disease in humans, yet bacteria conjure in us bad associations.

Many are, in fact, beneficial. The most well known is Lactobacillus acidophilus, that resides in our stomachs, helps digest food, fights unwanted microbes and provides nutrients. When nutritional science (largely funded by multinational corporations) radically severed a long standing and passed-down feminine food knowledge, it created a global health epidemic.

As a result we are now grossly overweight, we face diabetes and mental health crises, not to mention a long list of other illnesses that have come to be regarded collectively as ‘the pathologies of civilisation’.

Pharmaceutical use has grown exponentially in an era of corporatised medicine, so much so that antibiotics are now failing us. Shareholder science is floundering to keep up with what it has created, throwing more and more profit-driven research at a Frankenstein world of its own making.

recently burnt and dozered eucalypt forest opened up under our feet, our walking slowed, and our eyes adjusted to a myriad kingdom, known as the fifth, which claim the largest organisms in the world. Amid fire ravaged and humus destroyed forest floors, extraordinary life appears. Strange and varied fruiting bodies, typically called mushrooms, pop up on tree trunks or old stumps, or from under the remaining leaf mulch (as pictured), each connected to larger underground organisms known as mycelium.

“Leaf litter creates the most biodiverse ecosystems in the world,” says Pouliot. With fuel reduction burning in forests and by raking and burning leaf falls in gardens we constantly reduce biodiversity in our environments. This enables certain species to dominate at the expense of many others, which is how disease takes effect, and why the Wombat Forest is in such a poor state.

The edible, although very bitter, honey fungus (Armillaria luteobubalina) is one such potentially problematic species. Pouliot believes that this fungus is radically affecting forests and gardens throughout When we sterilise or over-clean our bodies and our Australia, and that it is one of the more resilient environments, and reduce the array of multifarious species in dealing with what she calls “uncontrolled organisms that keep one another in check – in burning” by governmental officers. The honey fungus dynamic flux – we get sick. Biodiversity is as crucial is a parasite that relies on a living tree host, although to our wellbeing as it is to healthy ecologies. The two not just one specific tree species. It has adapted to – human health and ecological health – are of course any number, and unlike most parasites will actually kill completely contiguous. That ecological writers so often its host. If fashionable restaurant chefs want to offset have to spell this out goes some way to representing the negatives they cause by privatising wild foods, they just how much we believe we are immune to really should look to make this widely available pest ecological crisis, and separate from everything else. species a treasured national dish.

Not long ago I walked along a track of the Wombat Forest south of Trentham, Victoria, with fungi expert and photographer, Alison Pouliot. I was assisting her in preparing for one of her popular all-day fungi workshops. As we moved further off the track the

Fungi knowledge throughout the world has typically belonged to indigenous and peasant peoples.

In Australia some Aboriginal groups embraced mushrooms using them as food and medicine, while other groups avoided them. Through cultural

Image: Patrick Jones, Russula sp. (purple and pink mushrooms) and Lactarius eucalypti (the little brown mushroom), Wombat Forest near Trentham, late autumn 2011.

Shareholder science has brought us sterilisation, disease, climate chaos and cultural unwellness from the myopic labs of Cartesian specialisation. If Descartes had studied soil microbes what (if anything) would be different today? If he’d understood our totalising dependence upon, and our biological beginnings from, fungi, would the abstractions central to our ‘crisis of reason’[1] be less dominant in our current economic state of play? But just how much blame can be apportioned to just one man? And to Much of Pouliot’s twenty years of research into Australian what extent our ‘hyper-Separation’ [2] – from the fungi has stemmed from her fascination and admiration webs of life that support us – can we load upon the of this kingdom as a photographer. While it was the schools of rank philosophy that followed? aesthetics and poetics of mushrooms that opened Pouliot’s mycological curiosity, it is their ecological role, [1] Val Plumwood, 2002 “their ability to heal damaged or toxic environments,” [2] ibid that aggregates her admiration. This mix of interests, For more on Alison’s research, workshops and ethics and professions – writer, photographer, teacher, photographs visit: http://www.alisonpouliot.com/ fungi advocate, ecologist and mycologist – renders arrogance and a mycophobic colonising heritage we lost the priceless knowledge of fungi that certain Aborigines would have passed down over millennia. In Europe, similarly, peasants traditionally hold local fungi knowledge, incorporating mushrooms as wild protein in their diets or knowing which ones to avoid. As Australia now hosts numerous European species, Pouliot spends many months each year in Europe foraging for valuable local knowledges to bring back to Australia and share.

Pouliot an exciting twenty-first century thinker.

Patrick Jones is an artist and writer of poetry and essays. He is currently undertaking doctoral research work between the areas of poetics and ecology within the Writing and Society Research Group, UWS. He is part of Artist as Family collective. He blogs at: www.permapoesis.blogspot.com and vids at: http://vimeo.com/permapoesis

Portable 2

s d r o My W ing dirty

Eaptower of talk the

Words have clout. They can rock your world, or ruin it. They can cut, bludgeon and bitch. They can make you eat Mars bars. Words help us express love, hate and everything in between. ‘I do’ - two simple words that mean so much. ‘I’ll pass’ also says a lot, though neither phrase is anywhere near as eloquent as my all time fave, ‘great root’, which is right up there with Australian classics like ‘big norks’, ‘bangs like a dunny door’,, and ‘she’s got a rack you can hang a coat on.’

It could be said that language creates a reality independent of those who speak it. We can mentally replay words of affection or insults over and over in our head until they take on a life of their own. Then there’s the Internet, where virtual worlds that are almost entirely constructed with language have become so experientially rich, that some people choose it over real life. Often these lines become blurred. A documentary

by Barbara Schroeder telling the true story of a cybersex love triangle that ends in a homicide, bears this out all too clearly. Thomas Montgomery, a 48-year-old factory worker from Clarence in NewYork, created an identity of a younger man, a Marine, and had a virtual romance with a twenty-year old girl known as “Tallhotblond”. He told a fellow worker, who was a younger man, about his virtual love, and the younger bloke started his own virtual affair with Tallhotblond. To cut a long and twisted story short, older Montgomery shot dead his younger workmate in a jealous rage. Of course, Tallhotblond, who posted very glamorous photos of herself, was not actually tall, hot or blond. Her daughter was though, and she was using her daughter’s photos without consent. In this urban tragedy nobody met, and there was no real sex; but there was a real murder. It was the conveying of fantasy, and a constructed reality via words that made all this happen.

A little grim, I know, and I do apologise to all you rabid cybersex fantasists, but I feel it illustrates the power of language well. (You may now go back to your keyboards, and pretend you’re another gender and/or a different age, and go into raptures about CBT and nipple clamps).

Shouldn’t we consider perspectives of context, timing, or rhythm (just to name a few). Let’s think about timing and talking dirty. If you’re a bloke and you’ve met a girl for the first time, you may want to desist from saying ‘I like it when a girl gobbles me all the way to the back wheels’, even if you’re thinking it. Perhaps ‘Up for a bit of badger scratching later?’ is more suited to the chat room, where one can, at least, imbibe a decent wine while tapping the keyboard, and giggle at the excess and egress of virtual villagers. Then there’s context. ‘On your knees slut!’ may be rich, real and rousing to a wench in the middle of an S&M workout, yet grossly offensive if coming from the man in your laundry who is visiting from Hire a Hubby. At least on his first house call, anyway.

Sometimes a failure of language can be perilous.

Dominique Strauss-Kahn is a case in point. Upon hearing of the rape allegations against this prominent Frenchman, Tristane Banon, a French journalist, came out saying that when she was in her twenties he had “come at her like a rutting chimp.” What an excellent phrase! If only Dominique could craft a sentence like Tristane’s. Perhaps then he could talk a hotel chambermaid into submission. Or maybe he thought that if she didn’t speak French, she certainly ought to do French. Clearly, language is one thing that separates us from monkeys, unless of course, you’re the head of the International Monetary Fund.

As a sex-art therapist it comes as no surprise to me that language is a huge part of sex, and art, and, come to think of it, therapy. I love words. I do. I love them whispered, whisked, scrambled or poached. I am a happy advocate of cunning-linguistics. And I’m getting better at it. I encourage you to do the same. All serious artists are adventurers, and adventure implies risk. It means braving new horizons and making discoveries.

Just like Burke and Wills, only they died. But at least they had a crack. So if you want to build your erotic repertoire and develop your language skills don’t just hide in the chat rooms. Talk dirty in the real world!

Try new phrases, new ideas. If you say to your man: ‘Your hard cock makes me wet as a river’ and he replies, ‘Great, let me get at those fun-bags’ don’t be The potency of language and its ability to fashion a disheartened. At least he’s had a go. Just encourage him virtual world has been with us for eons. What is a novel to read poems, Shakespearean sonnets, or the alcoholif not a virtual world? But phone-texting, the computer, fuelled musings of Dylan Thomas. This was great advice and Internet chat-rooms are forums where words to one of my gal pals whose boyfriend had said to her: are being madly volleyed about like tennis balls at a ‘If you really want intimacy, how about a blowjob then?’ tournament, and the players in the main are certainly After reeling from this and forcing him through the not professionals. Any virtual world has the feel of art entire Shakespearean canon, he even managed to say about it, even if it isn’t, so if these virtual constructs such one day: ‘Forsooth dear wench, no tooth, no tooth!’ as the chat-room and cybersex, or even real life ‘talking dirty’ are being made art, even by default, then these background image courtesy Harry Rekas at Large - www.large.ac ‘disciplines’ surely need to be finessed like art.

[continued from page 14]

the Ministry of Education (1894) to paint works for the ceiling of the grand auditorium at the University of Vienna. The Faculty Paintings: Philosophy, Medicine and Jurisprudence were expressive of the Secessionist concept of Gesamtkunstwerk (‘total artwork’), the desire to combine art and architecture. The exhibition of each of the paintings (1900-03) proved a disaster for Klimt; eighty-seven professors signed a petition denouncing the works, the conservative press inflamed the scandal, and the Minister came under concerted pressure. With the help of his patron August Lederer, Klimt reimbursed the Ministry for his fee and in 1905 the paintings were returned.

Most of the criticism directed at Klimt’s interpretation of the faculty themes seems to have been based on ethical and moral criteria rather than artistic considerations. It was not a the ‘official’ self-image Academians expected; grounded in history, rationality, hierarchic social order, and expressed in conventional iconography. Klimt rejected patriarchal domination and the subjugation of nature; the allegorical elements are mainly personified by nude women (representing the continuum of biological renewal), often drifting in a chaotic visual field. It was an unsettling vision of a future untethered to the past: universal, fluid, ambiguous, feminised, subversive, and psychologically fraught. The ensuing furor led Klimt to withdraw from lucrative public commissions. In an interview with the art critic Bertha Zuckerkandl, the exasperated artist fulminated, “I’ve had enough of censorship. I’m going to help myself now. I want to get free. I want to get rid of all those unpleasant trivialities that hinder my work and regain my freedom.

I reject all state support. I renounce everything...

Whenever there’s an opportunity, genuine art and genuine artists are under attack. The only thing that’s ever protected is feebleness and falsehood”.

Fortunately, the art-loving nouveaux riches of the faltering Habsburg Empire wanted to cement their status with the formal elegance a Klimt portrait promised. Self-contained, detached, aloof, his predominantly female sitters are often anchored within an exotic panorama of façades and embellishments. These devices created an unusual tension between distance and proximity, the threedimensional figure and a two-dimensional ornamental background. Fritza Riedler (1860-1927) (1906), born Friederike Langer, sits in an armchair encrusted with stylised Egyptian ‘Eye of Horus’ motifs. The mosaiclike repetitive wallpaper pattern mediates between the sitter and the background, and resembles the elongated headdresses worn by Queen Mariana and Infanta Maria Theresa of Spain in portraits by Diego Velázquez.

In the early 1890s Klimt met Emilie Flöge (1874-1952), a successful couturière who ran a fashionable dressmaking shop, La Casa Piccola, in the Mariahilfer Straße, Vienna’s pre-eminent shopping street. Ernst Klimt went onto marry Emilie’s sister Helene in 1891, but the other couple never formalised their twenty-seven year relationship. With her elongated silhouette and dazzling gold-daubed violet

Gustav Klimt / Inga Walton

dress, Emilie Flöge (1902) gazes out insouciantly at the viewer, secure in her role as muse and confidante. Klimt drew various garment sketches for the Flöge salon; a mutually beneficial arrangement in terms of the access both painter and designer had to a prosperous client base at the upper echelons of Viennese society.

Nearly a quarter of Klimt’s paintings – though virtually none of his drawings – are landscapes, almost devoid of narrative elements or figures. For twenty years Klimt abandoned the stifling capital of Vienna in the summer months to stay with the Flöge family by Lake Attersee.

An enthusiastic rower, Klimt would position his boat away from the shore to obtain uninterrupted views of waterscapes like the sublime Island in the Attersee (c.1901). His works are often top- or bottom-heavy with an uneven distribution of space, squared off with a stacked condensation of elements. They seem static, unaffected by time of day, light or shade, and sometimes resembling impenetrable or claustrophobic ‘dreamscapes’ of ‘pure nature’ suffused with colour. Anthropomorphic elements in works like The Tall Poplars II (1903), The Sunflower (c.1906-07) and Farm Garden With Crucifix (1911-12) mimic the positioning of many of the subjects for his portrait works. The poet Peter Altenberg (1859-1919), part of the literary circle known as Jung Wien (Young Vienna), observed to Klimt, “the landscape is treated as you treat a woman, it has been raised to its own romantic pinnacle, it comes into its own, it is transfigured and made visible...”

It was not merely nubile young women and society beauties who caught Klimt’s eye; he was preoccupied by the magna mater and the life cycle. Klimt did not shy away from frankly depicting the pregnant form, or the ravages of age, as seen in The Beethoven Frieze (1902), Hope I (1903), Three Ages of Woman (1905), Hope II (1907-08), and Death and Life (1908-11). These moving works of emotional sensitivity and faithful rendering of the body au naturel were considered flagrantly offensive to the moral standards of the day. Klimt developed a symbol-saturated artistic vocabulary of ‘erotic syntax’, a vision of unabashed sensuality in which he played with the limits of sexual differentiation. He perpetuated an often bewildering private iconography, a solitary dialogue, which continues to fascinate and enthral. Klimt’s paintings, and thousands of drawings, form a theoretical space into which a variety of different aesthetic, social, and intellectual concepts can be projected, including the metamorphosis of womanhood. Zuckerkandl was later to observe, “Klimt created an ideal type in his Viennese women: the modern female, slender as an ephebe – he painted creatures of an enigmatic charm – the word ‘vamp’ was not yet known, but Klimt created the type of a Greta Garbo, a Marlene Dietrich, long before they existed in reality”.

Vienna: Art & Design- Klimt, Schiele, Hoffmann, Loos, NGV International, 180 St Kilda Road, Melbourne (VIC), 18 June-9 October, 2011 - www.ngv.vic.gov.au/ Österreichische Galerie, Belvedere Palace, Vienna.

- www.belvedere.at

ARTS INDEX

COvER: Chris KENNETT, Bubble Rainbow (detail) 2011, digital print. Group Art Exhibition featuring the work of ten Bendigoregion contemporary artists: Chris Kennett, Sonia Brit, Kelly Robson, Sopheea, Hugh Waller, Tony Olsson, Red von Hohenfels, Mel Stockx, Robyn Ryrie, Megan Spencer, El Gordo Café and Art Space, Chancery Lane Bendigo (vIC), 14 May – 10 June 2011.

Trouble

Issue 80 June 2011 is an independent monthly mag for promotion of arts and culture, distributing 20,000 copies to over 1,200 locations Nationally. CAB Membership Application approved, October 2010. Published by Newstead Press Pty Ltd, PO Box 177 NEWSTEAD 3462. ISSN 1449-3926 ABN 46 138 023 524 STAFF: administration Vanessa Boyack - admin@introuble.com.au | editorial & advertising Steve Proposch - art@introuble.com.au | listings - listings@introuble.com.au CONTRIBUTORS: Mandy Ord, Inga Walton, Bambam, Cate Kennedy, Jase Harper, Courtney Symes, Marguerite Brown, Ben Laycock, Steve Proposch, Patrick Jones, Portable 2, Darby Hudson, Ive Sorocuk.

APOLOGY: Please note, in our May Salon pages, image 2 was incorrectly credited as Self by Gareth Hart. The correct credit for image 2 was: Kirsten LAKEN, Robin (detail) 2011, stain painted glass, 1690 x 960 mm. Part of the Dandenong Ranges Open Studios Weekend, 28 – 29 May. DIS IS DE DISCLAIMER! The views and opinions expressed herein are not necessarily those of the publisher. To the best of our knowledge all details in this magazine were correct at the time of publication. The publisher does not accept responsibility for errors or omissions. All content in this publication is copyright and may not be reproduced in whole or in part in any form without prior permission of the publisher. Trouble is distributed from the first of every month of publication but accepts no responsibility for any inconvenience or financial loss in the event of delays. Phew!