Art Almanac February 2019 $6
Eugenia Lim Boundary Lines Riley Payne
Art Almanac February 2019
Subscribe Established in 1974, we are Australia’s longest running monthly art guide and the single print destination for artists, galleries and audiences. Art Almanac publishes 11 issues each year. Visit our website to sign-up for our free weekly eNewsletter. To subscribe go to artalmanac.com.au or mymagazines.com.au
Deadline for March 2019: Wednesday 30 January, 2019.
We acknowledge and pay our respect to the many Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Guringai people of the Eora Nation where Art Almanac has been produced.
Representation – its inefficiencies, inequities and potential is a cornerstone of this issue. The figures of Ramesh Mario Nithiyendran and Renee So re-calibrate the gendered gaze in ‘Idols’. Where as our cover artist, Eugenia Lim’s exhibition ‘The Ambassador’ confronts Australia’s fraught relationship with migrant bodies, starting with her own. Embodying their culture and identity Vernon Ah Kee, Daniel Boyd, et al., Carol McGregor and Rosângela Rennó rebuke past and resist future dispossession in ‘Boundary Lines’. ‘Nature Documentary’ from Riley Payne turns a focus on plants and animals, proving the process of representation can also foster appreciation.
Contact Editor – Chloe Mandryk cmandryk@art-almanac.com.au Deputy Editor – Kirsty Francis info@art-almanac.com.au Art Director – Paul Saint National Advertising – Laraine Deer ldeer@art-almanac.com.au Digital Editor – Melissa Pesa mpesa@art-almanac.com.au Editorial Assistant – Penny McCulloch listing@art-almanac.com.au Accounts – Penny McCulloch accounts@art-almanac.com.au
Cover
Eugenia Lim, The Australian Ugliness, 2018, three channel video installation Production still: Tom Ross Courtesy the artist and Anne & Gordon Samstag Museum of Art
T 02 9901 6398 F 02 9901 6116 Locked Bag 5555, St Leonards NSW 1590 art-almanac.com.au
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Shapes of Knowledge Eight projects as well as public programming and publishing from Australian and international artists and thinkers reflect on the relationship between pedagogy and contemporary art in ‘Shapes of Knowledge’ curated by Hannah Matthews. On show at Monash University Museum of Art | MUMA from 9 February to 13 April. A Centre for Everything (ACE) makes critical comment with a replica of a famous mining magnate’s 30-ton iron ore boulder inscribed a poem lamenting mining taxes. ACE will serve ‘icecoal’ treats from the sculpture and expose connections between Australian cultural organisations and the fossil fuel industry. Looking at carbon through a different lens, the socially and environmentally engaged practice of Lucas Ihlein presents a model of the Yeomans Carbon Still to explore the viability of accrediting the soil testing system for a greener future, along with public discussions with expert contributors. Kym Maxwell and the students of Dandenong Primary School consider personal collecting versus the institutional approach and will contribute their material responses and a theatre performance. The Mulka Project, based in Yirrkala in north-east Arnhem land, stores Yolngu archives in addition to being a site for creation, from audio visual material to new-media artwork. They repatriate artworks which have been collected by Australian and global institutions. Presentations will also be on view from Alexis Martinis Roe (Berlin), Annette Krauss (Utrecht), Asia Art Archive (Hong Kong) and Chimurenga (Capetown). Mulkun Wirrpanda, The Mulka Project, 2013 Courtesy The Mulka Project, Northern Territory and Monash University Museum of Art, Melbourne
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Visualising Human Rights Edited by Jane Lydon UWA Publishing
Brenda L. Croft’s shut/mouth/scream (2016) and its reference to the treatment of Indigenous peoples in Australia is a fitting choice for the cover of ‘Visualising Human Rights’, a publication exploring questions surrounding the historical reception of human rights via imagery and its legacies in the present. Leading scholars – Jane Lydon, Sharon Sliwinski, Susie Protschky, Mary Tomsic, Suvendrini Perera and Joseph Pugliese, Vera Mackie, Fay Anderson, and Croft – explore ideas of humanity, citizenship, atrocity and justice through visual media, including several case studies on the Asia-Pacific region, turning ‘attention to our responsibility as viewers and the ethics of spectatorship’.
Australian Birds Matt Chun
Little Hare Books
Artist Matt Chun’s first picture book contains portraits of 16 Australian birds from the Eastern Yellow Robin to the Brush Turkey alongside passages from writer Ella Meave. Rendered in Chun’s distinct iridescent and colourful draftsmanship using pencil and watercolour the images take flight with exceptional detail of the feathers, bright eyes and unique features each possess, from the casque of the Cassowary, Lyrebird’s tail and the blush rose expanse of the Pelican bill. With generous double spreads, a large format and weighty paper (which recalls the texture of the artist’s ground) the title showcases this corner of his practice splendidly.
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Eugenia Lim The Ambassador Eugene Yiu Nam Cheung
With every leap, stride or saunter the Ambassador moves with a gait that is equal parts routine yet distinct. She inserts herself into the banal with strange conviction, and whether poised between concrete doorways or at rest stops beside a highway, we find ourselves watching eagerly to see what becomes of her journey. Australia’s built environment is a conduit for Eugenia Lim to interrogate our society, one which sits on fault lines that quake when multiculturalism is embraced. Clad in a gold Mao suit and performed by Lim herself, the Ambassador is a persona that brings to light Australia’s fraught relationship with migrant bodies and the baggage of settler colonialism. When Lim performs as an unescorted, female, Asian-Australian Ambassador she becomes an uncanny sight: a spectacle of Otherness that invokes within us both distrust and familiarity. Indeed, she becomes a poignant allegory of Australian identity and its constant state of flux between self-assuredness and anxiety. Staged as part of the Adelaide//International 2019 at the Anne & Gordon Samstag Museum of Art, ‘The Ambassador’ is a body of work that investigates the politics of space, habitation and Australian history. Alongside artists Brook Andrew, Lisa Reihana and Ming Wong, Lim forms the fourth pillar in a series of solo exhibitions concerned with representation and cultural exchange. While ‘The Ambassador’ directly references the experience of East Asian-Australians, Lim’s work is more than an exploration of race: notably, ‘The Ambassador’ probes how architecture contributes to and produces our amorphous cultural understanding of ‘Australianness.’ As part of ‘The Ambassador’, Lim’s work includes a collection of mediums: photography, performance, video and installation. Yet her decision to do so has led to neither clutter nor curatorial chaos. Instead, audiences are transfixed by the way she has managed to centre the
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Boundary Lines Melissa Pesa
Our lives are set by social, cultural and political borders, defining our behaviour and modes of conduct. ‘Boundary Lines’ features the work of five contemporary Australian and international artists – Vernon Ah Kee, Daniel Boyd, et al. (NZ), Carol McGregor (NZ) and Rosângela Rennó (BRA) – whose practices explore spatial perimeters; both real and imagined, past and present. Curated by Griffith University Art Museum Director Angela Goddard, the exhibition highlights the role of archival content and the process of recording and collecting facts in shaping our understanding of history and future encounters. No Good Common (2018), a mixed-media installation by art collective et al. unfolds across the main gallery space – an arrangement of repurposed steel plan-drawers containing maps, documents and drawings, as well as folded blankets commenting on today’s refugee and human trafficking crisis and lack of charity, and inadequate government-provided Indigenous housing. Their placement within yellow grid-like markings or timelines is without order and ‘recognises the potential of absurdity and paradoxical nonsense in the processes of cultural documentation and classification,’ says Goddard. The work brings to light the absence of objectivity in the study of history, as preconceived ideas and personal motives allow for content to be invented as much as found.
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Damon Kowarsky Sans Frontières
Warrnambool Art Gallery Until 5 May, 2019 Victoria
Social and political ritual and our need to gather are reflected in the way we build. In ‘Sans Frontières’ Melbourne-based artist Damon Kowarsky investigates structure and its relationship to place in this survey exhibition of prints, paintings and drawings from 2008-2018. Kowarsky’s presentation is made up of contemplative figures and a series of urban and rural landscapes inspired by the artist’s travels that reveal and connect global narratives related to culture, power and agency, which exist in built constructions.
Dinan IV, 2018, etching and aquatint from two copper plates Courtesy the artist and Warrnambool Art Gallery, Victoria
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Nevertheless, she persisted Artereal Gallery 6 February to 2 March, 2019 Sydney
In 2014 The CoUNTess Report published data on the under-representation and recognition of women in Australian contemporary visual arts since 2008, an issue amplified today by ongoing dialogues on the visibility/invisibility of female artists and a sociopolitical climate defined by the 2018 Women’s Marches, and the #MeToo and #TimesUp movements. ‘Nevertheless, she persisted’ addresses this gender disparity by featuring the work of unrepresented female artists including Grace Blake, Brooke Leigh, Cat Mueller, Claudia Nicholson and Ebony Russell.
Ebony Russell, Piped Dream (Pink Pony), 2018, stained porcelain, 39 x 17 x 15cm Courtesy the artist and Artereal Gallery, Sydney
Judy Watson
Zanny Begg
the edge of memory
The Beehive
Judy Watson is a multi-media artist whose practice reflects on Aboriginal history and culture. For ‘the edge of memory’, Watson presents a series of paintings, prints and drawings, which explore the indelible marks left on country by past events. Including pieces from the Art Gallery of New South Wales’ collection, the works in this exhibition reveal Australia’s hidden histories, while tracing Watson’s matrilineal connection to country, the Waanyi lands of north-west Queensland.
What happened to Juanita Nielsen – journalist, style-icon and anti-development campaigner who fought against the violent eviction of tenants on Victoria Street, Kings Cross whose 1975 disappearance remains a mystery?
the guardians, 1986-87, powder pigment on plywood, 5 figures: each 180 x 58cm Art Gallery of New South Wales Purchased 1990 © Judy Watson. Licensed by Copyright Agency Photograph: Carley Wright, AGNSW Courtesy the artist and Art Gallery of New South Wales, Sydney
The Beehive, 2018 (production still) Photograph: Philippa Bateman Courtesy the artist, Enigma Machine and UNSW Galleries, Sydney
Art Gallery of New South Wales Until 17 March, 2019 Sydney
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UNSW Galleries Until 23 February, 2019 Sydney
This unresolved history forms the core of Zanny Begg’s ‘The Beehive’, a cinematic assortment of scripted fictions, documentary interviews and choreographed sequences. Clips morph and evolve with each viewing offering 1,344 possible variations of how her murderer remains at large. Nielsen’s story and Begg’s retelling echo the urban development tensions and housing affordability struggles experienced today.
Artist Opportunities We have selected a few galleries and funding bodies calling for submissions for Art Awards, Artist Engagements, Grants, Public Art, Residency Programs, Exhibition Proposals and more. Enjoy and good luck! The ‘Clothing Store Resident Artists’ 2019
Carriageworks Director Lisa Havilah and Director Programs Daniel Mudie Cunningham recently announced the artists included in the 2019 ‘Clothing Store Artist Studio Program’. The residency welcomes Eugene Choi, Sarah Contos, Dean Cross, Cherine Fahd, Tina Havelock Stevens, Kate Mitchell, JD Reforma and Wrong Solo (Agatha Gothe-Snape & Brian Fuata) to the historic site. Artists Tony Albert and Nell will also continue their residencies through 2019, with Albert keeping his place at Solid Ground studio and Nell in the Public Art studio. The ‘Clothing Store Artist Studio Program’ was established in 2017 as part of a partnership between UrbanGrowth NSW Development Corporation and Carriageworks. This initiative, through the support of this association supports subsidised workspaces for the recipients, who will each present a communityfocused workshop program for Carriageworks. cariageworks.com.au
Deakin University Contemporary Small Sculpture Award Entries close 22 March 2019 Celebrating its tenth anniversary, this annual acquisitive award and exhibition for sculpture is calling for entries. One outstanding work will be awarded $10,000 with the winning work to become part of the Deakin University Art Collection. An exhibition of short-listed works will be on show from 29 May to 12 July. deakin.edu.au/art-collection/
Kestin Indigenous Illustrator Award
Entries close 28 February 28 Magabala Books is offering an Indigenous artist or emerging illustrator an exclusive opportunity to illustrate a children’s picture book by multi awardwinning author, Bruce Pascoe. Entries are invited for the Kestin Indigenous Illustrator Award, of which the winner will receive $10,000, as well as professional mentorship. For over 30 years, Magabala Books has supported Aboriginal and Torres Strait Islander storytellers, authors and illustrators to publish over 270 titles. magabala.com
Naked & Nude Art Prize
Entries close 30 June 2019 The Naked & Nude Art Prize, presented by the Friends of the Manning Regional Art Gallery, is calling artists to submit original works that have been completed within two years prior to the commencement of the exhibition and not shown in any other competition or regional gallery within a 200km radius of Taree. There is a $30,000 Major Acquisitive Prize and $1,000 People’s Choice Prize. The exhibition of finalists is on at the Manning Regional Art Gallery from 7 September to 13 October. Entries are accepted online. The winning work will be acquired by the Friends of the Manning Regional Art Gallery, and donated to the Manning Regional Art Gallery’s permanent collection. friendsmanningvalley.com.au
Naracoorte National Art Prize
Wrong Solo (Agatha Gothe-Snape & Brian Fuata), 60 Minutes for Horsham, 2017, performance view at Horsham Regional Art Gallery Photograph: Melissa Powell. Courtesy of the artists and Carriageworks, Sydney
Entries close 12 July 2019 Naracoorte along the Limestone Coast of South Australia is home to the World Heritage listed Australian Megafauna Fossil Caves where remains of Australian megafauna were first discovered 50 years ago. In celebration of the 2019 anniversary year, Naracoorte Gallery invites two-dimensional works in any medium for entry in the 2019 Naracoorte National Art Prize. Submissions should respond to the theme ‘Australian Megafauna, Fossils and Caves – An Artistic Exploration’. The exhibition opening and announcement of the winners is on 21 September in Blanche Cave, Naracoorte continuing at the Naracoorte Regional Gallery until 27 October. naracoorteartgallery.com
Art & Industry 49
Melbourne
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Brunswick
Ivanhoe
Northcote
Flemington Fairfield
Carlton North Melbourne
Docklands
Fitzroy
Abbotsford Collingwood
Kew
CBD Flinders Lane Federation Square Southbank
National Gallery of Victoria
Richmond Yarra River
Hawthorn
South Melbourne South Yarra Albert Park
Prahran
Middle Park
Toorak
Armadale Malvern
St Kilda
Port Phillip Bay
Caulfield
Elwood Elsternwick
Glen Huntly
Brighton
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Federation Square CBD Art at St Francis Contemporary Art
326 Lonsdale Street, Melbourne 3000. T (03) 9663-2495. E bwremmen@bigpond.net.au Contact: Brigitte Remmen. H Mon-Fri 9.00 to 5.00, Sun 9.00 to 3.00. Feb 5 to March 12 Beneath the Southern Sky – a selection of paintings by Hans Schiebold.
Australian By Design The Terrence John Hadler Gallery Room 303e, 3rd Floor, Lift 1 opposite the Hopetoun Tea Rooms, The Block Arcade, 282 Collins Street, Melbourne 3000. T (03) 9663-9883, Terrence 0404-699-033. E sales@australianbydesign.com.au W www.australianbydesign.com.au H Open daily. Featuring an extensive collection of work by Terrence Hadler who is a recognised Australian artist specialising in scenes of the Outback and the rivers of Australia. His paintings range in size from miniatures to very large pieces utilising the colours of this great land. Hadler’s art is represented nationally and internationally and is exclusive to Australian By Design. He is in attendance regularly, please call to enquire.
Deakin Downtown Gallery
Level 12, Tower 2 Collins Square, 727 Collins Street, Melbourne 3008. T (03) 9244-5344. E artgallery@deakin.edu.au W deakin.edu.au/art-collection Free entry. H Mon-Fri 9.00 to 5.00 during exhibitions, closed public hols. Feb 11 to March 29 Echo Chambers: Art and Endless Reflections. This ambitious exhibition brings together contemporary Australian artists who are working with mirrors, mirrored surfaces and reflections as the subject and materials of their work, transforming three separate gallery spaces across Deakin University, into a series of dizzying spatial encounters. Artists include Chris Bond, Leslie Eastman, Yanni Florence, Carlo Golin, Justine Khamara, Gian Manik, Kent Morris, Nike Savvas, Linda Tegg, Ebony Truscott, Lyndal Walker, MengYu Yan and others. This project seeks to engage with audience’s increasing desire to see images of themselves reflected in exhibitions and explores how contemporary culture and social media, often mirrors, duplicates and doubles itself. Key historical examples will frame the exhibition inviting the viewer to speculate on what they see and how our experiences of representation have changed over time.
Australian Centre for the Moving Image (ACMI)
Federation Square, Flinders Street, Melbourne 3000. T (03) 8663-2200. W www.acmi.net.au H Daily 10.00 to 5.00. To March 10 Christian Marclay: The Clock – an epic journey through cinematic history in this 24-hour video installation.
Meng-Yu Yan, New moon cleanse I, 2018, framed digital print on Ilford gold mono, 35 x 45cm (framed) © the artist Courtesy the artist, Dominik Mersch Gallery, Sydney, and Deakin Downtown Gallery
Koorie Heritage Trust
Christian Marclay, The Clock, 2010, single-channel video installation, duration: 24 hours Photograph: White Cube (Ben Westoby) Courtesy the artist, White Cube, London, and Australian Centre for the Moving Image
68 Melbourne
Yarra Building, Federation Square, Melbourne 3000. T (03) 8662-6300. E info@koorieheritagetrust.com W www.koorieheritagetrust.com CEO Tom Mosby. H Daily 10.00 to 5.00. To Feb 24 Koorie Art Show 2018, and Kids and Youth Awards. The Koorie Art Show is an annual open-entry award exhibition showcasing the diverse talents of our Victorian Aboriginal and Torres Strait Islander artists. In partnership with VACCA we are also presenting a Kids and Youth Awards for artists aged 5-16 years.
Hobart Sullivans Cove Battery Point Art Mob
29 Hunter Street, Hobart 7000. T (03) 6236-9200, 0419-393-122. E euan@artmob.com.au W www.artmob.com.au Director: Euan Hills. H Daily 10.00 to 6.00. Aboriginal fine art, including Tasmanian Aboriginal artists.
Bett Gallery Hobart
Level 1, 65 Murray Street, Hobart 7000. T (03) 6231-6511. E info@bettgallery.com.au W www.bettgallery.com.au Directors: Carol Bett, Emma Bett and Jack Bett . H Mon-Fri 10.00 to 5.30, Sat 10.00 to 4.00. To Feb 9 GUILLOTINE! by Robert O’Connor, and Pendulous by Rosie Hastie. Feb 15 to March 9 The Unfinished Print by Raymond Arnold, and The infrastructure of life by Locust Jones.
Colville Gallery
91a Salamanca Place, Hobart 7004. T (03) 62244088, 0419-292-626. E info@colvillegallery.com.au W www.colvillegallery.com.au H Daily 10.00 to 5.00. Feb 8 to 27 New Works by Ian Parry.
Jo Chew, A Sum of Parts, 2018, acrylic and oil on canvas, 107 x 152cm Courtesy the artist and Despard Gallery
Handmark Gallery
Unique Tasmanian Art & Design, 77 Salamanca Place, Hobart 7000. Also, 2 Russell Street, Evandale, 7212. T Hobart: (03) 6223-7895, Evandale: (03) 6391-8193. E Hobart: hobart@handmark.com.au, Evandale: evandale@handmark.com.au W www.handmark.com.au Hobart: Feb 8 to 25 New paintings by Robyn Mckinnon. Evandale: To Feb 6 Summer exhibition. Feb 10 to March 3 New paintings and ceramics by Mairi Ward.
The Henry Jones Art Hotel
25 Hunter Street, Hobart 7000. T (03) 6210-7700. E art@thehenryjones.com W www.thehenryjones.com Showcasing leading and emerging Tasmanian artists with a changing display of original contemporary artworks.
Mona Museum of Old and New Art
655 Main Road, Berriedale, Hobart 7011. T (03) 6277-9900. E info@mona.net.au W www.mona.net.au Visit website for details. To Feb 4 Fabien Giraud and Raphaël Siboni: The Unmanned: Part Two (The Everted Capital and The Form of Not). To March 25 Toby Ziegler: Your shadow rising.
Ian Parry, Window, 2018, oil on linen, 53 x 53cm Courtesy the artist and Colville Gallery
Despard Gallery
Level 1, 15 Castray Esplanade, Hobart 7000. T (03) 6223-8266. E hobart@despard-gallery.com.au W www.despard-gallery.com.au H Mon-Fri 10.00 to 6.00, Sat 10.00 to 4.00, Sun 11.00 to 4.00. To Feb 3 Despard Annual Summer Show 18/19. Feb 6 to March 3 The Wanderer, the Fool, and the Refuge by Jo Chew.
Plimsoll Gallery School of Creative Arts, University of Tasmania
Hunter Street, Hobart 7000. T (03) 6226-4300. E Jane.Barlow@utas.edu.au W www.utas.edu.au/ creative-arts/events/plimsoll-gallery H Daily 12.00 to 5.00 during exhibitions, closed on Mon, Tues and public hols. Feb 16 to 23 Higher Degrees by Research MFA examination exhibition – Eva Nilssen and Nicholas Randall.
Tasmania 143
Adelaide ACE Open
Lion Arts Centre, North Terrace (West End), Kaurna Yarta 5000. T (08) 8211-7505. E admin@aceopen.art W www.aceopen.art Free admission. H Tues-Sat 11.00 to 4.00. South Australia’s leading organisation for contemporary visual art and artists. To Feb 9 Plenty – Sasha Grbich and Kelly Reynolds (SA), Jamie Lewis (VIC), James Nguyen and Cong Ai Nguyen (NSW/SA), Keg de Souza with Lucien Alperstein (NSW/SA) and James Tylor (SA). Curated by Toby Chapman. From contemporary Kaurna cuisine through to Supermarket Giant tomatoes, desalination, chemical impacts and migrant labour, eight local and interstate artists investigate what’s on our plate in Plenty.
Anne & Gordon Samstag Museum of Art University of South Australia
55 North Terrace, Adelaide 5000. T (08) 8302-0870. E samstagmuseum@unisa.edu.au W www.unisa.edu.au/samstagmuseum Free admission, all welcome. H Tues-Sat 10.00 to 5.00. Extended hours during the Adelaide Festival (March 1-17): open daily 10.00 to 5.00. Closed public hols and during exhibition changeover. Feb 28 to April 5 Adelaide//International.
Adelaide Central Gallery
7 Mulberry Road, Glenside 5065. T (08) 8299-7300. E info@acsa.sa.edu.au W www.acsa.sa.edu.au H Mon, Tues Thurs-Fri 9.00 to 5.00, Wed 9.00 to 6.45. After hours by appt. Feb 11 to March 15 Lupercalia – Abdul Abdullah, Elsie-Jayne Beinke, Jazmina Cininas, Susan Flavell and Luke Thurgate. Drawing together an array of local and interstate artists, this new exhibition examines the werewolf as a metaphor in contemporary art. The half-human, half-animal creature is employed to explore ideas ranging from dual identities, hybridity, race and gender divides, and post-Internet politics.
Eugenia Lim, The People’s Currency, 2017, performance, dimensions variable Photograph: Zan Wimberley This project was commissioned by 4A Centre for Contemporary Asian Art, supported by the City of Melbourne and part of the inaugural Asia TOPA Triennial of Performing Arts Courtesy the artist, 4A Centre for Contemporary Asian Art, Sydney, and Anne & Gordon Samstag Museum of Art
Art Gallery of South Australia
North Terrace, Adelaide 5000. T (08) 8207-7000. W www.artgallery.sa.gov.au Free entry. H Daily 10.00 to 5.00. Guided tours daily at 11.00 and 2.00. To Feb 3 Picasso: The Vollard Suite. The Vollard Suite is Pablo Picasso’s most celebrated series of etchings. Comprised of 100 works and produced between 1930 and 1937, the suite represents a critical point in Picasso’s career and contains many of the abiding themes in his work, including his self-representation as the minotaur. Feb 23 to April 22 Ways of Seeing: Recent acquisitions from the collection – this display features recent acquisitions to the Art Gallery of South Australia collection, including prints, drawing, photography, painting, decorative arts and artist’s books. Ways of Seeing presents for the first time Helen Frankenthaler’s ‘Madame Butterfly’ (2000), a colour woodcut printed from 46 woodblocks. Other works in the display include artist books by Ed Ruscha, prints by Fred Williams, photographs by Andreas Gursky, Bill Henson and Tracey Moffatt, and a program of moving image works.
Elsie-Jayne Beinke, Rabbit Fox, cast resin, faux fur, cotton material, dimensions variable Photograph: James Field Courtesy the artist and Adelaide Central Gallery
146 South Australia