News

  • Nawurapu Wunuŋmurra

    Buku-Larrnggay Mulka and Hugo Michell Gallery are humbled to present the final body of work by Nawurapu Wunuŋmurra, Mokuy.

    Out of respect for the passing of Wunuŋmurra last week and to honor the wishes of the his family, Mokuy will open on Thursday March 22. Please join us in celebrating the life and career of esteemed artist, Nawurapu Wunuŋmurra.

    For full tribute by Buku-Larrnggay Mulka Centre Co-ordinator, Will Stubbs via Artlink Magazine, click here.

  • Hugo Michell Gallery Open: James Dodd | Nawurapu Wunuŋmurra

    Hugo Michell Gallery invites you to the opening of James Dodd’s ‘Miller’ and Nawurapu Wunuŋmurra’s ‘Mokuy’.

    The miller is a person who operates a mill, a machine traditionally employed to grind cereal into flour. Milling is one of the oldest human occupations. The mill, in essence, is any machine that processes materials via rotational grinding, crushing or cutting. Mills operate to serve a range of industries and outcomes – in this case -the mill is used to facilitate painting.

    James Dodd’s thumbs have been busy operating the joysticks of a remote controller sending signals to a range of cordless drills variously attached to a kind of cobbled together gantry comprised of an old bicycle, roller blades and a variety of aluminium and timber pieces. This is the Painting Mill. Dodd has been working his Painting Mill project through a range of outcomes and presentations over recent years, experimenting with approaches and applications, developing an intimacy with his machine and it’s range of lurches and oscillations. His thumbs correspondingly channel accumulated and inherent understandings of painting substrates, pigments, mediums, viscosity, velocity and momentum.

    Nawurapu Wunuŋmurra present’s his latest body of work ‘Mokuy’.

    “The mokuy or nanuk (spirits) come in together, Dhuwa and Yirritja to the sacred ground called Balambala, past Gangan, the other side for all the mokuy to get together. The spirits go there and that’s where they make the yidaki sound. It’s like showing Yukuwa (sacred yam emblem) and Morning Star feathers – they are different. Like same goes with yidaki, different sounds for Yirritja and Dhuwa. The Yirritja and Dhuwa play yidaki to call in the Mokuy to the same ground Balambala. The Yirritja mokuy come in on the birds, djilawurr (scub fowl) and bugutj-bugutj (banded fruit dove). The Dhuwa mokuy they come in from rangi side (saltwater).”

    Please join us in celebrating these two artists and their latest exhibitions on the 22nd of March!

     

    Image: James Dodd, Mill Painting (Blue and Pink), 2018, acrylic on canvas, 96 x 96 cm framed

  • David Booth [Ghostpatrol] in Adelaide Biennial

    The 2018 Adelaide Biennial of Australian Art launches this week at the Art Gallery of South Australia and features a new installation by David Booth [Ghostpatrol].

    Curated by Erica Green, Divided Worlds  ‘recognises that we live in troubled times. However, rather than foretelling conflict, the focus has been on assembling an exhibition that celebrates the enduring role of art and culture. Divided Worlds offers an opportunity to experience an alternative dimension – one where “difference” is the natural order of things, and a strength to be celebrated’.

    “For ‘Divided Worlds’, Booth brings his world into contact with ours. His universe sweeps across the Art Gallery of South Australia walls, inviting visitors to momentarily relax the boundaries between fact and fiction by conflating elements from the two.”

    David Booth [Ghostpatrol] will also be participating in START at the Gallery. Experience a live painting demonstration in the Sculpture Courtyard on Sunday 4 March, 11am – 3pm.

    Adelaide Biennial of Australian Art: 3 March – 3 June 2018

    Image: David Booth [Ghostpatrol], ‘Power Up Desk Frisk’ (detail), 2017-18, watercolour and pencil on paper, 69.5 x 95 cm.

  • Hugo Michell Gallery Open: Richard Lewer | Sally Bourke

    History of Australia’ and Sally Bourke’s ‘Tall Tales and True’.

    “Over the last few years I’ve read, researched, listened to oral histories, travelled extensively, and interviewed many people, all with the aim of immersing myself in Australia and Australian culture. Giving context to the time that I live in in Australia, I am considering its history, politics, culture, people, et cetera.” – Richard Lewer

    Representing the culmination of a period of research, Lewer’s latest body of work, ‘The History of Australia’, projects a national narrative. Throughout his career, Lewer’s visual outcomes have examined the intricacies of social narratives, and offered an immersive view of experience and community. However, ‘The History of Australia’ forms a broader chronicle, summoning the chorus to which these findings contribute. ‘The History of Australia’ provides documentation and an understanding of events that Lewer believes have shaped the Australia we live in today.

    ‘Tall Tales and True’ by Sally Bourke is a container for oral histories with unbelievable elements. The narrator seems to have been included in its’ stories. The silent glances of the characters belie the gravity of its heroes. Perhaps even at the expense of the truth. The painted protagonists of ‘Tall Tales and True’ ride the spectrum between Veritas, gossip, and the ironic solitude of the echo chamber.

    Please join us in celebrating these two incredible exhibitions and our first of 2018!

    Image: Richard Lewer, The History of Australia (detail), 2017, oil on steel, copper, brass, 720 x 141 cm

    Image: Sally Bourke, Black Sheep, 2017, oil & acrylic on archival mount board 104 x 84 cm

  • The Summation of Force – Sundance Film Festival Selection

    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. 

  • Hugo Michell Gallery Open: Janet Laurence | Tarryn Gill

    Hugo Michell Gallery invites you to the opening of Janet Laurence’s ‘Phytophilia’ and Tarryn Gill’s ‘Dearly Beloved’.

    In Laurence’s latest exhibition, ‘Phytophilia’, the artist furthers her examination of medical and historical relationships within the natural world through a series of photographs.

    Exploring notions of art, science, imagination, memory, and loss, Laurence’s practice examines our physical, cultural, and conflicting relationship with the natural world, through site-specific, gallery, and museum works. Working in varying mediums, Laurence creates immersive environments that navigate the interconnections between life and world.

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    ‘Dearly Beloved’ is a new installation-based work by Tarryn Gill, developed from the ‘Guardian’ series recently exhibited in the 2016 Adelaide Biennial of Australian Art. ‘Dearly Beloved’ draws heavily upon theatrical conventions, and reflects Gill’s interest in combining personal memories and family histories with imagery drawn from mythology to imagine a space between the earthly and other-worldly. Each of the sculptures in this installation is approached as either a self-portrait or a portrait of her immediate family, and suspended together from the ceiling. Each individual portrait becomes part of the larger installation – a family tree imagined as a constellation.

    Please join us in celebrating these two incredible exhibitions and our final opening of the year!

    Image: Janet Laurence, Notes from a Phytophiliac (Fever Tree & Tree of Science) (detail), 2017, Dye sublimation archival print onto Chromaluxe aluminium, 2 panels of 31 x 21.5 cm, edition of 5

    Image: Tarryn Gill, Dearly Beloved (gold sequin moon janus), 2017, Foam, sequinned fabric, thread, plastic gems & Sculpey 35 x 30 x 25 cm

  • 2017 National Self-Portrait Prize

    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 Open: Vipoo Srivilasa

    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 Open: Vipoo Srivilasa

    Hugo Michell Gallery invites you to the exhibition opening of Vipoo Srivilasa’s ‘This might be the place’.

    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’ (2013), 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!

    Courtesy of Edwina Corlette Gallery and Scott Livesey Galleries.

     

  • Hugo Michell Gallery Open: Paul Sloan | Pepai Jangala Carroll

    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.

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    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.