Launching at the Anne & Gordon Samstag Museum of Art on Thursday June 29. The Summation of Force is a collaborative multimedia installation by South Australian artist duo, Trent Parke and Narelle Autio.
In their creative collaboration, The Summation of Force, Parke and Autio turn their gaze to the possibilities of filmic narrative, and look to family and sport for subject material.
A multi-channel video work that pitches competitive sport and the mythical power of cricket as a metaphor for life and parenthood, The Summation of Force is no less than a Lynchian suburban dreamscape. It is a paean to collective dreams, youthful determination and the bonds that sporting ambition can create both within families and nations.
The Summation of Force by Trent Parke and Narelle Autio in association with Closer Productions and the Adelaide Film Festival, is presented by the Samstag Museum of Art for the SALA Festival.
Exhibition runs from 30 June – 1 September more information here.
Congratulations to Janet Laurence, who is exhibiting in a number of international exhibitions. Including in Warning Shot at Topographie De L’art, France, Plants in Motion at Rønnebæksholm, Denmark and Force of Nature, streaming online. An advocate for environmental issues, Laurence creates immersive installations which investigate the relationship between nature and the greater eco-system.
Warning Shot, Topographie De L’art, France
The title of the exhibition is given to her by the eponymous video of Janet Biggs. In this video – the fifth of a pentalogy that Biggs devotes to the Far North – the artist stands in front of the Svalbard mountains.
Warning Shot curated by Barbara Polla features Janet Laurence alongside Amy Balkin, Ursula Biemann, Janet Biggs, Shaun Gladwell, Joanna Malinowska and Gianluigi Maria Masucci. Laurence will exhibit her video piece Deep Breathing: Resuscitation for the Reef which was exhibited widely in 2016 including at the Muséum National d’Histoire Naturelle and the Australian Museum.
Exhibition runs from July 5th to July 27th. More information here.
Force of Nature, Carte Blanche to James Putnam
‘Force of Nature’, is an ongoing contemporary art project previously staged in London and Brussels. It aims to examine the way contemporary artists have been inspired not only by nature but also its processes – evolution, birth, growth, ageing, decay, change. Taking inspiration from nature’s inherent forces, their acute observations and individual approaches can result in works that are site-specific, monumental or ephemeral. Nature is constantly in a state of change and the artists’ awareness and sensitivity to this change is crucial to the creation of their work that can be representational, conceptual, abstract, and sometimes otherworldly.
Curated by James Putnam, Force of Nature features artists: Antti Laitinen, Janet Laurence, Iyvone Khoo and Cameron Robbins. Laurence will exhibit a video piece titled The Persistence of Nature, 2016.
See Ikon website for streaming details and more information here.
Moving Plants (Plants in Motion) at Rønnebæksholm, Denmark
‘Plants in motion’ is an exhibition and event series, which focuses on local plants based on the artists’ work with climate and environmental issues, including why plants are among our main earthbound partners, if we want to understand and survive in the new climate changed world.
The exhibition displays works by various artists from Denmark, Sweden, Hong Kong, Japan, USA and Australia – many who therefore have traveled halfway around the globe to work with our local plants. This means that the exhibition both pulling threads for global issues and relate to Rønnebæk Holm’s own framework and local roots.
Laurence will exhibit alongside: Watanabe Koichi, Yukiki Iwatani, Yeung Lin On, Camilla Berner, Wai Yi-Lai, Åsa Sonjasdotter and Karin Lorentzen
Exhibition runs July 1 to September 24. More information here!
Country Arts South Australia has partnered with numerous regional galleries to present a touring exhibition by James Dodd, titled Shed Wizard. In partnership with Tatiara District Council, Shed Wizard will launch at Walkway Gallery in Bordertown on Saturday, July 1 and will run till August 26. Dodd will exhibit the Painting Mill as part of the touring exhibitions Painting Mill demonstration at Walkway Gallery from 11am July 2nd.
This exhibition presents a range of recent outcomes from James Dodd’s exploratory practice. Dodd is an artist who celebrates cultures of DIY and life hacking, a result of his upbringing in the ‘make-do’ context of an agricultural childhood.
He applies radical curiosity and invention to investigations of public space, plays with the idea of fantastic tools and the backyard as in important place to make art. A sense of adaptation and hybrid invention is especially present in his recent bicycle sculptures and more general art-machine outcomes.
Having spent a large period of time immersed in Australia’s street art movement of the early noughties he has since pursued a practice that borrows graffiti for gallery outcomes and hijacks conceptual pursuits for application at the edges of society, in suburbia or regionally.
This selection of works includes vivid paintings, unusual bicycles, strange machines and candid videos. It brings this range of objects together to examine Dodd’s trajectory over the past decade or so and examines ongoing themes such as notions of social and political resistance; adventure and risk; and the hand-made contraption as a magical art device.
Full schedule below:
- Walkway Gallery, Bordertown, July 1 – August 26
- Murray Bridge Regional Gallery, Murray Bridge, September 1 – October 15
- Signal Point, Goolwa, December 8 – January 21
Hugo Michell Gallery invites you to the opening of Fiona McMonagle’s ‘A dog named Chop’ + Tim Sterling’s ‘Blinding by the light’.
Fiona McMonagle’s latest body of work ‘A dog named Chop’ sees the artist present an entirely new body of work in her signature style. Echoing snapshots from a past era, the work appears uncannily familiar, yet loaded with personal relevance. Based in Melbourne, McMonagle recently exhibited in ‘Magic Object’ (2016) as part of the Adelaide Biennial at the Art Gallery of South Australia. McMonagle also has works in numerous public collections including the National Gallery of Victoria, Art Gallery of New South Wales, Artbank and various regional galleries.
‘The denial of contingency is not simply an issue of aesthetics and visual order, but a much wider one of social control and cultural cleansing.’ – J Till, 2008
Tim Sterling presents three large-scale investigations that dissect visual codes through the use of gridding, layer and camouflage. Sterling’s work invites audiences to examine intrinsic patterns within mass representation. Tim Sterling received The Anne & Gordon Samstag International Visual Arts Scholarship, attending the Sandberg Instituut in Amsterdam, Netherlands. Sterling has exhibited widely including significant institutions such as the Museum of Contemporary Art, Contemporary Art Centre of South Australia, Australian Experimental Art Foundation and the Perth Institute of Contemporary Art.
Please join us in celebrating the launch of these two exhibitions on WEDNESDAY the 28th of June!
Congratulations to James Dodd and William Mackinnon, who have both been selected as Finalists in the inaugural Hadley’s Art Prize, Hobart! Australia’s richest landscape prize, it is an acquisitive prize valued at $100,000. Held annually to celebrate painting, printing and drawing, the Prize aims to reconnect with the history of art exhibitions at the Hadley’s Orient Hotel, which was built in 1834.
The 2017 theme is ‘History and Place’; the Prize will be awarded to the best portrayal of the Australian landscape which acknowledges the past.
Exhibition opens July 14, where the winner will be announced. The exhibition will run from the July 15 through August.
Image: James Dodd, Nowhere, 2016, acrylic on linen, 137.2 x 96.5 cm.
Nowhere is a painting produced as part of a suite of works by Dodd responding to sites along the Murray River in South Australia. The work incorporates visual impressions of the cliff-faces that are iconic of this region, and interprets the colours and textures of the landscape as a heightened, almost synthetic experience. All of the text, marks and inscriptions that are integrated into the representation have been collected from physical surfaces of the region; this is to say that the original marks are the scrawled residues from people who have passed through and inhabited the region over an extended period of time. Dodd has a long-standing interest in the ways in which graffiti, marked and found on public surfaces, might be incorporated into the representation of landscape in such a way as to imply the people and histories of places.
Image: William Mackinnon, Community, 2010, acrylic, oil and automotive enamel on linen, 99 x 122 cm.
Paul Yore is exhibiting as part of ‘mad love’ a group exhibition at Arndt Art Agency (A3) curated by Del Kathryn Barton. ‘mad love’ is part of the cultural initiative Australia now – a year-long program celebrating Australian arts, culture, science and innovation across Germany. Yore will exhibit alongside Brook Andrew, Del Kathryn Barton, Pat Brassington, Dale Frank, Mirdidingkingathi Juwarnda Sally Gabori, Ramesh Mario Nithiyendran, Patricia Piccinini and Ben Quilty.
A3 is pleased to present the group exhibition “mad love” that provides a contemporary image of current Australian art within the context of Germany and Europe. Held at Arndt Art Agency’s premises in Berlin, the show is curated by leading Australian artist Del Kathryn Barton.
Barton’s personal selection of prominent Australian visual artists each engage with ideas surrounding instinct, innate urges and the corporeal. Artworks included will consist of paintings, sculpture, mixed media, photography, and works on paper.
“Body as pleasure. Body as machine. Body longing, always longing. Hungry body, filthy body. Body to run. Body to deny. Thinking body. Muscle Body. Body as instrument and song, as instinct towards life. Body light. Body dark. Evolutionary body, dinosaur body. Plastic body. Colour body. BODY as unmitigated surges of light and energy, just briefly, but oh, such, such love……… mad, mad love.”
– Del Kathryn Barton, September 2016
Image: Paul Yore, Dreams Can Come True, 2017, wool needlepoint.
Hugo Michell Gallery invites you to the opening of Lucas Grogan’s ‘Thoughts & Prayers’ + ‘South, North to Indented Head’ featuring Tia Ansell, Matt Arbuckle and Gabriel Curtin, curated by Richard Lewer.
Lucas Grogan manipulates a controlled palette, pairing an expert use of line and pattern with an acerbic wit. His pithy phrases and vignettes of everyday life make acute observations and connections across a broad spectrum of experiences.
Grogan’s work is held in the collections of the National Gallery of Australia, Artbank, Deutsche Bank, Wesfarmers, Newcastle Region Art Gallery, Ararat Regional Art Gallery, the Art Gallery of Ballarat and private collections nationally and internationally. He has been widelycommissioned for public murals both nationally and internationally.
‘South, North to Indented Head’, curated by Richard Lewer features three Melbourne-based painters, all born internationally (NZ / UK). Working predominantly in painting and weaving, Tia Ansell’s practice is bound to the idealised nature of techniques of a craftsman and focuses on knowledge gained through touch and movement – the intimate connection between hand and head. For Matt Arbuckle the qualities of a found object present stimulus for creative expansion; a textured ground, a scuffed scrawl or a folded spine elicits a responsive gesture. Presenting a medley of imagery and textures, Gabriel Curtin constructs an arena where new and familiar thoughts coexist.
Please join us in celebrating these the launch of these two exhibitions on WEDNESDAY the 24th of May!
Image: Lucas Grogan, Ask the universe #1, 2017, ink and acrylic on archival matt board, 60 x 50 cm
Image: Tia Ansell, Energy, 2017, oil on canvas, ply with carpet, 72 x 62 cm
Hugo Michell Gallery welcomes the addition of Paul Yore to our represented artists!
Paul Yore completed his studies in painting, archaeology and anthropology at Monash University in 2010 and has since taken up full-time work as an art practitioner. His multidisciplinary practice involves installations, painting, sculpture, sound, drawing and textiles. Yore draws on the traditions of classical Greek art, decorative Flemish and French tapestries, trashy pop-culture, gay porn, cartoons, psychedelia, and the frenzied excesses of rococo style.
Yore has undertaken residencies nationally and internationally at Artspace, Sydney (2014), Seoul Artspace Geumcheon, South Korea (2013-14) and Gertrude Contemporary Artspaces, Melbourne (2011-2013).
Selected group and solo exhibitions include: Mad Love, A3 Arnt Art Agency, Berlin (2017); Paul Yore NADA, Miami (2016); The Public Body .01, Artspace, Sydney (2016); Soft Core, Casula Powerhouse Arts Centre, Casula (2016); Primavera Museum of Contemporary Art, Sydney (2014); Melbourne Now, National Gallery of Victoria, Melbourne (2013); Here There and Everywhere, Seoul Art Space Geumcheon, (2013) and Poetry, Dream and the Cosmos: The Heide Collection, Heide Museum of Modern Art, Melbourne (2013).
Yore’s work is represented in both private and public collections internationally and throughout Australia including Artbank, The Heide Museum of Modern Art, Si Shang Art Museum Beijing, the Art Gallery of Ballarat amongst others. Yore has been awarded several awards and grants including an Australia Council Arts Project Grant 2015, a Marten Bequest Travelling scholarship 2015-2016 and the Wangarratta Acquisitive Textile Prize (2013).
We congratulate Paul on all of his achievements and are thrilled to be working together in the future.
Image: Paul Yore, Art Is Fun, 2016, mixed media textile, beads, sequins and buttons, 105 x 108 cm (irreg)
The Australian Tapestry Workshop presents its Artist-in-Residence exhibition, presenting the work of 15 artists who participated in residencies in 2016. The exhibition will feature a new piece from Sera Waters! Of the piece, Waters states:
This towel, Fashioning Locals, is from a larger series of towels, each telling passed along tales from Australia’s settler colonial and domestic histories. Though towels are often dismissed as innocuous, they have intimate relationships with their owners. They dry bodies, offer warmth and protection, wipe away dirt and soak up spills, and are subject to regimes of homely repetitive care … often for decades. They witness all kinds of goings on, and sometimes even get passed along family lines. The towels of this series are all pre-loved, have somewhat faded patterns, and are marked and worn from such exposure.
Home-based textiles, including towels and embroidery, have often had a penchant for translating nature (from outside) into comforting, decorative and idealised versions to live with inside. The embroidery and textile collage upon this towel weaves a not-so-comforting story around the part my ancestor played in domesticating her surroundings, in a specific time and region in our history. In a plethora of palm pattern she stands proudly, not wearing a fashionable fox fur, but sporting a Toolache wallaby, a now extinct species which inhabited the south east of South Australia. I use needlework to recognise and question intergenerational legacies and I push traditions into discomfiting territories with an aim of shifting trajectories.
Exhibition opens Tuesday 16 May 2017 from 6–8pm, and runs from May 17 to July 7.
More information here.
Image: Sera Waters, Telling Tales on Terry Towelling: Fashioning Locals, 2016-2017, tTowel, wool, cotton, bedsheet, velvet, trim, 90 x 50 cm.
Congratulations to Justine Varga, who has been announced as a Finalist in the inaugural Ramsay Art Prize! The $100,000 acquisitive prize will be held biannually, and will be awarded to an artist under the age of 40.
The Ramsay Art Prize invites submissions from Australian contemporary artists under 40 working in any medium. Held every two years and presented by the James & Diana Ramsay Foundation, the Ramsay Art Prize is an ongoing acquisitive prize. Finalists are selected by an international judging panel.
Made without a camera over extended periods of time, the photographs of Justine Varga offer an autobiographical witnessing of the world; a memoire rather than merely an act of representation.
In Varga’s practice, film registers performative gestures, or in some instances, the film is drawn upon, handled, scratched, spat on and weathered, among other things. Exposed to light for periods of months and even years, the film is processed and then printed at large scale in the darkroom – itself a process of transformation. Functioning as ‘ravaged memorials to lived experience’, the works appear to be abstractions, but are, in fact, rigorous distillations of the real.
See Varga’s work at The Art Gallery of South Australia from May 27 to August 27, 2017.
For more information and a full list of finalists, click here.
Image: Justine Varga’s Memoire at at Hugo Michell Gallery, 2016.