Art Almanac
October 2018 $6
Rob McHaffie Oceans From Here Halinka Orszulok
Art Almanac October 2018
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 November 2018 issue: Wednesday 3 October, 2018.
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.
Why are we here? Being a human on planet Earth seems to preoccupy the artists in this issue; from the passage of time in the work of Jenny Sages to Halinka Orszulok’s observation that the transition of nightfall alters space in mysterious ways. Rob McHaffie has created some of his most literal paintings to date, as he says ‘I don’t think surrealism really touches upon the weirdness of everyday life. What we’ve constructed as humans is worth looking at and reflecting upon.’ We also consider the ground where life unfolds in ‘Oceans From Here’ and Alicia Frankovich’s show ‘Exoplanet’ which investigate the Anthropocene.
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 Editorial Assistant – Penny McCulloch listing@art-almanac.com.au
Cover
Rob McHaffie, Word of mouth (Half Moon Bay) (detail), 2018, oil on linen, 138 x 184cm Courtesy the artist and The Gallery at Bayside Arts & Cultural Centre, Melbourne
Editorial Intern – Saira Krishan 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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Contour 556 Sixty Australian and international artists will participate in Canberra’s public art biennial ‘Contour 556’ from 5 to 28 October. Curated by landscape architect Neil Hobbs the event will see works by Emma Beer, Alex Asch, Byrd, Alexander Boynes, Kael Stasce, Chris Carmody, Dan Lorrimer, Alex Seton, Rosalind Lemoh and others inspired by the local environment and its history. In addition to exploring the site-specific installations audiences can add to their experience with talks and performances, or attend a forum on public art and space on Friday 26 October which ties into the guiding principle of ‘Contour 556’, ‘to transform how viewers remember or recall the Canberra landscape… searching for a link between art and the place they experienced it in,’ says Hobbs. contour556.com.au Harijs Piekalns, Manifest Submersion, 2018, welded and folded 304 ‘Super Mirror’ 1.2 mm stainless steel, ochre, Australian hardwood Fabricated by Steel 4 You, Queanbeyan, NSW Courtesy the artist and Contour556, Australian Capital Territory
Liveworks ‘Liveworks Festival of Experimental Art’ returns to Performance Space at Sydney’s Carriageworks, from 18 to 28 October with a stimulating program of conversations, workshops and innovative new works by artists from Australia and the Asia Pacific region; bridging ancient traditions with radical new perspectives, challenging national and cultural boundaries or transcending narrow definitions of gender, sexuality and identity, in a reflection of this year’s overarching theme ‘bodies at the edge’. Immerse yourself in a sonic wave of 100 plastic keyboards playing in unison, or step into the shoes of a refugee held in detention through the consoles of a video game. Experience a stranger’s embrace, fear the rise of the machine or ‘fembot’, or escape to a visionary matriarchal future inspired by First Nations cultural practices. performancespace.com.au Su Wen-Chi, Infinity Minus One Photograph: Etang Chen Courtesy the artist and Performance Space, Sydney
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Ryan Presley Prosperity
Institute of Modern Art, Brisbane
‘Prosperity reminds us that the Western narrative of capitalism and the closely associated liberal ideas of social progress, democracy and self-determination have been built on the exclusion of Indigenous economies,’ writes Madeleine King, who curated Ryan Presley’s first major soloexhibition at Institute of Modern Art earlier this year. In these pages we see the show documented with reproductions of his finely painted and incisively composed Blood Money series (2010-18) as well as full-page details, allowing the viewer greater insight into the patterning and thoughtful symbolism of these works which depict icons of the Aboriginal resistance. Contributions from Tina Baum, Daniel Browning, Suvendrini Perera and the artist explore the historical grounding and captivating aesthetic of the work.
Gemma Smith Found Ground Formist Editions
‘Dog-eared’ pages aren’t usually synonymous with high-end art publications. However ‘Found Ground’s’ elegant and clever design celebrates the formal and conceptual underpinnings of Gemma Smith’s practice with energy that is exciting for the initiated and those discovering the artist’s approach to painting. Folded corners divide the limited edition title’s chapters, which traverse reproductions and an essay by Julie Ewington surveying the nuance and vigour of Smith’s work. Ewington writes, ‘The primary pleasure that Smith offers with her paintings… is the surprise of perceiving colour, immediately and directly…We are jolted into fresh ways of looking, into actually working at the business of perceiving the world. It’s a way of being alive.’
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Rob McHaffie This is living Chloe Mandryk
‘Laughter and crying are most likely the two best therapies I’ve found,’ says Rob McHaffie, whose ebullient paintings personify splendour in the ordinary. The artist’s survey show is on view now at The Gallery at Bayside Arts & Cultural Centre and comprises paintings, watercolours and ceramic sculptures from the past five years. What’s so interesting about ‘everyday life’? For me I guess my mind gets occupied with what’s going on beneath the surface of simple gestures and chance encounters. ‘Everyday life’ offers a structure to perhaps parade in unison as an individual within a community. I’m fascinated by the roles we all play in order to perhaps avoid real confrontation of very central human questions. Why are we here? The answer can’t really be to ‘Netflix and chill’ or serve customers 50 hours a week in the print section of Officeworks. Is art a form of anthropology? Over the years what have you learnt from looking and then reproducing elements of Thai and now Victorian beachside suburban culture? Art for me is my quiet time. Art I think is communication. It’s strange that these are perhaps some of my most literal works but I feel they are so strange.
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Alicia Frankovich Exoplanets Tess Maunder
Potentially the most urgent issue of our time is that of the Anthropocene. There has been much discourse engaging with the intersection of our planet’s new epoch and that of creative practice. Artists are straddling a range of different methodologies for how to confront the issue; from environmental considerations in their actual material practice; front-line activism, to a layered approach to all the components that make up or ‘live in the shadow’ of the Anthropocene, such as capitalism, territories, globalisation, toxicity, technology, sovereignty and more. Alicia Frankovich is an artist who is engaging with; challenging and questioning these collective realities; including the Anthropocene; and where it, as an epoch connects and inter-relates to other facets of society. Frankovich is interested in bringing our attention to the nuances present in this age; for example our connection to technology and what that foundation means for what and who is viewed as human, alongside the inherent value systems that support the conditioning of what is normal in terms of human life. This new intersection of ideas is titled ‘Exoplanets’ and will be on show at Monash University Museum of Art, curated by Monash’s Hannah Matthews, and is largely a commissioned staging; alongside a temporal exhibition experience from Frankovich’s recent major solo show at the Kunstverein für die Reinlande und Westfalen, Düsseldorf, ‘OUTSIDE BEFORE BEYOND’, 2017. Aesthetically, Frankovich’s practice has a strong connection to ideas of movement and this spatially aware approach to practice will be experienced at an interpersonal level when navigating the space. Audiences can expect to see works that fall between the mediums of sculpture, video, animations and instruments. Frankovich was born in New Zealand and now lives and works in Berlin and Canberra. She obtained a BVA in sculpture at AUT in Auckland in 2002 and graduated from Monash University with an MFA in 2016; making this exhibition a homecoming of sorts. The artist has travelled and exhibited widely; in 2012 she was short-listed for the Walters Prize, New Zealand’s premier arts prize and in 2018 was a finalist in the Kunstpreis der Böttcherstraße in Bremen. Frankovich has undertaken various residencies at the ISCP, New York; Kunstlerhaus Bethanien, Berlin; AIR, Antwerp; Firestation, Dublin; and Gertrude Contemporary, Melbourne. These networks are important to the artist’s practice; and help to create deep and nuanced channels of exchange between Australia and the world. Indeed, what Frankovich argues is true; humanity is a wealth of multiplicities; and even at the individual layer we may perform and adopt multiple identities to navigate through the space of life. Crucially too; now not only are these performed, but also projected and visible within wider culture in a way that wasn’t possible in the past due to homogenous projections of reality. Tess Maunder is a writer, curator and researcher based in Brisbane.
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Monash University Museum of Art 6 October to 15 December, 2018 Melbourne
Jenny Sages Lest I forget Zoya Patel
In her 11th show at King Street Gallery, Jenny Sages addresses the magic of memory, and the effect of forgetfulness on the self. The twenty-time Archibald Prize shortlisted artist has a reputation for exploring the deeply personal in her work; After Jack, a self-portrait of grief, won the People’s Choice Award in 2012. The painting was striking and moving, with Sages presented in a moment of helplessness, her loss evident in the fine lines and muted colours of the composition. ‘Lest I Forget’ continues this theme, hinging its approach on the experience of ageing, and the impact on her memory. According to King Street Gallery ‘Jenny is entering a stage in life where she is aware that things are not always as they were – she no longer drives and is a bit more forgetful than she once was. The works reference her forgetfulness in a nice way, and sometimes are humorous too!’ ‘Lest I forget’ relies on vulnerability, and this is further reflected in the physicality of the pieces on view, all of which are very small, ‘delicate and subtle’ – connecting to the nature of memory itself as being both intricately detailed and easily damaged. The works will be leant on the walls of the gallery, unframed, enhancing the simplicity and rawness of the exhibition. Furthermore, the artist’s primary medium of encaustic on canvas or boards is a mercurial and fine process that suits this tone. Her pigments have been collected from across the globe, and the process of rubbing them into the wax ground, and then carving, replicates the aesthetic of weaving. As such the pieces have a recurring motif of threads and tangles, in tones of orange and blue, hinting at the way our identities are tangled with our memories, each reliant on the other for continuity of the self. Known for her portraiture, Sages has otherwise focused on landscapes. ‘Lest I Forget’ will return the focus to the studio, and is more internally driven by the artist’s own reflections on and experiences of memory. 38
Bridgette McNnab
Petrina Hicks
Red, Yellow, Blue
Still Life Studio
Bridgette McNab’s painting practice is focused on portraiture and still life, elements which comprise her second solo exhibition titled ‘Red, Yellow, Blue’, inspired by Eric Rohmer and Jean Luc Godard’s unique approach to story-telling and the relationship between painting and film. McNab’s oil paintings merge pop-culture, history and what the artist calls ‘a new fictional reality’ in these mise en scène compositions.
‘I am fascinated by the immediacy of symbols and longevity of myths, reinterpreted through the lens of history and culture over and over again since origin.’ – Petrina Hicks
Boom Gallery 11 October to 3 November, 2018 Victoria
Foot, 2018, oil on polycotton, 43 x 35cm Courtesy the artist and Boom Gallery, Victoria
THIS IS NO FANTASY + dianne tanzer + nicola stein 3 to 30 October, 2018 Melbourne
‘Still Life Studio’ presents a suite of prints by photographic artist Petrina Hicks. Her seductive and haunting creations explore the relationship between ancient culture and contemporary life, drawing on mythology, symbolism and historical motifs. Hicks reveals a fascination with imperfect beauty and investigates female representation through art history and the media.
Bluebird, 2018, pigment print, edition of 8 + 2AP, 100 x 100cm Courtesy the artist and THIS IS NO FANTASY dianne tanzer + nicola stein, Melbourne
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Talia Smith and Zainab Hikmet And They All Say Your Name BLINDSIDE 3 to 20 October, 2018 Melbourne
Void UTS Gallery Until 16 November, 2018 Sydney
Talia Smith and Zainab Hikmet unite in this exhibition, in which their time-based practices explore the feeling of longing for a moment or place. Both artists create personal works that reference the past, present and possible future, with ‘light’ as a guiding medium and emblem because of its potential to convey fleeting energy. The temporal quality of light is the cornerstone of this show which stages ‘oppositional structures to meet; the passing of time and memory, the spaces between, and the growing distance naturally created between people.’
The notion of ‘void’ is explored by contemporary Aboriginal artists who work in a range of media from ceramics to video, painting, sculpture and photography. Curator Emily McDaniel explains, ‘Indigenous artists are innovative, constantly changing and finding new ways to articulate old ways… These artists are engaging with art as a visual and a metaphorical means to articulate the complexity of their experiences.’ Educational programming will complement the works on show from Mabel Juli, John Mawurndjul AM, Jonathan Jones, Dr Thancoupie Gloria Fletcher AO, James Tylor, Hayley Millar-Baker, Danièle Hromek and Andy Snelgar.
Zainab Hikmet, Drink Deep, 2018, cyanotype on watercolour paper, dimensions variable Courtesy the artist and BLINDSIDE, Melbourne
James Tylor, (Erased) From an Untouched Landscape #10, 2013 Courtesy the artist and UTS Gallery, Sydney
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Dave Sparkes
Alexander McKenzie
Luminosity
The adventurous gardener
Fascinated by sunlight, shadow and reflections, often painting from the ‘contra jour’ (into the light) viewpoint, Byron Bay artist Dave Sparkes strives to create an atmospheric mood in his paintings through the shadowplay of tree trunks and surrounding flora. In ‘Luminosity’ Sparkes evokes a sense of whimsical, almost melancholy realism, an alternate world suggesting a time before human interference with the landscape; places along the East Coast of New South Wales untouched – ‘just humming along in their heartbreakingly pristine state.’
In his first major survey, Alexander McKenzie’s ‘The adventurous gardener’ brings together 42 of the artist’s most significant works, an assortment of celebrity portraits and his signature landscape paintings. For McKenzie, the landscape is both a place for self-reflection and a metaphor for personal journey. While his works have an underlying sense of familiarity, they are more evocative of otherness than a representation of a specific place; they instantly transport the viewer into a dreamlike and otherwise uninhabited world, laden with underlying narratives.
Evans Head Trail, 2018, watercolour, 60 x 90cm Courtesy the artist and Grafton Regional Gallery, New South Wales
The Cutting, 2015, oil on linen, 153 x 153cm Courtesy the artist and Hazelhurst Regional Gallery & Arts Centre, Sydney
Grafton Regional Gallery Until 21 October, 2018 New South Wales
Hazelhurst Regional Gallery & Arts Centre Until 21 October, 2018 Sydney
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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! ACE Open and Country Arts SA Residency and Touring Exhibition
ACE Open, Adelaide and Country Arts SA have announced a new partnership, which aims to support artists and audiences in regional South Australia through the development of the inaugural ACE Open x Country Arts SA Open House Residency and a six-venue touring exhibition beginning in 2020 drawn from ‘ACE Open’s 2017 South Australian Artist Commission’. Photographer, digital illustrator and jewellery-maker, Kerry Youde, is the successful recipient for the residency and will be undertaking a month-long position at ACE Open’s CBD residential studio to work on developing her practice. This opportunity awards the artist a $6,000 fee and a mentorship with visual artist Sue Kneebone. ‘This is an amazing opportunity to focus on and develop my practice. I am also very much looking forward to developing new connections while expanding my professional network,’ says Youde. Youde’s application was commended by the selection panel for her ambition to create meaningful exchanges with metropolitan artists and to draw from and contribute to wider reciprocity between the broader industry. ‘Domestic Arts’ by Sera Waters was the 2017 commission and it will now tour the regional areas of Bordertown, Seppeltsfield, Goolwa, Mount Gambier, Port Pirie and Murray Bridge, from June 2020. This body of work explores the contemporary significance of traditional home-crafts, drawn from the artist’s own history. ACE Open is thrilled to be extending its activities and impact into regional areas through these two new initiatives. ‘As the only contemporary art space in South Australia, ACE Open is committed to developing art and artists in and from our state. This commitment extends far beyond Adelaide and our tour of Domestic Arts will offer regional audiences the chance to encounter work by an outstanding contemporary artist,’ said Liz Nowell, CEO ACE Open.
Kerry Youde, recipient of the ACE Open x Country Arts SA Open House Residency 2018 Courtesy the artist, ACE Open and Country Arts SA
Chelsea International Photography Competition
Entries close Tuesday 9 October 2018 The Chelsea International Photography Competition is marking its second year of celebrating photographers from around the globe on the renowned New York City art stage. Sponsored by Agora Gallery, the competition provides exposure of the work of all types of photography. With a distinguished panel of jurors and prizes valued at more than $55,000, the competition is an excellent opportunity for photographers seeking national and international acclaim. Finalists will participate in a collective exhibition from 20 to 28 February 2019 at Agora Gallery in NYC, and receive valuable PR opportunities. agora-gallery.com
Glover Prize
Entries close 6pm, 25 January 2019 The John Glover Art Prize is an acquisitive award for the best contemporary landscape painting of Tasmania and offers the winning artist $50,000 plus a bronze maquette of colonial artist John Glover, designed by Peter Corlett and valued at $5,000. All other exhibited entries are eligible for the (non-acquisitive) People’s Choice Award $3,000, the Children’s Choice Award $500 and the Hanger’s Choice Award $500. An exhibition of 40 finalists’ paintings will be held over the March 2019 long-weekend in the historic Falls Park pavilion in Evandale, a village on the beautiful northern plains of Tasmania. johnglover.com.au
Art & Industry 51
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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 9 to Nov 13 Sotto Voce; Streetscapes of North Italy a selection of photographs by Robert Babic.
The Art of Dr. Seuss presented by Harvey Galleries, Block Arcade
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.
Crowther Contemporary
440 Docklands Drive (last tram stop on the 86, 70 and 35 City Circle Tram lines), Docklands 3008. E info@crowthercontemporary.com W www.crowthercontemporary.com H Mon-Fri 9.30 to 4.30. Nov 2 to 20 (opening Thurs Nov 2, 6-9pm) Face of a Woman by Zelman Lew. See ad page 93.
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. Oct 6 to Nov 24 Josh X Muir – a solo exhibition of new works by Josh Muir featuring animations, digital prints on aluminium, wallpaper and neon installations.
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 9.00 to 5.00. Authorised editions from the Seuss Estate.
Australian By Design
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.
Josh Muir, Moob, 2018, digital print on aluminium Courtesy the artist and Koorie Heritage Trust
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West End Art Space
175-185 Rosslyn Street, Melbourne 3003. T 0415-243-917. E westendartspace@gmail.com W www.westendartspace.com.au H Wed-Fi 11.00 to 4.00, Sat 10.00 to 3.00. Oct 5 to 27 (opening Sat Oct 6, 2-5pm) Of Colour & Light – 2018 Victoria Biennial Abstract Show. Curated by Anna Prifti.
Flinders Lane Anna Schwartz Gallery
185 Flinders Lane, Melbourne 3000. T (03) 9654-6131. E mail@annaschwartzgallery.com W www.annaschwartzgallery.com Director: Anna Schwartz. H Tues-Fri 12.00 to 5.00, Sat 1.00 to 5.00. From Oct 6 KINDNESS IS SO GANGSTER, (Specified Abstract Expressionism) by Mike Parr.
Craft Victoria
Watson Place, off Flinders Lane behind Supernormal, Melbourne 3000. T (03) 9650-7775. E craft@craft.org.au W www.craft.org.au Free entry. H Mon-Wed 11.00 to 6.00, Thurs-Fri 11.00 to 7.00, Sat 10.00 to 5.00.
Flinders Lane Gallery
137 Flinders Lane, Melbourne 3000. T (03) 9654-3332. E info@flg.com.au W www.flg.com.au Director: Claire Harris. H Tues-Fri 11.00 to 6.00, Sat 11.00 to 5.00. Please consult website for any opening hours changes. Our extensive stockroom can also be viewed on our website. To Oct 20 Gallery 1 & 2: The Nature of Landscape by Jo Davenport. Oct 23 to Nov 10 Gallery 1: New Landscapes by William Breen. Gallery 2: The Eternal Youths by Rebecca Hastings.
ARC ONE Gallery
45 Flinders Lane, Melbourne 3000. T (03) 9650-0589. E mail@arc1gallery.com W arcone.com.au Directors: Fran Clark and Suzanne Hampel (member of ACGA). H Tues-Sat 11.00 to 5.00. To Oct 6 Joy Knows No Mercy by Imants Tillers. Oct 9 to Nov 10 Surface Zero by Peter Daverington.
BLINDSIDE
Nicholas Building, 714/37 Swanston Street (enter via Cathedral Arcade lifts, cnr Flinders Lane), Melbourne 3000. T (03) 9650-0093. E info@blindside.org.au W www.blindside.org.au H Tues-Sat 12.00 to 6.00. Oct 3 to 20 Unseen by Jan Murray. Also, And They All Say Your Name by Talia Smith + Zainab Hikmet.
Rebecca Hastings, The Eternal Youths (The Fetish), 2017, oil on board, 120 x 120cm Courtesy the artist and Flinders Street Gallery
fortyfivedownstairs
45 Flinders Lane, Melbourne 3000. T (03) 9662-9966. E briar@fortyfivedownstairs.com W www.fortyfivedownstairs.com H Tues-Fri 11.00 to 5.00, Sat 12.00 to 4.00. To Oct 20 Manhattan Dreaming painting and printmaking by Marco Luccio (see ad page 75). Oct 23 to Nov 3 The Far North painting by Allan Wolf-Tasker (see ad page 71). Zainab Hikmet, Here and there, 2015, two incandescent bulbs synchronised to sun patterns in Baghdad and Auckland, dimensions variable Photograph: Jessie Jane Courtesy the artist and BLINDSIDE
Chapter House Lane
Entry via Flinders Lane, Melbourne 3000. W www.chapterhouselane.org.au To Oct 27 Sucking Breath, Jolly Lolly by Rafaella McDonald.
74 Melbourne
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. Oct 3 to 20 Paul Zika. Oct 10 to Nov 10 South Gallery: Elizabeth Banfield.
Civic Inner North ANCA Gallery
1 Rosevear Place, Dickson 2602. T (02) 6247-8736. E gallery@anca.net.au W www.anca.net.au H Wed-Sun 12.00 to 5.00. Oct 9 to 21 (opening Wed Oct 10, 6pm) Interspatial by Nyx Mathews – through a broad range of media and a focus on experimental material processes, Mathews makes work that questions the artificial landscapes and interior spaces we are encouraged to accept as standard, in small sculptural works. Oct 24 to Nov 11 (opening Wed Oct 24, 6pm) Mood Shifts by Debra Jurss – an exhibition of glass that explores the flow and movement of our emotions, and the strong positive impact that the landscape has on them, whether that impact is restorative, inspiring, overwhelming, calming, soothing or healing.
Canberra Museum and Gallery
Cnr London Circuit and Civic Square, Canberra City 2600. T (02) 6207-3968. W www.cmag.com.au H Mon-Fri 10.00 to 5.00, Sat-Sun 12.00 to 4.00. To Nov 4 Crafting the house on the hill: Art, Design and the Building of Australian Parliament House – reveals the stories behind the building’s major art and design commissions.
Contour 556 Canberra’s Public Art Biennial
W www.contour556.com.au Oct 5 to 28 A free public art event presenting artworks and performances by 60 artists in the world famous public realm and national cultural icons around Lake Burley Griffin, Canberra. All artworks and performances are site-specific – drawing inspiration from, or reflecting on the cultural or physical character of Canberra. Visit website to view full program. See ad page 149.
Jason Wing, Ask us what we want, 2018, core flute, acrylic paint and spray paint, 90 x 50cm Courtesy the artist and Contour 556
Craft ACT Craft and Design Centre Nyx Mathews, Studies of elevation and containment (No.02), 2017, paraffin wax, nickel silver, silver solder, 29.5 x 5.5 x 17cm Photograph: Simon Cottrell Courtesy the artist and ANCA Gallery
Level 1, North Building, 180 London Circuit, Canberra 2601. T (02) 6262-9333. E craftact@craftact.org.au W www.craftact.org.au H Tues-Fri 10.00 to 5.00, Sat 12.00 to 4.00.
Canberra Contemporary Art Space, Gorman Arts Centre
Nancy Sever Gallery
55 Ainslie Avenue, Braddon 2612. T (02) 6247-0188. E info@ccas.com.au W www.ccas.com.au H Tues-Sat 11.00 to 5.00. To Nov 17 Black Elephant by Jess Higgins. Also, Drones Over Aleppo by Kate Stevens, and FENCEsBORDERsWALLs by Janenne Eaton.
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Gorman Arts Centre, B Hall, cnr Batman and Currong streets, Braddon 2604. T (02) 6182-0055. E nancy.sever@iinet.net.au W www.nancysevergallery.com.au H Wed-Sun 11.00 to 5.00.