Art Almanac April 2022 $5
Rona Green Marikit Santiago Celeste Chandler 2022 Adelaide Biennial of Australian Art: Free/State
CONTENTS
Art in Australia Art News – Art Almanac team
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David Griggs: The Ashtray Reader – Melissa Peša
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Marikit Santiago, For us sinners – Victoria Hynes 24 Collection+ Louise Rippert/Steve Carr, Forms for Remembering – Kirsty Francis 2022 Adelaide Biennial of Australian Art: Free/State – Dr Joseph Brennan 34 In the studio: Rona Green – Kirsty Francis 40 In the studio: Celeste Chandler – Sophia Halloway What’s On Near Me – Art Almanac team
Art & Industry Artist Opportunities and Awards 61 Submissions and Proposals 67 Materials 67 Services 70 Consultants and Valuers 72 Member Organisations 72 Training 73
What’s On Gallery Index 74 Melbourne 78 Victoria 100 Sydney 106 New South Wales 124 Australian Capital Territory Tasmania 134 South Australia 137 Western Australia 141 Northern Territory 147 Queensland 150 Artist Index 159
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ART NEWS
Stelarc, Propel: Body on Robot Arm, Demonstrable, Autronics, Lawrence Wilson Gallery, Western Australia, 2019 Photograph: Steven Alyian Courtesy the artist and ANAT, South Australia
SPECTRA . . . ANAT SPECTRA 2022 is the Australian Network for Art and Technology’s flagship triennial event; an artistic and discursive platform inspired by the intersection of art, science and technology, with this year’s iteration centring on the theme of ‘Multiplicity’. ‘Multiplicity’ is delivered on- and off-screen with the online offerings of SPECTRAvision until 6 May, and the live, in-person SPECTRAlive at Science Gallery in Melbourne from 21 to 23 April. SPECTRAvision comprises five episodes considering almost 100 artworks and propositions from artists, scientists, technologists, and citizens. From Friday 1 April, Episode 2: Machines Like Us, Cells Like Them is an online exhibition that spotlights the rise of the metaverse and what it holds for the future through works by a myriad of artists, including Stelarc. Episode 3: 36 Ideas to While Away the Winter on Friday 8 April stages an online symposium that looks at algorithms and cellular and artificial intelligence. Episode 4: Future Cultures on Thursday 14 April presents short films that visualise future societies and how their survival may be dependent on ancient cultures. Embedded into the program, Episode 5: SPECTRAlive is an IRL three-day event; artistic propositions, creative research, and deep listening, generating a collective imagining of our futures. Episode 6: Postscript on Friday 6 May, an online academic inquiry into the future. “What am I doing now? “How will it affect what I do next?” are two questions posed in the frame of individual practice and projects and within the curatorial provocation: how do we, through the intersection of art, science and technology, build a better, fairer, more sustainable future? Go online and find out. spectra.org.au 15
FEATURED EXHIBITIONS
Collection+ Louise Rippert/Steve Carr Forms for Remembering
“. . . like a momentary loss of self, replaced by an expansive sense of connectedness. It was a point in which time disappeared.” By Kirsty Francis Time is the essence of our existence. For it is through the concept and consciousness of time that we record our presence and create history, gather memories, pass on knowledge, and experience a sense of being while it positions us in the present and we ponder the possibilities of the future. Our perception of time can suspend us in subtle moments of stillness or propel us through the world reminding us of the fragility and ephemeral nature of our actuality. Themes of repetition, the passage of time, collected objects and materiality, transformation and memory, the mandala, and other circular and spherical motifs synchronise throughout this
Louise Rippert, Small Return, 2005, ceramic, plastic chrome Photograph: Andrew Wuttke Courtesy the artist and Mornington Peninsula Regional Gallery, Melbourne
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IN THE STUDIO
Celeste Chandler
“I’ve had to find a way to work amongst the chaos of life.” By Sophia Halloway When I speak to Melbourne-based artist Celeste Chandler about her upcoming show at Nicholas Thompson Gallery, 6 to 30 April, it’s from her kitchen-cum-studio. Prior to a couple of years ago, Chandler had a large studio and painted on a large scale. The studio was something she thought she could never give up – but due to a combination of circumstances, including the pandemic and her cancer diagnosis, Chandler has had to recalibrate. During the pandemic, many of us share this feeling of our lives having been contained to the domestic space. Your experience has been exacerbated by your experience with cancer. My life has shrunk down in the last two years – with homeschooling, the pandemic. Instability of working space is a huge issue, increasingly so with real estate in places like Melbourne and Sydney. When I lost my studio, it really pulled the rug out from under me. I was also recovering from a massive surgery and, for the good part of two years, wasn’t able to paint. It was the longest I’ve ever gone without it. There was a huge part of me that just wasn’t there. I’ve always had really particular requirements in the studio – privacy, quiet, the right angle of a wall to the window. I’ve always been someone who could never paint around other people. I’ve had to let go of that. I’ve undergone a really big change in how I’m working, because I need to. If I don’t work, I feel like I’ve lost my identity. I’ve had to find a way to work amongst the chaos of life. 44
Digger, oil on linen on board, 20 × 25cm
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WHAT’S ON NEAR ME
Australian Light
RADICAL SLOWNESS
Warrnambool Art Gallery Until 17 April 2022 Victoria
The Lock Up Until 15 May 2022 New South Wales
With a nod to the work of Arthur Streeton (1867–1943) – one of Australia’s best-known landscape painters and pioneer of capturing the unique and transient qualities of light in the Australian landscape on canvas – three women artists, Consuelo Cavaniglia, Taree Mackenzie, and Gemma Smith, respond with their interpretations of the South West Victorian landscape, across a range of contemporary mediums. “Awash with colour, light becomes the mechanism by which each artist creates a space for chance encounters, perceptual shifts and illusions,” the gallery notes.
The incessant cadence of our everyday gives way to a different, slower pace. Curated by Anna May Kirk and Tai Mitsuji, this group exhibition grapples with the idea of radical slowness and what it means to break with the whirring pace of the present and the unabating velocity of our time: an ocean of digital water endlessly laps around the base of a stone; an alarm clock is caught in the halfseconds that follow midnight; two galaxies slowly hurtle towards one another destined to meet in four billion years.
Emma Fielden, Andromeda and the Milky Way (still), 2021, 4K video with sound, 4 hours 33 minutes Performed by Emma Fielden and Lizzie Thomson, filmed by Dara Gill, edition of 3 + 2AP Courtesy the artists and The Lock Up, New South Wales
Consuelo Cavaniglia, Filters II, 2018, installation view, Warrnambool Art Gallery, 2022, tinted acrylic, braided steel cable, dimensions variable Photograph: Rosana Sialong Courtesy the artist and Warrnambool Art Gallery, Victoria
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WHAT’S ON NEAR ME
Frances Barrett
Lynne Uptin
Meatus
Banks’ Banksias
Frances Barrett expands the solo commissioning focus of the Katthy Cavaliere Fellowship to present new sonic compositions and live performances by multiple artists.
Lynn Uptin showcases beautiful botanical paintings in Banks’ Banksias, which centre on the four Banksia plant species that Joseph Banks (1743–1820) acquired into his first Botany Bay collection over 250 years ago. The show includes the artist’s painted illustrations of B. serrata (Old man banksia), the species favoured for its sweet nectar by the Cadigal people who lived in the Sydney region prior to the arrival of Europeans, who called it wiriyagan, as well as B. integrifolia (Coastal Banksia), B. ericafolia (Heath-leaved Banksia), and B. robur (Swamp Banksia).
Australian Centre for Contemporary Art (ACCA) 2 April to 19 June 2022 Melbourne
In anatomy, “meatus” is a natural opening. Using the gallery space as a canal, Meatus becomes a performative staging of the body as an intense, immersive, and sensory environment of sound and light. A body into which the audience may enter to encounter the physical, sensual, and critical experience of listening and consider the embodied and relational practices that extend the mappings of our physical forms.
Bett Gallery 15 April to 7 May 2022 Tasmania
Frances Barrett, Meatus, 2020 Ear worms: Debris Facility Pty Ltd Photograph: Charles Dennington Courtesy the artist and Australian Centre for Contemporary Art, Melbourne
Banksia integrifolia, Coastal Banksia, 2022, watercolour on Fabriano watercolour paper 640gsm, 119 × 96cm Courtesy the artist and Bett Gallery, Tasmania
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ART & INDUSTRY
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! Carriageworks First Nations Fellowship
We congratulate Kuku Yalanji/Yidindji multimedia and performance artist Henrietta Baird as the inaugural recipient of the new First Nations Fellowship and award developed by one of Sydney’s largest multi-arts venues, Carriageworks. Valued at $100,000, the new initiative is geared towards supporting First Nations artists to undertake a two-year research and development project for the creation of new work, backed by a contribution of $25,000 per year with additional support in the form of in-kind venue hire, production and producing opportunities.
Henrietta Baird Photograph: Blue Lucine Courtesy Carriageworks, Sydney
Baird graduated from NAISDA (National Aboriginal Islander Skills Development Association) Dance College in 2005 and has performed and collaborated in numerous productions both nationally and internationally. During the Fellowship in 2022–2023, the artist will continue her research of native bush plants from her Country, and explore movement based
on the methods and processes of collecting, preparing, and applying traditional plants to make medicine, tell stories and preserve cultural knowledge through dance. She is currently developing a new performance work called Plant A Promise, which is centred around land management and climate change informed by both scientific studies and First Nation’s cultural perspectives. Alongside her artistic practice, Baird is also studying Land Management, and conducts tours and holiday programs for the public sharing her knowledge of native Flora and Fauna and the history of the Sydney people. “The First Nations Fellowship represents a significant commitment to First Nations art practices, culture and perspectives. The Fellowship will give First Nations artists the opportunity to deepen and develop their practice at key moments in their careers. We are thrilled to announce Henrietta Baird as the inaugural recipient of this major new artist fellowship. Henrietta is an exceptional artist working at the forefront of First Nations art, writing and performance,” says Jacob Boehme, Director, First Nations Programs at Carriageworks. The Carriageworks First Nations Fellowship is open to artists working across a wide range of creative disciplines. Expressions of Interest for the 2024–2026 First Nations Fellowship will open mid-2023. carriageworks.com.au
Debra Porch Award
Applications close 3pm (AEST), April 12, 2022 The Australia Council for the Arts is supporting a program of reciprocal residencies between Australia and the Asia Pacific with the support of the Debra Porch Award, which honours the life’s work of artist Debra Porch, focused on memory, mortality and the relationship between presence and absence. One Australian artist will be invited to Artspace Aotearoa in Auckland, New Zealand, and one New Zealand artist will be selected to go to artisan in Brisbane, Australia. Each artist will be awarded a grant to undertake a six-week visual arts residency that will offer opportunity to build strong connections and long-term engagements, and deliver an artist talk or participate in a public program at the end of the residency period. The successful recipients will be awarded a total of $15,000 (AUD) each ($12,000 for artist fees, and $3,000 towards travel costs and living expenses). Accommodation and studio access will be provided by host organisations, who will also provide curatorial care and support for the duration of the residency. Visit the Australia Council website to read eligibility and assessment criteria, and to apply. australiacouncil.gov.au
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MELBOURNE
Flinders Lane Gallery
Level 1, Nicholas Building, 37 Swanston Street, 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 3.00. FLG presents their annual exhibition program both in-house and online via virtual tours. The website also features an extensive, fully searchable online stockroom. To April 13 Restraint by Melinda Schawel. April 19 to May 7 Mind-Field by Kathrin Longhurst.
Mike Reed, Skid Black Yellow Courtesy the artist
Melinda Schawel, Drifting (detail), 2022, ink and graphite on torn and perforated paper, 105 × 75cm Courtesy the artist and Flinders Lane Gallery
fortyfivedownstairs
45 Flinders Lane, Melbourne 3000. T (03) 9662-9966. E gallery@fortyfivedownstairs.com W www.fortyfivedownstairs.com H Tues–Fri 11.00 to 5.00, Sat 11.00 to 3.00. To April 23 Light printmaking by Debra Winn debrawinnartist.com (see ad page 83). April 26 to May 21 ROADWORK AHEAD photography by Mike Reed. Reed raises his sights from street photography to an artful view of "Road Photography". Be surprised! (see ad page 85). Mike Reed, Tokyo Stripes Courtesy the artist
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SYDNEY
SOHO Galleries Sydney Celebrating 27 years
150 Edgecliff Road, Woollahra 2025. T 0460-009-991, and 710 Military Road, Mosman 2088. T 0460-008-885. E art@sohogalleries.net W www.sohogalleries.net ARTPark Australia Sculpture – Woolloomooloo Wharf Sculpture Walk, Hunter Valley Sculpture Walk, Lisa McGuigan Cellar Door, Broke Road, Pokolbin, Hunter Valley. Sculpture enquiries artpark.com.au T 1800-646-131.
Thienny Lee Gallery
UNSW Galleries
Cnr Oxford Street and Greens Road, Paddington 2021. T (02) 8936-0888. E unswgalleries@unsw.edu.au W unsw.to/galleries H Wed–Fri 10.00 to 5.00, Sat–Sun 12.00 to 5.00. Closed public hols. To April 10 #117 (Survey) mapping 30 years of practice in Elizabeth Pulie’s first survey exhibition, curated by James Gatt. To June 12 Orisons bringing together recent works by Jacobus Capone that reflect on human and ecological fragility, curated by José Da Silva (see ad page 29). April 29 to July 17 Pliable Planes drawing together 12 Australian practitioners who reimagine expanded textiles and fibre practices, curated by Karen Hall and Catherine Woolley.
176 New South Head Road (opp Edgecliff Train Station), Edgecliff 2027. T (02) 8057-1769. E thienny@thiennyleegallery.com W thiennyleegallery.com H Tues–Fri 10.00 to 4.00, Sat 11.00 to 4.00. To April 5 Recollections by Barbara Goldin. April 6 to 30 Stock Room Group Show.
Elizabeth Pulie, #118 (Heaven in Love), 2021 Courtesy the artist, Sarah Cottier Gallery, Sydney and UNSW Galleries
Wagner Contemporary
2 Hampden Street, Paddington 2021. T (02) 9360-6069, 0419-251-013. E nadinewagner@wagnercontemporary.com.au W www.wagnercontemporary.com.au H Tues–Sun 10.30 to 6.00, Mon by appt. March 30 to April 27 Coastal by Judith White.
Barbara Goldin, Kentias, Lord Howe Island, acrylic on paper, 95 × 75cm (including frame) Courtesy the artist and Thienny Lee Gallery
Judith White, Spring Tide, acrylic and collage on canvas, 119 × 110cm Courtesy the artist and Wagner Contemporary
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WA
Linton & Kay Galleries West Perth
11 Old Aberdeen Place, West Perth 6005. T (08) 6465 4314. E perth@lintonandkay.com.au W www.lintonandkay.com.au H Mon–Sat 10.00 to 4.00.
Linton & Kay Galleries Subiaco
299 Railway Road (cnr Nicholson Road), Subiaco 6008. T (08) 9388-3300. E subiaco@lintonandkay.com.au W www.lintonandkay.com.au H Daily 10.00 to 4.00.
Goolugatup Heathcote Gallery
58 Duncraig Road, Applecross 6153. T (08) 9364-5666. E heathcote@melville.wa.gov.au W www.heathcotewa.com H Mon–Fri 10.00 to 4.00, Sat–Sun 12.00 to 4.00. Closed public hols.
John Curtin Gallery
Building 200A, Curtin University, Kent Street, Bentley 6102. T (08) 9266-4155. E gallery@curtin.edu.au W jcg.curtin.edu.au H Mon–Fri 11.00 to 5.00, Sun 12.00 to 4.00 during exhibitions. To May 5 Isaac Julien, presented as part of Perth Festival.
Greater Perth Alcoa Mandurah Art Gallery
Ormsby Terrace, Mandurah 6210. T (08) 9550-3900. W www.manpac.com.au/venue/alcoa-art-gallery H Mon–Fri 9.00 to 5.00. Closed Sat–Sun and public hols. To April 29 Rising Futures – features ten Perthbased artists who utilise printmaking as a means to describe the surrounding world rapidly changing due to developing digital technologies and the ongoing pandemic that has radically altered the way we navigate throughout the world.
Isaac Julien, Green Screen Goddess (Ten Thousand Waves), 2010, Endura Ultra photograph Courtesy the artist, Roslyn Oxley9 Gallery, Sydney and John Curtin Gallery
Linton & Kay Galleries Mandoon Estate
10 Harris Road, Caversham 6055. T (08) 9388-3300. E info@lintonandkay.com.au W www.lintonandkay.com.au H Fri–Sun and public hols 10.00 to 4.00, or by appt.
Daniel Kristjansson, Untitled (broken landscape), 2021, digital photographic collage on rag paper, 80 × 64cm Courtesy the artist and Alcoa Mandurah Art Gallery, Western Australia
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QLD
Brisbane artisan
45 King Street, Bowen Hills 4006. T (07) 3215-0800. E info@artisan.org.au W www.artisan.org.au H Tues–Fri 10.00 to 5.00, Sat 10.00 to 4.00. artisan is Queensland’s home of craft and design. Gallery, store and workshop space supporting and promoting contemporary craft and design practice for both makers and their audiences. To June 4 Con Ojos y Dientes (With Eyes and Teeth) by Latin American-born artist Paula Quintela explores displacement by an intermingling of poetic, literary and domestic references. This new body of work is a mélange of her experiences of multiple cultural mythologies merging with those of the indigenous cultures of her home country. Mixed-media works and ceramics will be included in the shows installation, giving new form to the creatures and stories that inhabit her 2D print-based multimedia works.
Institute of Modern Art
Judith Wright Arts Centre, 420 Brunswick Street, Fortitude Valley 4006. T (07) 3252-5750. E ima@ima.org.au W www.ima.org.au Free entry. H Tues–Sat 10.00 to 5.00. To April 16 This language that is every stone – Vernon Ah Kee, Robert Andrew, Daniel Boyd, Megan Cope, Manthia Diawara, Taloi Havini, Koo Jeong A, Sancintya Mohini Simpson, Phuong Ngo, The Otolith Group, Philippe Parreno, Raqs Media Collective, Khaled Sabsabi, Anri Sala, Yhonnie Scarce, Latai Taumoepeau and Shireen Taweel. This language that is every stone is the fourth iteration in a series of exhibitions conceived by Obrist and Raza that surveys the life and work of Martinique writer Édouard Glissant. Developed specifically within an Australian context, the exhibition explores cultural synthesis and permeability through the works of Australian First Nations and diasporic artists, with contributions from international counterparts. Curated by Hans Ulrich Obrist, Asad Raza, and Warraba Weatherall. Call for entries: the churchie emerging art prize, is open to early-career Australian artists working in any visual art medium. Entries close Mon April 11.
Paula Quintela, WIP (detail), 2021 Courtesy the artist and artisan
FireWorks Gallery
9/31 Thompson Street, Bowen Hills 4006. T (07) 3216-1250. E art@fireworksgallery.com.au W www.fireworksgallery.com.au H Tues–Fri 10.00 to 6.00, Sat 10.00 to 5.00. March 26 to April 30 HARDWIRED: Laurie Nilsen, Lin Onus & Vincent Serico.
Daniel Boyd, Untitled (EOTAEIAOOTA), 2020, oil, acrylic, and archival glue on canvas, 58.5 × 82.5cm Courtesy the artist, Roslyn Oxley9 Gallery, Sydney and Institute of Modern Art
Jan Murphy Gallery
486 Brunswick Street, Fortitude Valley 4006. T (07) 3254-1855. E enquiries@janmurphygallery.com.au W www.janmurphygallery.com.au Director: Jan Murphy. H Tues–Sat 10.00 to 5.00, or by appt. To April 9 Emotions abstracted by Fred Fowler. Also, I have this obsession with repetition by Jason Fitzgerald. April 12 to May 7 The Delight of Future Eyes by Juz Kitson. Also, No entry but through the sky by Lottie Consalvo.
Vincent Serico, Tunin’ Up (2000), 2020, archival ink on 320gsm Sihl paper, 30 × 43cm Courtesy the artist and FireWorks Gallery
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