Art Almanac May 2017 Issue

Art Almanac May 2017 $6

Sarah Contos Troubled Waters Claire Lambe

Art Almanac May 2017

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From immutable damage to the environment, the fluidity of identity, dislocation in migration to seeing beyond the prescription of patterns or materials ‘changing states’ has emerged as a focal point this issue.

Artists and shows that delight in the joyful as well as confronting nature of transformation include Sarah Contos, Nathan Beard, Claire Lambe, ‘The National’ across Sydney city and ‘Troubled Waters’ at the Anne & Gordon Samstag Museum of Art. Variations on this idea can also be found in our survey of artist books and news items that, as in Laith McGregor’s monograph and the ‘Behind the Wire’ project, confirm our constant evolution.

Editor – Chloe Mandryk cmandryk@art-almanac.com.au Deputy Editor – Kirsty Mulholland 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

Cover Sarah Contos, work in progress Courtesy the artist and Roslyn Oxley9, Sydney

Accounts – Penny McCulloch accounts@art-almanac.com.au T 02 9901 6398 F 02 9901 6116 Locked Bag 5555, St Leonards NSW 1590 art-almanac.com.au

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Stories from Detention ‘They Cannot Take the Sky’ is a new book and exhibition project conceived by Behind the Wire, an organisation devoted to supporting and sharing the stories of people who have sought and are seeking asylum and refuge in Australia.

‘Stories from Detention’ is on until 2 July and will present video, portraits and audio by 22 narrators sharing harrowing journeys as well as universal ideas about love, death and hope.

We hear from both those settled in Australia as well as three people who remain in the Manus Island Regional Processing Centre, including Behrouz Boochani, Iranian journalist and asylum seeker, who explains; “The sky is like a friend for a prisoner, because around you everything is metal fences, but the sky, they cannot take the sky.” behindthewire.org.au They Cannot Take the Sky: Stories from detention, installation view at the Immigration Museum Photograph: by Stewart Donn Courtesy Behind the Wire and Immigration Museum, Melbourne

Tracey Moffatt at the Venice Biennale Tracey Moffatt is representing Australia at the 2017 Venice Biennale 13 May to 26 November.

‘MY HORIZON’ explores journeys both legal and illegal with new work consisting of two major large-scale photographic series and two video works. Constructed narratives of race, gender, sexuality, desire, identity, human connection and displacement are revealed in these pieces.

Curator Natalie King says the presentation is “capacious, open, expansive and personal – an exhibition that references film, art and the epic history of photography, as well as aspects of her family history.” Coinciding with the Biennale at the historic Palazzo Mora is contemporary Australian land artist and sculptor Andrew Rogers with ‘We Are’ – an installation of eight large bronze and stainless steel sculptures looking at ideas of the individual within a community. labiennale.org Tracey Moffatt, Hell, 2017, from the series ‘Passage’, C-type photograph on gloss paper, 105.5 x 156cm Courtesy the artist, Roslyn Oxley9 Gallery, Sydney and Tyler Rollins Fine Art, New York

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The Legacies of Bernard Smith Essays on Australian Art, History and Cultural Politics

Edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip Power Publications

Australian art historian Bernard Smith (1916-2011) is honoured for his contribution and influence in; the development of Australian art history, anthropology, the creation of Australian collections, Indigenous philanthropy and politics in contemporary art in this comprehensive volume of essays accompanied by a collection of photographs and images. A biographical overview and several chapters discuss Smith’s commitment and passion for education, art-historical scholarship and political issues. This publication acknowledges Smith as a major figure in the Australian cultural landscape and the legacy he has bestowed on Australian art history. “Reconsidering Smith’s legacies illuminates not only the past, but future possibilities.” – Julie Ewington

S-O-M-E-O-N-E

Text by Romy Ash and Robert Leonard Editors Dan Rule and Justine Ellis Perimeter Editions

Laith McGregor’s practice is the focus of this artist book intent on a state of flux. Its fold out art-cover is multifaceted and can be appreciated from any orientation. The title throws up clues and converging voices but doesn’t promise definition – yet its storytelling is generous. ‘S-O-M-E-O-N-E’ takes the dogleg with a mix of fiction and analytic texts amongst full bleed and passport size reproductions of McGregor’s drawing, watercolour and sculptures from the last five years. In the opening pages a short story

by Romy Ash doubles down on McGregor’s psychic, layered, cumulative and diaristic works, later Robert Leonard’s taxonomy offers insight into his beard, pipe and portrait motifs.

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Troubled Waters Liv Spiers

In March, New Zealand became the first country to legally recognise a river as a living being.

Te Awa Tupua is now acknowledged as a legal person and ancestor of the Whanganui tribe.

Identifying a waterway as a single, though complex, entity challenges the colonial concept of a river as a natural resource to be exploited. What if the Murray-Darling River was a person? How differently would we relate to Australia’s largest river system?

‘Troubled Waters’ completes a triptych of exhibitions at the Samstag Museum of Art exploring humanity’s relationship with rivers and oceans. ‘The Ocean After Nature’ and ‘Countercurrents’ were exhibited earlier this year for the Adelaide Festival. ‘Troubled Waters’ is an interdisciplinary project curated by Dr Felicity Fenner, director of UNSW Galleries, in collaboration with Professor Richard Kingsford from the University of New South Wales (UNSW) Centre for Ecosystem Science.

It seems fitting the exhibition travelled from New South Wales to South Australia, given its commissioned works also follow the Murray-Darling River from source to sea.

‘River Journey’ forms one of three parts to the exhibition. Multimedia works by five contemporary artists respond to UNSW’s research into human impact on water environments. Andrew Belletty’s installation appeals to all the senses. A flyover along the river is enriched by an immersive soundtrack. Tactile elements invite curious fingers to interact with the sweat of the river.

In contrast, Janet Laurence’s glass vessels emphasise the unnatural nature of purified water.

Flowing water is replaced by manufactured white cloth. Translucent organisms shadow-play across the surface. This is the cleansed, filtered, artificial relationship we have with our water.

This is a river with amnesia; water that’s forgotten who it was.

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Claire Lambe

Mother Holding Something Horrific Macushla Robinson

Sigmund Freud had a strange way of sitting in a chair. With one leg slung over the edge, he would read with his head thrown back and a book held aloft. His daughter Mathilde commissioned the architect Felix Augenfeld to design a chair that would more comfortably support her father’s habitual reading posture. It was built especially for his body, his way of sitting.

Melbourne-based artist Claire Lambe reconstructed this chair. The chair itself, along with images of documentation, are included in her exhibition ‘Mother Holding Something Horrific’ at the Australian Centre for Contemporary Art (ACCA). One shows the chair ‘frankensteined’ together using an existing mechanism, cut plywood and paper, all held together with screws and tape.

Another depicts a more finished product on a white paper backdrop, lit from a single source, as though the object were being shot for a furniture catalogue. But the photograph includes more than the chair on the backdrop; it encompasses the artist’s studio, insistently revealing the space of production, the process of making. Lambe is committed to that process. Her work embraces the shortfalls, the awkwardness of materials that don’t quite fit together, the imperfection of reconstruction, the act of struggling to make something, and of getting lost in translation.

It is the act of trying to reconstruct Freud’s chair, not the reconstruction itself, that matters. It is the work of measuring against an original that is somewhere else, through photographs cobbled together from the internet. One of the images is captioned, making it look like a still from a foreign language film with subtitles. The caption reads, enigmatically, ‘she never speaks about herself she could be anything’.

The National Roslyn Helper Australia’s latest contemporary art biennale stretches across Sydney’s Art Gallery of New South Wales (AGNSW), Museum of Contemporary Art (MCA) and Carriageworks with new, past and commissioned works on display by emerging, mid-career and established artists from around the country. It is the first of three instalments promised across six years. So, what’s in a name and why does this mega multi-year art project take ‘The National’ as its framework at a time when a singular identity is no longer a hallmark of progress?

To answer this question, first take a trip to the AGNSW. There you will see Dale Harding’s Know them in Correct Judgement (2017). A wall stencil, created in situ with his uncle Milton Lawton and cousin Will Lawton using a mouth-blowing technique and ochre sourced from Ghungalu land. Like many of the works in the AGNSW component, it’s an exercise, or perhaps an exorcise, in historical retelling. This work considers the displacement of Aboriginal knowledge by the Christian mission system, which moved communities, cultural practices and objects off Country.

Brought into the gallery setting, the irony is rife, but it also adds potency. The stencils take on a ghost-like quality, engaging the viewer firsthand in the cultural displacement the very work speaks to.

Other highlights include Tom Nicholson’s mosaic installation Comparative Monument (Shellal) (2014-2017), Keg De Souza’s vacuum-packed food tent Changing Courses (2017), Nicholas Mangan’s video and installation work Limits to Growth (2016-2017), Taloi Havini’s multichannel digital video Habitat (2017) and Emily Floyd’s bold and cheeky entrance installation Kesh Alphabet (2017). Wherever you look, artists are mining their lived histories to bring new perspectives to light, not only reflecting but refracting cultural narrative to dislodge patriarchal, colonial and heteronormative fault lines, and to open us up to the breadth of our intersubjective cultural present.

Carriageworks’ program expands upon these themes with a series of large-scale installation and performance works, and a heavier focus on emerging artists such as Claudia Nicholson, Ramesh Mario Nithiyendran, Jess Johnson, and a performance program that features new work by Justene Williams and Atlanta Eke and Ghenoa Gela. Colour and spectacle threaten to override some of the quieter works that line the walls. It’s worth stealing time for Richard Lewer’s hand drawn animation Never Shall Be Forgotten – A Mother’s Story (2017) and Alan Griffiths’ balmarra boards.

The MCA features mid-career Australian artists from every state and territory, and is noticeably the most conservative arm of the program. Formally and conceptually many pieces employ modernist and early post-modernist concepts and forms, such as Marco Fusinato’s elegant, score-like works on paper that recall avant-garde artists such as John Cage, and Ronnie van Hout’s installation I Know Everything (2017), which eerily shifts ‘the gaze’ from viewer to subject and back again. That being said stand out works include D.108 Moon/Stargate (2009-2017) by Gary Carsley, an intricate, multilayered installation that continues his ongoing investigation into the artifice associated with European-Australian culture; Zany Begg and Elise McLeod’s durational video The City of Ladies (2016), which references the French historical text ‘The Book of the City of Ladies’ and invites seven young French women from various ethnicities, including Cambodian, Algerian and Tunisian, to imagine seven films that collectively create a utopic, dystopian and dreamlike filmic fiction informed by their personal lives; and Khadim Ali’s giant wall mural at the entrance, titled The Arrival of Demons (2017).

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Brendan Huntley Sincerely Yours

Martin Browne Contemporary Until 21 May, 2017 Sydney

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New Porcelain Beaver Galleries Until 14 May, 2017 Australian Capital Territory

While our expressions may seem insignificant or go unnoticed, Brendan Huntley takes on the not-so-small task of depicting the human condition. His ceramics and paintings consider personality as manifest through a mood, gesture or emotion. While a new use of bronze seems to address the more formal elements of our signals, toying with line and texture enticing us to see more than what’s at ‘face-value’. The gallery suggests that this new body of work will “dismantle the veils we drape over ourselves, then piece together the fractured images we project onto the world.”

Three ceramic artists unite in ‘New Porcelain’.

Prue Venables composes functional objects of serene, elegant forms. Keiko Matsui’s practice is influenced by the Japanese technique of ‘Kintsugi’ – the art of repairing broken pottery, and Uranishi’s ideas draw on traditions of Japanese art and culture to create domestic objects with a modern edge.

Untitled (Two), 2015-2017, patinated bronze and oil paint, 102 x 42 x 12cm, unique Courtesy the artist and Martin Browne Contemporary, Sydney

Keiko Matsui, Kintsugi bowl, Arita porcelain, clear glaze with cobalt, lacquer and gold pigment powder, 12 x 20.5 x 20.5cm Courtesy the artist and Beaver Galleries, Australian Capital Territory

“Through the juxtaposition of the curved thrown form and the sharply faceted foot, my work pursues the eternal beauty in contemporary ceramics.” – Keiko Matsui.

Unproductive Thinking Deakin University Art Gallery Until 26 May, 2017 Melbourne Whether through healthy diet, exercise or positive thinking, the pressure to be transforming into something better is constant, but for what purpose and reward?

‘Unproductive thinking’ centres on these ideas asking how artists engage their time and how does the production of art differ from the incessant push to always be efficient, diligent and productive in proposing imaginative alternatives?

Featuring work by Jessie Bullivant, Lauren Burrow, Eugene Carchesio, Laresa Kosloff, Rob McHaffie, Ian Milliss, Elyse de Valle and Simon Zoric.

Simon Zoric, Mood-O-Meter, 2010, Aneroid barometer, inkjet print, 21cm (diameter) Private Collection, Melbourne

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Sheena Colquhoun Spherical Bastards

Bus Projects 10 May to 3 June, 2017 Melbourne

Poetry and film are set in orbit in the new media work of Sheena Colquhoun. In recent years she has enriched her readings and curiously re-contextualised the accompanying video borrowed from expired popular culture, CCTV footage or photo-montage of found imagery. ‘Spherical Bastards’ (titled after Swiss astronomer Fritz Zwicky) is a single channel video essay, a layered constellation of symbols and words, images and poetry. It considers the “contradictory stance of being at once groundbreaking and a hindrance, of being at once in the stars and inside a body,” says the artist.

Spherical Bastards, 2016, digital video still Courtesy the artist and Bus Projects, Melbourne

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!

Synapse announcements for 2017

The Australian Network for Art and Technology (ANAT) has announced the recipients for the 2017 Synapse Residency for artists and scientists/researchers.

Baden Pailthorpe, and his research partner, Aaron Coutts, Professor of Sports and Exercise Science at the University of Technology, Sydney will be working on the development of a method to determine the influence of crowd behaviour on AFL and NRL player performance during their residency. Supported by Copyright Agency’s Cultural Fund.

Synapse alumni, Madeleine Flynn, is a Melbournebased audio artist and has been selected as the winner of the Australia Council’s Emerging & Experimental Arts Award 2017 that celebrates the outstanding achievements of Australian emerging artists practicing experimental art.

Fremantle Arts Centre Print Award

Entries close 19 May, 2017 Supported by Little Creatures Brewing, the Fremantle Arts Centre Print Award is Australia’s premier showcase of prints and artists’ books that has been running for more than 40 years with a national judging panel and $22,000 in prize money.

The FAC Print Award presents the best works from established, emerging and cross-disciplinary artists.

Winning works are acquired by the City of Fremantle Art Collection. fac.org.au

Kate Derum & Irene Davies Award

Entries close 4 June, 2017 The Kate Derum & Irene Davies Awards for Small Tapestries are open from 1 May, inviting professional Australian and international textile artists to submit entries of hand woven tapestries, defined as ‘weftfaced fabric with discontinuous wefts’, made since June 2015. Both awards are non-acquisitive. Kate Derum Award $5,000. Irene Davis Emerging Artist’s Award $1,000. austapestry.com.au

The Incinerator Art Award: Art for Social Change

Entries close 5 June, 2017 Inspired by the original architects of the Incinerator Gallery, Walter Burley Griffin and Marion Mahony, the Incinerator Gallery’s annual contemporary art prize is open and calling for entries for works that aim to create positive social change from artists who interrogate contemporary culture with practices that engage with activism, or operate in more subtle ways to achieve their goals. A total prize pool of $14,000 includes the $10,000 Boathouse Award, $3,000 Incinerator Gallery Award and the $1,000 People’s Choice Award. incineratorgallery.com

Madeleine Flynn Photograph: Pier Carthew Image sourced australiacouncil.gov.au

Incinerator Art Award 2016, with works by Adam Cusack and Ashlee Laing, Incinerator Gallery

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Stephen McLaughlan Gallery

Level 8, Room 16, 37 Swanston Street (cnr Flinders Lane), Melbourne 3000. T 0407-317-323.

W www.stephenmclaughlangallery.com.au Director: Stephen McLaughlan. H Wed-Fri 1.00 to 5.00, Sat 11.00 to 5.00 or by appt. To May 6 Empathy.

May 10 to 27 Craig Barrett.

Southbank Sth Melbourne Australian Centre for Contemporary Art (ACCA)

111 Sturt Street, Southbank 3006.

T (03) 9697-9999. W www.accaonline.org.au Free admission. H Tues-Fri 10.00 to 5.00, Sat-Sun 12.00 to 5.00, Mon by appt. To June 25 Influential Australian Artist Series – Claire Lambe: Mother Holding Something Horrific. Borrowing from the conventions of television, cinema and theatre, Claire Lambe brings sculptural objects and props, performance and images into free association – provoking existential questions related to identity, sexuality and vulnerability. In this major exhibition of newly commissioned work, the artist’s most ambitious project to date, Lambe works with sculpture, photography, biography and theatrical mise-en scène to create intimate and psychological spaces in an attempt to describe the human condition in its cruel reality and horrifying glory.

Claire Lambe, Mother Holding Something Horrific, 2016–17, production still Courtesy the artist and Sarah Scout Presents, Melbourne

86 Melbourne

Australian Tapestry Workshop

262-266 Park Street, South Melbourne 3205.

T (03) 9699-7885. E contact@austapestry.com.au W www.austapestry.com.au Gold coin entry to the galleries and workshop. H Tues-Fri 10.00 to 5.00.

Guided tours Wed 11am and Thurs 2pm, $10 per person: bookings essential. View the weavers and dyer at work on major contemporary art commissions, and artists in residence. Tapestries being woven on the looms designed by Keith Tyson and Guan Wei. May 17 to July 7 (opening Tues May 16, 6-8pm) ATW AIR 16 – an exhibition of Artists in Residence from the Australian Tapestry Workshop in 2016.

Also, Elements – 30 artists from Australia, the United States and the United Kingdom show their small format woven tapestries in an international touring exhibition.

Martha Poggioli, ATW AIR 2016: Object suspended between the spaces, 2016, digitally scanned negative Courtesy the artist

Margaret Lawrence Gallery

40 Dodds Street, Southbank 3006.

T (03) 9035-9400. E ml-gallery@unimelb.edu.au W www.vca.unimelb.edu.au/mlg H Tues-Sat 12.00 to 5.00. May 19 to June 10 (opening Thurs May 18, 5.30-7.30pm) Restless – comprises recent works by Megan Evans, Karla Dickens, Jordan Marani, Nick Devlin and Danie Mellor. These works are presented as a counterpoint to a suite of ‘welt’ paintings by Gordon Bennett (1955-2014). Bennett’s highly influential exhibition ‘A Black History’ (1993 Sutton Gallery, Melbourne) marked a turning point in Australian art history. At the time, Bennett’s work confronted Australian and international audiences with an unprecedented questioning of the ways in which Australian history is constructed and presented.

In 2017, these same paintings sensitively articulate both personal and shared experiences, and shine a light on the processes of revealing and concealing the past. More than unpacking the complexities of history, Bennett’s often chilling imagery can be understood as a declaration of new possibilities, responsibilities and sensitivities for Australian artists and curators.

Nth Sydney Northern Beaches Grace Cossington Smith Gallery

Harvey Galleries Mosman

842 Military Road, Mosman 2088. T (02) 99682153. E mosman@harveygalleries.com.au W www.harveygalleries.com.au H Tues-Sat 11.00 to 6.00, Sun 12.00 to 5.00. Select key works from important artists. May 26 to June 11 Reef new drawings and paintings by Peter Hudson.

See ad page 31.

Gate 7, 1666 Pacific Highway, Wahroonga 2076.

T (02) 9473-7878. W www.gcsgallery.com.au facebook.com/gcsgallery Free entry. H Mon-Fri 10.00 to 5.00, Sat 9.00 to 4.00. To May 27 Cut Fold Shape – an exploration of elements underpinning textile, fashion and art. Works by Yasmina Black, Sue Pedley, Kate Scardifield, Donna Sgro, Vintage Fashion and University of Technology Sydney students. After hours event: meet the artists and students: Tues May 2, 4.30-7.30pm.

Peter Hudson, Ocean Above/Ocean Below (2), oil on board, 33 x 27.5cm Courtesy the artist and Harvey Galleries

Harvey Galleries Seaforth

Kate Scardifield, Base Matter, 2015, production still, HD video, 22 mins looped, editing and choreography in collaboration with Andrew Haining, edition of 3 + 1 AP Courtesy the artist and ALASKA Projects, Sydney

515 Sydney Road, Seaforth 2092.

T (02) 9907-0595, 0408-359-199. F 9907-0657.

E service@harveygalleries.com.au W www.harveygalleries.com.au H Wed-Sat 11.00 to 6.00, Sun 12.00 to 5.00. Curated monthly exhibitions, see website.

Headland Park Artist Precinct

Read Place, off Middle Head Road opposite Cobbittee Street, Mosman 2088. T 0409-653-222.

E info@headlandparkartistprecinct.com W www.headlandparkartistprecinct.com In beautiful Headland Park: 20+ artists working and selling from their studios, three art schools, art restoration and Frenchy’s Café. Studios open to the public weekdays and some weekends. The Landship Gallery Headland Park Mosman May 8 to 14 (opening Sat May 13, 4pm with the artist and live music) OM by Chantal Mahoney continues her exploration of colours and music in her new series of work. 0414-500-319, chantalmahoney@yahoo.fr, chantalmahoney.com

142 Sydney

Darwin Charles Darwin University Art Gallery

Ground Floor, Building Orange 12, Casuarina Campus, Darwin 0909. T (08) 8946-6621.

W www.cdu.edu.au/artgallery H Wed-Fri 10.00 to 4.00, Sat 10.00 to 2.00. Visit our website for programs and events. To July 15 The Sculptures of Atauro Island.

Museum and Art Gallery of the Northern Territory

19 Conacher Street, The Gardens 0820.

T (08) 8999-8264. E info@magnt.net.au W www.magnt.net.au Free entry. H Mon-Sun 10.00 to 5.00. To June 4 Exit Art 2016 NT Year 12 student exhibition. To Aug 13 Hot! Highlights from the MAGNT art collection. To June 18 Piksa Niugini photographs by Stephen Dupont (see ad page 3).

the 50th anniversary of the 1967 Referendum.

Gallery 2 & Boxset: Ancestry by Jason Rao Sellaiah – Wadeye/Port Keats-based artist pays tribute to his late father through 2D/3D forms. Screenroom: Australia, long before it had a name by Katherine Bradley – Darwin-based artist’s narrative frieze in oil paints.

Alice Springs Artback NT Arts Development and Touring

67 Bath Street, Alice Springs 0871. T (08) 89535941. W www.artbacknt.com.au Artback NT is the Northern Territory’s arts development and touring agency. The visual arts program works with individuals, groups and arts-based organisations to present and tour dynamic and exciting visual arts exhibitions nationally and within the Northern Territory with a focus on the development and promotion of Northern Territory artists.

Watch This Space ARI

4/9 George Crescent, Alice Springs 0871.

T (08) 8952-1949. E wts@wts.org.au W www.wts.org.au H Tues-Fri 12.00 to 5.00, Sat 10.00 to 2.00 when exhibitions are on. Showcasing local, interstate and international emerging and established artists. May 13, 11-2pm Shiny Party Fundraiser – lawn sale, live music and food. Shiny Party: 5pm to midnight. May 23 to 26 (opening Thurs May 25, 4.30-8pm) Strange Careers Zine Fair & Exhibition. May 30 to June 3 (opening Fri June 2, 6pm) 60,000 Artists – Watch This Space & Arid Lands Environment Centre Exhibition Fundraiser.

Stephen Dupont, Sing-sing drummer, Enga show, Wabag, Eastern Highlands, 2011 Courtesy the artist

Northern Centre for Contemporary Art

Vimy Lane, Parap 0820. T (08) 8981-5368.

W nccart.com.au Director: Maurice O’Riordan.

H Wed-Fri 10.00 to 4.00, Sat 10.00 to 2.00 or by appt. The Northern Centre for Contemporary Art delivers leading local, national and international contemporary art to Darwin. May 13 to June 10 Gallery 1: Golden Years by Karina Coombes and Joanne Nasir. Darwin-based Nasir and Melville Island-based Coombes (Munupi Arts) commemorate

Ira Gold, Untitled, 2016, markers on art-board, 30 x 35cm Courtesy the artist and Watch This Space ARI

Northern Territory 177