Congratulations to Narelle Autio, Trent Parke, Matthew Bate, and Anton Andreacchio, the team behind The Summation of Force. Officially selected for the Sundance Film Festival: Mobile VR Lineup, The Summation of Force will be exhibited in January 2018 alongside an extensive international festival program.
In their creative collaboration, Parke and Autio turn their gaze to the possibilities of filmic narrative, and look to family and sport for subject material. In a moonlit suburban yard, two brothers battle one another in a mythic game of cricket. A study of the motion, physics and psychology of elite sport; a cosmic, dreamlike and darkly beautiful metaphor for life.
Previous iterations of the video piece were exhibited during 2017 at the Anne & Gordon Samstag Museum of Art and in for the first time in VR (virtual reality) at the Adelaide Film Festival.
Congratulations to Justine Varga and Paul Yore, who have been selected as Finalist for the invite-only 2017 National Self-Portrait Prize 2017! The $50,000 acquisitive prize will be exhibited at The University of Queensland Art Museum, and the theme for this year’s prize is Look at me looking at you.
The title is from the song (I’m) Stranded by The Saints. Recorded in Brisbane in 1976, (I’m) Stranded quickly became an instant Australian cult hit and is now a classic. The Saints orbited around punk rock rather than being fully-fledged members. Their intelligent, bombastic, and pioneering attitude suits a more singular outlier vision rather than being part of any hip gang or fashionable style.
Most of the artists in Look at me looking at you are also in this spirit, revelling in aspects of the hand-made, the hand-me-down, the urgent and the everyday. They come from a diverse range of backgrounds and ages, are at different points in their careers, and create a variety of touchpoints, from celebrating the banality of the everyday through to pop music, family relationships, and the nature of identity.
The Winner will be announced at the opening of the exhibition, which runs from November 11 to February 18.
For the full list of participating artists, click here.
Image: Justine Varga, Lachrymal, 2017, type C photograph, 163.5 x 122 cm, ed. of 5.
Image: Paul Yore, Sorry, 2017, from Obscene, mixed media textile, beads, sequins, buttons, marker, acrylic, enamel, shells, stuffed toys, and found objects, 201 x 227 cm irreg.
Hugo Michell Gallery invites you to the exhibition opening of Vipoo Srivilasa’s This might be the place, on Thursday, October 26 from 6pm.
Srivilasa is known for his clever, quirky, zoomorphic figures, which blend the artist’s playful spirit and social conscience, just as they blend pop and folk culture.
In this unique exhibition across the entire gallery, Srivilasa will present three aspects of his practice: The Country I Miss (2012), Home (2012), and This might be the place (2017).
The exhibitions have been developed from Srivilasa’s interest in the effect of migration on people, society and the environment, as well as exploring the definition of home, and how we individually express it.
Please join us to celebrate this incredible exhibition on October 26!
Image: Vipoo Srivilasa, Coat of Arms I, 2017, from This might be the place, porcelain, cobalt oxide, ceramic, white glaze, and gold lustre, 54 x 21 x 18 cm.
Hugo Michell Gallery invites you to the opening of Paul Sloan’s If it keeps on raining the levee’s gonna break and Pepai Jangala Carroll’s Ngayulu anu ngayuku mamaku ngurakutu, on Thursday, September 14 from 6pm.
In If it keeps on raining, the levee’s gonna break, Paul Sloan shatters the prison cells of space and time, creating new possibilities, surreal juxtapositions, and dissident commentaries. Sloan’s latest body of work exploits the inherently disruptive and non-linear potentials of collage, while cleverly traversing the realms of drawing and printmaking.
Representing more than 3 years of extended exploration, these works play into a rich field of practice that was established in the twentieth century by heavy-hitting luminaries such as Georges Braque, Pablo Picasso, Hannah Hoch, and Richard Hamilton. In these large-scale works, Sloan creates new spaces for contemplation. He invites unexpected things, people, and events to coalesce, allowing juxtapositions and commentaries to arise that are sometimes serious, sometimes tongue-in-cheek, yet always profoundly subversive and aesthetically powerful.
In Pepai Jangala Carroll’s new body of work, Ngayulu anu ngayuku mamaku ngurakutu, the artist has retraced his father’s story, reconnecting with his homeland. Translating as ‘I went home to my father’s country’, the exhibition summons notions of personal heritage and belonging. Carroll travelled back to his custodial country in April 2017, having left this region as a 19-year-old after his parents passed away. Pepai has spent the last 40 years living and working in Ernabella. On this recent trip he travelled with fellow Ernabella artist Derek Jungarrayi Thompson to visit sites between Kintore, Kiwirrkura, and Lake Mackay (Wilkinkarra). Concerned with passing on this new knowledge and experience, the results are profound and sensitive.
“I’ve gone home! I’ve followed my father’s footsteps back to his country to Ilpili, Walungurru, Ininti, Kiwirrkura, Wilkinkarra and Yumari. Now I’m going to tell that tjukurpa. It’s a big one!”
TARNANTHI: Festival of Contemporary Aboriginal & Torres Strait Islander Art
Please join us in celebrating these two brilliant exhibitions on September 14!
Image: Paul Sloan, Galatic Impact, 2016, from If it keeps on raining the levee’s gonna break, archival UV print on canvas, 150 x 200 cm.
Image: Pepai Jangala Carroll, Walungurru, 2017, from Ngayulu anu ngayuku mamaku ngurakutu, acrylic on linen, 100 x 150 cm.
Hugo Michell Gallery welcomes the addition of Fiona McMonagle to our represented artists!
Fiona McMonagle completed her studies in 2000 at the Victorian College of the Arts and has since been engaged in international residencies and exhibitions nationally. Her practice has a grounding in watercolours but her understanding of the medium and form has extended to include moving image and installation. Painting the figure, McMonagle draws inspiration from her suburban upbringing, challenging and celebrating the moments we take for granted.
McMonagle was selected as a finalist in the 2014 and 2016, Basil Sellers Art Prize, and was the winner of the invitation-only, National Self Portrait Prize in 2015. In 2010 she undertook a residency at the Australia Council for the Arts Studio in London.
Selected exhibitions include, Magic Object, Adelaide Biennial of Australian Art, Art Gallery of South Australia (2016); Luminous: 100 years of watercolour, National Gallery of Victoria (2016); Self Conscious: Contemporary Portraiture, Monash University Museum of Art (2012); Beleura National Works on Paper and Gaze, Redland Art Gallery, Queensland (2010) amongst others.
Her works are held in numerous public collections, including the National Gallery of Victoria, Art Gallery of New South Wales, Art Gallery of South Australia, The National Portrait Gallery, Artbank and various university and regional galleries.
We congratulate Fiona on all her achievements and we are thrilled to be working together in the future.
Image: Fiona McMonagle, Princess, 2017, oil on linen 101.5 x 112 cm
Hugo Michell Gallery invites you to the opening of our SALA exhibitions; Narelle Autio & Trent Parke’s The Seventh Wave and Philjames’ The Lite Ages, on Thursday, August 3 from 6pm!
First exhibited in 2000, The Seventh Wave is a collaborative exhibition by acclaimed photographers Narelle Autio and partner Trent Parke.
Penetrating the sea’s surface, they got under a nation’s skin. Their pictures catch Australians’ infinite patience in waiting for the next wave; their fearlessness in diving into the tumultuous swell; their blithe spirit in that final flick of the hair.
– Michael Fitzgerald
In his latest body of work, The Lite Ages, Philjames continues to intervene directly on vintage reproductions of traditional paintings with playful outcomes. Philjames presents the works as genuine artefact and elevates the status of pop culture comics such as The Simpsons and Mickey Mouse to historical significance. Humorous, entertaining and executed with faithfulness, The Lite Ages reveals the artist’s imagination and mischief.
Please join us in celebrating the launch of these two exhibitions on August 3!
Image: Narelle Autio, Untitled # 52, 1999 – 2000, from The Seventh Wave, silver gelatin print, 24 x 36 cm, ed. of 25; type C print, 80 x 121 cm, ed. of 15.
Image: Philjames, Stranger and Purer, 2017, from The Lite Ages, oil on vintage offset lithograph, 42 x 52 cm.
Congratulations to Justine Varga, Winner of the 2017 Olive Cotton Award! The Olive Cotton Award for photographic portraiture is a $20,000 biennial national award for excellence in photographic portraiture, dedicated to the memory of photographer Olive Cotton. Varga’s winning piece, Maternal Line, will also be acquired for the Tweed Regional Gallery collection.
Varga creates photographic works from an intimate exchange between a strip of film and the world that comes to be inscribed on it. Employing analogue techniques, sometimes using a camera and sometimes not, her exposures capture instantaneous moments or distill lengthy durational periods. In this portrait, Varga has imprinted directly on the negative, in collaboration with her maternal grandmother.
Award Judge Dr Shaune Lakin the Senior Curator of Photography at the National Gallery of Australia stated:
“While Justine’s work is very contemporary, she’s also deeply interested in the history of photography. It’s a very complex photographic portrait: it made me think a lot about the act of the making a portrait – about what it means today to make a photograph of someone else, even if in the end it doesn’t reveal what they look like. But photography has never just been about appearance. It’s also been part of the way that we experience things like memory and relationships. The image – a series of scrawls made by the artist’s grandmother directly onto a piece of film – has been printed at monumental scale. It’s a very moving portrait of the artist’s relationship with and love for her grandmother.”
Exhibition runs until October 8 at Tweed Regional Gallery.
Full media release here.
Image: Justine Varga, Maternal Line, 2017, chromogenic hand-printed photograph, 153 cm x 125 cm framed.
Congratulations to Richard Lewer, who has been selected as a Finalist in the 2017 Archibald Prize, and to William Mackinnon, who is a Finalist in the 2017 Wynne Prize!
Richard Lewer FINALIST in 2017 Archibald Prize
Elizabeth Laverty and her late husband Colin were among the first art collectors to travel the country and stay in remote Aboriginal communities, to visit the art centres, and to meet the artists whose work they were falling in love with. Over several decades, they built one of Australia’s best collections of Indigenous Australian contemporary art and worked tirelessly to raise money for community health and recreational facilities.
Over several decades, they built one of Australia’s best collections of Indigenous Australian contemporary art and worked tirelessly to raise money for community health and recreational facilities.
“I didn’t know any of this when I first met Liz, a year after Colin’s death. Prompted by my animation depicting a tragic love story about an elderly couple, we launched into a long conversation about life, love, and death. It was easy to feel an instant rapport with Liz – a fellow red-head – because she is a warm, passionate, humble woman,” says Richard Lewer. “I remember when I asked Liz if I could paint her portrait, her first response was, “Why would you want to paint me, what have I done?””
Exhibition runs from July 29 to October 22 at the Art Gallery of New South Wales, and the Winner will be announced on the evening of July 28.
Image: Richard Lewer, Liz Laverty‘, 2017, oil on epoxy-coated steel, 110 x 110 cm.
William Mackinnon FINALIST in 2017 Wynne Prize
“I call my work psychological landscapes. In a way, the roads and houses are always something more than just roads and houses. The cracks, drains, shadows rips, and glitter are stand-ins for emotional states, or symbolic of greater themes of life. I am interested in communicating what it feels like to be in our world in this time. The more personal I seem to make my paintings, the more they connect with others.”
The 2017 Wynne Prize, for the best landscape painting of Australian scenery or figure sculpture, will be awarded on the evening of July 28. Exhibition runs from July 29 to October 22 at the Art Gallery of New South Wales.
Image: William Mackinnon, Landscape as self-portrait, 2017, acrylic, oil, and enamel on canvas, 190 x 163 cm.
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 has been produced in association with Closer Productions and the Adelaide Film Festival, and is presented by the Anne & Gordon Samstag Museum of Art for the 2017 SALA Festival.
Exhibition runs from June 30 to September 1. Head here for more information.
- Press release: The Summation of Force bowls into Samstag
- Art Guide: Trent Parke and Narelle Autio: The Summation of Force
- The Australian: Summation of Force pushes the boundaries of bat and ball
- ABC Radio: Photographer couple explores the evolution of cricket
- Arts Hub: Surprise! Arts sector to challenge screen world in Hive #4
- UniSA Alumni News: Narelle Autio
Janet Laurence is exhibiting in a number of international exhibitions, including Warning Shot at Topographie de l’Art, France, Moving Plants at Rønnebæksholm, Denmark, and Force of Nature, streaming online. An advocate for environmental issues, Laurence creates immersive installations that investigate the relationship between nature and the greater eco-system.
Warning Shot, Topographie de l’Art, France
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 Deep Breathing: Resuscitation for the Reef, a video work which was exhibited widely through 2016, including at the Muséum National d’Histoire Naturelle and the Australian Museum.
Exhibition runs from July 5 to 27. For more information head 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 Janet Laurence, Antti Laitinen, Iyvone Khoo, and Cameron Robbins. Laurence exhibits a 2016 video work titled The Persistence of Nature.
See Ikon website for streaming details, and for more information head here.
Moving Plants at Rønnebæksholm, Denmark
Moving Plants is an exhibition and event series focusing on local plants based on the Laurence’s work in 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 of whom have traveled halfway around the globe to work with local plants. Consequently, the exhibition examines global issues, while relating to Rønnebæk Holm’s own framework and local roots.
Laurence exhibits 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. For more information head here.