Art Almanac October 2017 $6
Justine Varga Rhys Lee Amber Wallis
Art Almanac October 2017
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
From youth incarceration, alternative lifestyles, fake news to how we define ‘art’ this issue considers the fallibility of the ideology that shapes society. As such the stories in these pages are personal and political with Sam Cranstoun questioning what is real in an age of information, Amber Wallis’ veiled but frank paintings and Justine Varga’s approach to photography that has some shook.
Deadline for November 2017 issue: Wednesday 4 October, 2017.
Contact 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
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Accounts – Penny McCulloch accounts@art-almanac.com.au
Justine Varga, Post Impression (detail), 2017 from ‘Photogenic Drawing’, C-type photograph, edition of 5, 158.5 x 122cm Courtesy the artist and Hugo Michell Gallery, Adelaide. © The artist
T 02 9901 6398 F 02 9901 6116 Locked Bag 5555, St Leonards NSW 1590 art-almanac.com.au
On view now in Sydney at the Australian Centre for Photography and the National Art School.
Editorial Assistant – Penny McCulloch listing@art-almanac.com.au
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Liveworks Performance Space has commissioned and curated a two-week program of live and cross-disciplinary art from Australian and international artists that as Artistic Director Jeff Khan enthuses, bring “fresh perspectives to some of the most urgent and pressing issues of our time… and the role of art in the midst of all this chaos.” On at Carriageworks, Sydney from 19 to 29 October the festival will premiere new works from Christian Thompson, Agatha Gothe-Snape and Justin Shoulder, to name a few. In addition, and in parallel with Mardi Gras, the organisation will present ‘Day for Night’, an event celebrating queer performance and party culture with unique contributions from artists, DJs, performers and of course – lovers! performancespace.com.au
Liz Ham, Tristan Jalleh and Justin Shoulder, Carrion, 2017 Courtesy the artists and Performance Space, Sydney
Experimenta Make Sense Harvard biologist Edward Osborne Wilson suggests humans have “Paleolithic emotions, medieval institutions and god-like technologies.” ‘Experimenta Make Sense: International Triennial of Media Art’ incorporates digital media, science, technology, and design by international and Australian artists who explore what it means to be human in a fast-moving technological age. Highlights include ‘Pull’ by Michele Barker and Anna Munster – a walk-through installation that fabricates a wave breaking through sonic and visual presentations. Lucy McCrae’s ‘The Institute of Isolation’ is a fictional documentary exploring the body and its adaptations to sensory deprivation and extreme isolation, and ‘A Hierarchy of Eddies’ invites interaction with a large transparent chamber of swirling white balls to signify the scientific concept of ‘complex systems’, presented by Scale Free Network. On at RMIT Gallery, Melbourne from 2 October to 11 November. experimenta.org Lucy McRae, The Institute of Isolation Photograph: Julian Love Courtesy the artist and RMIT Gallery, Melbourne
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Underbelly Arts Ten years of experimental, emerging and contemporary art practices from the ‘Underbelly Arts Festival’ will be celebrated with 21 ambitious new projects from 116 artists developed in an ‘art lab’ – valuable studio time which ticket holders can preview. Director Roslyn Helper says this space was critical and “a reaction to unaffordable real estate and the silo-ing of radical practice in Sydney.” Among many works the multi-arts showcase includes Pony Express with Ian Sinclair and Loren Kronemyer whose choreography plans include a kayak, seagulls and hot chips to focus our attention to environmental apocalypse, and Amrita Hepi in collaboration with Prue Stent and Honey Long who debut a work incorporating dance and a soft, membranous structure to shelter and embrace their audience. Several of the promised pieces are participatory including the roving Merch Stand by Sydney artists Connie Anthes and Rebecca Gallo and Complaint Department from musician Angela Garrick and artist writer Yarran Gatsby. It’s a diverse festival but a focus does fall on the body, as Helper said “the body is political. As today’s Australian artists come to terms with our fractured cultural heritages, there is a sense that we are carrying multiple histories, multiple selves, and therefore, multiple possibilities.’” On at the National Art School from 7 to 8 October ‘Underbelly Arts Festival’ aims to expose the “messiness and labour of what it takes to make art and pushes against our culture of perfection,” says Helper, adding “We say yes to artists.” Gwen Taualai, Tweets from the Underground, 2017 Courtesy the artist and Underbelly Arts Festival, Sydney
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Parallel Realities: The Development of Performance Art in Australia Neil Howe
Thames & Hudson
‘Parallel Realities’ presents the expansive and complex history of performance art in Australia from the 1950s to today arguing that unlike the international canon our development was informed less by broader art movements but shaped by theatre, avantgarde individuals, music, travel, political identity and a reaction against static notions of nationhood. That being said, ideologies did play a part and the text refers to the Antipodean Manifesto, Dada, The Yellow House, Oz magazine, clubbing and ARIs. A generous portion of the book surveys 33 leading pioneers in performance art including Ken Unsworth, Tim Burns, Stelarc, George Gittoes, Kevin Mortensen, Jill Orr, Bonita Ely, Lyndall Jones and Aleks Danko.
Running the City: Why Public Art Matters Felicity Fenner
NewSouth Publishing
Place making and inhabitation, Felicity Fenner’s current curatorial research interests, are the focus of this title which should intrigue artists, the public and policy leaders. Both Australian and international activity-based and pop-up art actions are profiled in the thoughtfully referenced text, providing insight into the intention and affect of contemporary artists whose work is inspired by the environment as well as collectives that respond directly to space – transforming it long term or temporarily with diverse approaches such as running, cycling, architecture, and guerilla gardening. ‘Running the City’ presents a new way to think about ‘home’ and the paths we cut day-to-day.
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Justine Varga
Photogenic Drawing Craig Malyon
Photography has the potential to astound. However, in our age of smartphones and social media, the power of the photographic image has been diminished from its position of ‘the impossible science of the unique being’ as Roland Barthes proselytised. As such it is refreshing to view the work of Justine Varga and her expansive view of aesthetics. She revels in the medium’s ability to embrace the mystery of existence, acknowledge ‘being’ and nothingness. Varga’s installation at the Australian Centre for Photography titled ‘Photogenic Drawing’ (named after photographic pioneer, William Fox Talbot’s 1834 book) pays respect to non-camera photography and the inception of photography. It presents an aggregate of the artist’s perception of the physical and emblematic world. Whilst many recognise the conventions of abstraction in her work, Varga maintains it is the presence of a person (in many cases, but not solely, the artist) that is paramount – or, “how we experience everything through the body… It’s all about presence and absence,” she clarified. The phenomenon of ‘presence’ is uniquely documented in this show, as the artist not only offers a compression of time, often associated with photography, but an archeology of light and performativity. As a result, ‘Photogenic Drawing’ reads as an amalgamation of memory, metaphysics and materiality. Varga’s non-camera based photographs challenge the popular understanding of the medium; through interventions with light sensitive negatives she extends moments to produce images that disclose another state. Light and the ‘performative action’ of the photographer rattle our
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Rhys Lee
10 Paintings & 100 Drawings Elli Walsh
Rhys Lee’s painted protagonists slide between shapes and species like hallucinatory projections of subliminal currents. Bestial snouts and anthropoidean faces flicker with the familiar and strange, knocking humanity off its evolutionary throne into a shadowy subterranean world where renegade cowboys and carnivalesque outcasts lurk with predatory stealth. This year Lee has been working on two shows, in Cologne and Melbourne, amassing a total of 40 medium to large oil paintings. In line with the artist’s practice of forced accidents and willing spontaneity, the paintings for his presentation at Nicholas Thompson Gallery have been randomly selected; a baboon next to a giant pink worm, twin poodles beside a severed hand. This dissonant menagerie chisels an uncanny chink in the edifice of reality, ushering the viewer into a liminal space where the id reigns strong. Navigating the works, we become Joseph Conrad’s ‘Marlow’ drifting up river into the elusive heart of darkness.
Lingering on the edge of abstraction, Lee’s herd of rogue Bosch-like agents function as symbolic proxies for our own repressed fantasies and fears. Smothered in clownish makeup and absurd costumes, the personas are comically alluring as they are threatening – it is as if they have appeared to us either from a mild masquerade party, violent ritual… or both. In this parallel world, contradictory emotions consort in paroxysms as distant echoes of Orwellian doublethink ricochet around the picture plane, marrying melancholy with ecstasy, malevolence with tenderness, pleasure with agony. This cognitive tussle materialises as defined edges are buffeted by loose, fuzzy brushwork, rendering the figures both affectionate and dangerous in a kind of grotesque reverie. 42
Terra Incognita
Hilarie Mais
Galerie Ernst Hilger Until 28 October, 2017 Vienna
Museum of Contemporary Art Australia (MCA) Until 19 November, 2017 Sydney
An exhibition of works by Indonesian, Filipino, Pakistani, Cambodian and Australian artists exploring the visual poetry of art and its relationship to language. The artists all weave narrative and symbolism in their works “ultimately conjuring all that is commonly attributed to language”, says curator Matthias Arndt of ARNDT gallery. ‘Terra Incognita’ will be presented as part of ‘curated by_vienna 2017’ and includes works by Khadim Ali, Del Kathryn Barton, Patricia Piccinini and Ben Quilty among others.
Patricia Piccinini, Unfurled, 2017, silicone, fibreglass, human hair, Masked Owl, found objects, 1 of 3 + 1AP, 108 x 89 x 80cm Courtesy the artist and Galerie Ernst Hilger, Vienna, Austria
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“The outcome cannot be predetermined; it evolves, it can be a surprise,” explained Hilarie Mais on the systematic quality of her practice which has become synonymous with the confluence of formal structures and shapes we find in nature. This exhibition, curated by Blair French and Manya Sellers, features 20 major works and surveys three key threads of her practice; a ‘ghosting’ of colour between the work and its installation context, grid/square and circle/spiral systems in the pieces and multiple component works.
Tempus 6, 2014, oil on wood, 122 x 122 x 7cm Photograph: Jessica Maurer Courtesy and © the artist and Museum of Contemporary Art Australia (MCA), Sydney
Neil Roberts
Melissa Boughey
Chances with Glass
CROSS COUNTRY
Neil Roberts (1954-2002) was an admired Canberra artist whose reputation on the national and international art scene grew over the course of 20 years. Combining glass with found materials, collected at home and abroad, including metals, tools and wood he produced new forms and sculptures. Within these objects Roberts portrays inherent characteristics and attributes of masculinity and perceptions of ‘maleness’.
Melissa Boughey expresses her attachment to land and place with works on paper board with oil and beeswax and a 4-metre drawing made ‘en plein air’. Boughey’s representations are drawn from time spent immersed in her environment while walking, driving and camping.
Top: Untitled (from ‘The Ring’ series), 2000, toner transfer on cement on glass, 11.7 x 31.3cm Bottom: Untitled (from ‘The Ring series’), 2000, toner transfer on cement on glass, 11.7 x 31.2cm Photographs: David Paterson Courtesy Canberra Glassworks, Australian Capital Territory
Memory, washed away, 2017, oil on board, 30 x 30cm Courtesy the artist and Turner Galleries, Western Australia
Canberra Glassworks Until 15 October, 2017 Australian Capital Territory
Turner Galleries 6 October to 4 November, 2017 Western Australia
“Each work is a journey in itself, a moving through the landscape, a psychological terrain to traverse. Like walking up a hill with the landscape, the painting reveals itself to me during the process.” – Melissa Boughey
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All that is solid… TarraWarra International TarraWarra Museum of Art Until 12 November, 2017 Melbourne
‘All that is solid…’ is the third iteration of ‘TarraWarra International’. Artists Didem Erk (Turkey), Cao Fei (China), Tom Nicholson, Patrick Pound and Cyrus Tang (Australia) present perspectives on social change, conflict, and altered political and urban landscapes, prompted by events marked through history and the present. “Viewers will encounter sewn books, robotic vacuum cleaners, cremated encyclopaedias, charcoal, ash, porcelain, and images of changing architectural and natural environments – some in a state of ruin – presented on video and in photography”, says curator Victoria Lynn.
Didem Erk, Black Thread (detail), 2016-17, sewn books, wooden table, wooden chair and table lamp, dimensions variable Courtesy the artist, x-ist gallery, Istanbul and TarraWarra Museum of Art, Melbourne
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Joyce Hinterding and David Haines Energies
Perth Institute of Contemporary Arts Until 29 October, 2017 Western Australia
‘Energies’ surveys the collaboration of two Australian artists across 15 years, exploring the energies and forces that are quietly humming all around us that we cannot see. Joyce Hinterding’s acoustic and electromagnetic phenomena and David Haines’ hallucinatory video worlds and aroma-based compositions come together in an intriguing showcase of interactive cinema, installation, sound, video, sculpture, photography and drawing. The hidden marvels of the universe manifest through these multi-sensory artworks.
Joyce Hinterding, Large Square Logarithmic VLF Loop Antenna (detail), 2015, installation view, ‘Energies: Haines & Hinterding’, 2015, Museum of Contemporary Art Australia, Sydney © the artist Photograph: Christopher Snee Courtesy the artist, Sarah Cottier Gallery, Sydney and Perth Institute of Contemporary Arts (PICA), Western Australia
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! 360 VISION: Virtual Reality Development Initiative for the Arts 2017
Create NSW’s Virtual Reality (VR) projects offer artists and cultural practitioners the opportunity to share in $120,000 to support the development of skills in the field. Seven projects representing a diverse range of art forms including theatre, dance, visual and digital arts have been selected. The recipients include; David Clarkson who is undertaking research for the ‘Big Skies’ project. Josh Harle will collaborate with a group of artists for his ‘Experimental VR lab’. Rosie Dennis is going to the ‘South by Southwest’ interactive conference and to the International Animation & Virtual Reality Research Center in California to research VR practice, while Sumugan Sivanesan will participate in ‘Closer’ a 4-week workshop at the School for Machines, Making and Make-Believe in Berlin. Yukino McHugh plans to develop a choreographic exploration for ‘Mx.Red’ (pronounced misread) – a ‘fictional utopia where views on what gender is and how we communicate shift’. Ella Millard of Erth Visual & Physical Inc is working towards an experiential theatre piece for ‘Outsider Project’, and Dr Gregory Ferris’ 12-minute film ‘Sympathetic Threads’ promises to bring live action, animation and VR graphics together with a focus on dramas and characters partly inspired by American filmmaker Robert Altman. “This fund is all about providing our artists and cultural practitioners with the development opportunity that they need to fully understand and embrace VR into their art, no matter what form that takes”, says Create NSW CEO Michael Brealey.
Arte Laguna Prize
Entries close 16 November, 2017 This international prize based in Venice, Italy, is an open-themed art competition and invites works across nine categories; painting, sculpture and installation, photographic art, video art and short films, performance, virtual art, digital graphics, land and urban art. An international jury will select 115 finalists for rewards including five cash prizes, one major exhibition in the Arsenale of Venice, three exhibitions in international art galleries, three collaborations with companies, 11 residencies, three international festivals, and publication of the catalogue. artelagunaprize.com
The Collie Art Prize
Entries close 12 January, 2018 The Collie Art Gallery of Western Australia has launched a new $50,000 prize and it is set to become the richest individual acquisitive art prize offered in regional Australia. Artists are invited to submit works that explore identity and belonging and define who we are and how we relate to the world around us. collieartgallery.org.au
Glover Prize
Entries close 5pm, 26 January, 2018 The Glover Prize celebrates the legacy of artist John Glover. Open to national and international artists for works completed within the previous 12 months are invited. The 2018 prize offers $50,000 plus a bronze maquette of Glover, awarded to the painting that is deemed the best contemporary landscape of Tasmania. An exhibition will be held in March 2018 at the historic Falls Park Pavilion in Evandale, Tasmania. johnglover.com.au
GreenWay Art Prize
Entries close 5pm, 16 October, 2017 The GreenWay Art Prize is calling for works that capture the essence of The GreenWay along the Cook’s River in Sydney’s Inner West. Exhibitions will be held at Art Est. Art School and Gallery in Leichhardt from 2 to 14 November, at Seaview Gallery in Dulwich Hill from 20 to 26 November, and Bankstown Arts Centre 5 to 19 December. greenwayartprize.com.au
360 Vision Courtesy Create NSW
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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. Oct 10 to Nov 14 Immersed an exhibition of paintings by William Holt.
The Art of Dr. Seuss Presented by Harvey Galleries, Block Arcade
The Block Arcade, 19-18/282 Collins Street, Melbourne 3000. E drseussmelbourne@harveygalleries.com.au W www.harveygalleries.com.au H Mon-Thurs 10.00 to 6.00, Fri 10.00 to 7.00, Sat 10.00 to 6.00, Sun 10.00 to 5.00. Authorised editions from the Seuss Estate.
Koorie Heritage Trust
Yarra Building, Federation Square, Melbourne 3000. T (03) 8622-2600. E info@koorieheritagetrust.com W www.koorieheritagetrust.com CEO Tom Mosby. H Daily 10.00 to 5.00. To Oct 8 What If? by Marlene Gilson, and Murnong: Yam Daisies by Deanne Gilson – explores the differing artistic styles and techniques of these Wadawurrung ancestors, and mother and daughter artists. Aunty Marlene presents new work telling iconic stories of her Country and community while Deanne Gilson examines the lived experiences of Aboriginal women, reversing the male colonial gaze for painting and ceramics. Oct 14 to Nov 26 Intertwined by Lisa Waup. Also, Balla-wein bloomtime by Jenny Crompton. See ad page 11.
Lesley Kehoe Galleries
Ground Floor, 101 Collins Street, Melbourne 3000. T (03) 9671-4311. E gallery@kehoe.com.au W www.kehoe.com.au H Tues-Fri 11.00 to 5.00, or by appt. To Oct 13 Baby It’s Cold Outside: The Remix World of Tomokazu Matsuyama. Oct 25 to Nov 30 The Big Bang Symphony by Tanabe Takeshi.
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.
Cage me a Peacock
Room 707, Nicholas Building, 37 Swanston Street, Melbourne 3000. T 0409-808-620. E info@cagemeapeacock.com W www.cagemeapeacock.com H Fri 12.00 to 6.30, Sat-Sun 12.00 to 5.00, Mon-Thurs by appt. To Oct 7 Sins by Shelley Horan. Closing drinks: Sat Oct 7, 2-5pm.
Tomokazu Matsuyama, Bon Voyage (NY), 2017, edition 2 of 3, 120 x 60 x 60cm Courtesy the artist and Lesley Kehoe Galleries
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CBD The Rocks Art Gallery of New South Wales (AGNSW)
Art Gallery Road, Sydney 2000. T (02) 9225-1744, 1800-679-278. W www.artgallery.nsw.gov.au Admission charges apply to some exhibitions. H Daily 10.00 to 5.00. Art After Hours: Wed to 9pm. To Oct 22 Archibald, Wynne and Sulman Prizes 2017. To Nov 12 Passion and procession: art of the Philippines. To Dec 3 Victorian watercolours. To Feb 4, 2018 Mikala Dwyer: a shape of thought. To Feb 11, 2018 Pat Brassington: the body electric. To Nov 19 Brett Whiteley Studio, Surry Hills: Brett Whiteley: west of the divide. Fri-Sun 10.00 to 4.00 only.
Sally Robinson, Head in a Box, 2017, acrylic on canvas, 152 x 106cm Courtesy the artist and Astor Art Gallery & Studio
Crawford Gallery
Mikala Dwyer, The letterbox Marys (detail), 2017 Courtesy and Š the artist
The Art of Dr. Seuss presented by Harvey Galleries, QVB
Level 1, Dymocks Building, 428 George Street, Sydney 2000. T 0422-144-688. E art@crawfordgallery.com.au W www.crawfordgallery.com.au H Wed-Sat 11.00 to 5.00. Oct 12 to Nov 7 Real + Surreal a selection of narrative paintings and works on paper, and The lyrical ceramicist: Patsy Hely.
Queen Victoria Building , Level 2, 33-35 / 455 George Street, Sydney 2000. T (02) 9261-0275. E drseuss@harveygalleries.com.au W www.harveygalleries.com.au H Mon-Wed 10.00 to 6.00, Thurs 10.00 to 8.00, Fri-Sat 10.00 to 6.00, Sun 11.00 to 5.00. Authorised editions from the Seuss Estate.
Astor Art Gallery & Studio Sally Robinson & Bruce Pussell 123-125 Macquarie Street (enter via Phillip Lane), Sydney 2000. T (02) 9247-8060. E enquiries@sallyrobinson.com.au W www.sallyrobinson.com.au H Mon-Fri 9.00 to 5.00, or by appt. Through Oct paintings, prints and glasswork.
Suzie Marston, The giant budgie suffers spontaneous combustion as the conversation turns from art to the redneck policies of rural Australia, oil on canvas, 150 x 150cm Courtesy the artist and Crawford Gallery
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Godinymayin Yijard Rivers Arts and Cultural Centre
Stuart Highway, Katherine East 0850. T (08) 8972-3751. E director@gyracc.org.au W www.gyracc.org.au H Tues-Fri 10.00 to 5.00, Sat 10.00 to 3.00. To Oct 21 Punuku Tjukurpa – wood carving and painting by artists from the Maruku Arts centre, Uluru.
Darwin ANKAAA The Association of Northern, Kimberley and Arnhem Aboriginal Artists
Frog Hollow Centre for the Arts, 56 McMinn Street, Darwin 0801. T (08) 8981-6134. E info@ankaaa.org.au W www.ankaaa.org.au Working together to keep art, country and culture strong since 1987. Association of Northern, Kimberley and Arnhem Aboriginal Artists (ANKAAA).
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. Oct 19 to Feb 17, 2018 Colin Holt: a survey.
Museum and Art Gallery of the Northern Territory (MAGNT)
19 Conacher Street, The Gardens, Darwin 0820. T (08) 8999-8264. E info@magnt.net.au W www.magnt.net.au Free entry. H Mon-Fri 9.00 to 5.00, Sat-Sun 10.00 to 5.00. To Nov 26, 34th Telstra NATSIAA – Telstra National Aboriginal & Torres Strait Islander Art Awards. To Jan 14, 2018 A Frontier Journey: Photographs by Otto Tschirn (1915-18). To Feb 14, 2018 A Ticket To Paradise. To Feb 18, 2018 Tjunguṉ tja: from having come together.
Northern Centre for Contemporary Art (NCCA)
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. Closed public hols. The Northern Centre for Contemporary Art delivers leading local, national and international contemporary art to Darwin. Sept 28 to Oct 7 (opening Thurs Sept 28, 6pm) Gallery 1 & Gallery 2 + Boxset: Love – Pride Exhibition – photographic portraits by Therese Ritchie presented in association with Darwin Pride Festival. Based on Ritchie’s earlier exhibition But you are not so Ugly including a Comedy Night by Daniel Alderman to Oct 1. Oct 14 to 21 (opening Fri Oct 13, 6pm) Fledglings – Fledgling CDU printmaking graduates.
Therese Ritchie Courtesy the artist and Northern Centre for Contemporary Art
Colin Holt, Untitled (Fitzroy Crossing), 2004, red pindan sand, PVA, bitumen, acrylic and lime on washing machine lid, 41.5 x 47cm Gifted to Charles Darwin University by Franck Gohier, 2007 Courtesy Charles Darwin University Art Collection
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