Wednesday, 28 March, 2018 to Sunday, 2 September, 2018
Richard Bell, Still… 2017., acrylic on canvas. Museum of Brisbane Collection
Drawing on the Museum of Brisbane Collection, Voice in Action explores the city’s unique socio-political climate during the 1980s and its impact on the rise of strong new artistic voices.
Visual artists began creating work which reclaimed both Aboriginal and western imagery as a means of asserting their identities and experiences, confronting stereotypes and challenging the status-quo.
Strong cross-cultural influences ran throughout this movement, with artists from Indigenous and non-Indigenous backgrounds coming together socially and artistically. These collaborations helped dissolve perceived boundaries and amplify the widespread call for social change.
While artists from this period forged a global conversation which continues today, they have also played an active role in defining Brisbane. Artwork relating to contemporary Aboriginal and Torres Strait Islander issues continues to prompt the re-evaluation of
local histories, perceptions of identities, and how we see ourselves and each other.
Artists featured include Vernon Ah Kee; Christopher Bassi; Richard Bell; Megan Cope; Michael Eather; Leah King Smith; Vincent Serico and Judy Watson.
Ian Fairweather, Temple scene, Bali 1949, gouache and black ink on cardboard, City of Brisbane Collection, Museum of Brisbane
Our Collection: Journeys into the Asia-Pacific explores the lasting influence of travel on artists Irene Chou, Jan Davis, Ian Fairweather and Pamela See, as well as ceramicists Milton Moon and Gwyn Hanssen Pigott.
All of the artists spent extended periods visiting and living in the Asia-Pacific region, including China, Hong Kong, Japan, Korea, Indonesia, Vietnam, India and the Solomon Islands, and the impact of their experiences can be witnessed in the subjects, colours, textures and approaches of the artworks.
The exhibitionalso includes five garments from the Easton Pearson Archive. The garments are inspired by designers Pamela Easton and Lydia Pearson’s finds in the vintage shops and flea markets of their travels, as well as the imagined adventures of prominent women such as Peggy Guggenheim.
Gibbon Street House, Cavill Architects
Photos: Christopher Frederick Jones
Gentle Northerly: The Reimagined Queenslander presents four much-loved homes in the Brisbane suburbs of Auchenflower, West End and New Farm, which have been thoughtfully reimagined by award-winning architects. The interiors of the original houses have been opened up and adapted to suit a contemporary lifestyle, resulting in bespoke dwellings that are intrinsically connected to the landscape.
Photographer Christopher Frederick Jones has captured these four reimagined houses, documenting the contrast between the original street frontages and the new works at the back, celebrating the materials and textures that bring the architectural ideas to life.
Laura Patterson’s hand-drawn architectural plans render the ground plane in exquisite detail, describing the way daily life in these homes is a seamless integration of inside and outside.
Presented in partnership with the Asia Pacific Architecture Forum
Drawings by Laura Patterson
Photography by Christopher Frederick Jones
Text by Cameron Bruhn and Katelin Butler
Tuesday, 27 February, 2018 to Sunday, 13 May, 2018
Artist Lincoln Austin at work during his residency at Museum of Brisbane. Photo: Michelle Xen
Lincoln Austin was Museum of Brisbane’s Artist-in-Residence from 5 – 27 February. During his residency he created 10 sculptural works using flyscreen to playfully explore the idiosyncratic elements of Brisbane’s subtropical architecture, an architecture influenced and shaped by the unique conditions of the city, its weather, and its landscape.
Lincoln writes “From colonial to contemporary, the architecture of Brisbane has developed to keep the heat out but let the air in. From the garden, through screening and shading, across deep eaves and wide verandas, this is an architecture of permeability, filtering the outside world on its way through these layers. The choice of an ephemeral, architectural material for realising these works reflects this permeability and generates hazy optical effects akin to memories. The places we inhabit become repositories of memory. Layers of the remembered accumulate around the spaces in which we live our lives. In time, memories laid down stratify to form a mental landscape, a topography, mapping our journey to here.”
Lincoln’s sculptural and multi-media works playfully explore the poetics of geometry, pattern, optics and scale. For more than a decade his public artworks have been part of Brisbane’s evolving urban landscape with key works in Burnett Lane, The University of Queensland, South Brisbane, the Mater and Prince Charles hospitals, the Go-Between bridge, shopping centres, hotels and homes.
His arts practice focuses on creating works that interact with, question, and explore his world. Many of his works use varied materials and techniques to explore the idea of perception and its effects on interaction and understanding, changing as the viewer moves. The resulting artworks are diverse in material, delicacy, and scale but all share this common intention.
Museum of Brisbane’s Artist-in-Residence was launched in June 2017 and is a month-long residency, followed by an exhibition, open to artists and creatives from all disciplines.
Saturday, 11 November, 2017 to Sunday, 15 April, 2018
Anne Scott Wilson Every Day I Wait (detail) 2012.
Artist Anne Scott Wilson draws on 30 years of live performance and exhibitions to explore the relationship between movement and meaning. Her works meditate on the years of strenuous practice and endurance dancers undertake relative to their brief moments of glory as a performer.
Scott Wilson studied ballet as a child in Brisbane. Her first performance was in Christmas in Storyland at Brisbane City Hall in 1960 and she was a member of Queensland Ballet before her family moved to Melbourne.
Her works integrate video, photography, performance, sound, and installation to immerse the viewer in an almost physical experience that elicits a sense of what it is to move like a ballet dancer –weightless motion camouflaging the often painful and arduous practice of ballet technique.
Chelsea Culprit, Charm bracelet 2017, neon, 120.0 cm x 330.0 cm. Courtesy of BWSMX, Mexico City
Dwelling Poetically: Mexico City, a case study is an exhibition which considers the ways artists and cities mutually transform each other. A city, it could be argued, is the sum of its portrayals. The more it is depicted, the more it enters the symbolic and global imaginary, as both what a city is and what it can be. It has been claimed that if Paris was the capital of the 19th century, and New York the capital of the 20th, then Mexico City is the capital of the 21st. One of the great cross-roads of north America, Mexico City has taken prominence not only as one of America’s most populous urban centres, and as Latin America’s strongest economy, but as a node of rich and potent cultural production.
This is in part thanks to a whole generation of artists from the ‘90s which include Francis Alÿs, Abraham Cruzvillegas and Melanie Smith as well as a burgeoning, much-discussed contemporary scene. Authored by the city as much as they are authors of it, these artists are crucial factors in the development and cultivation of Mexico City, as place, myth, metropolis and site of cultural production in the global imaginary. Dwelling Poetically proposes a portrait of the Mexican capital through a selection of artists that live there, have lived there, or have only passed through, and yet have nevertheless contributed to its composition. As such, the exhibition is intended as a portrait of the city itself – albeit partial and subjective – and a case study of, if not the capital, then certainly one of the capitals of the 21st century, and a reflection upon the megalopolis today.
This exhibition has been developed by guest curator Chris Sharp, assisted by Fabiola Talavera.
Thursday, 5 April, 2018 to Saturday, 28 April, 2018
How does art provoke and support movements for change? How is the struggle passed on from one generation to the next? How have Tasmanian artists and migrants to Tasmania influenced the struggles that are so critical to our identity?
A Luta Continua (the struggle continues) was the catch cry of the FRELIMO rebels in Mozambique, and has been taken up around the world in struggles for resistance and change. The phrase neatly sums up the ways in which struggle changes, is passed on and provides hope for new generations.
The A Luta Continua project at Moonah Arts Centre is a concert, an exhibition, a film screening, dance workshops and a dance performance.
Incorporating stories from Aboriginal, environmental, and human rights struggles of Tasmania, the project celebrates the importance of non-violent protest in the Tasmanian cultural landscape and the significance of the arts as a means of communication and as a rallying call.
6pm Thursday 5 April
Curated by Selena De Cavalho and Caitlin Fargher, the exhibition brings together visual and audio material, objects, photos, video, interviews and social change art. Free entry.
REAL TO REEL: FILM SCREENING
6pm Friday 13 April
Screening short films about some of Tasmania’s iconic protest movements, curated by Sean Kelly. $5 on the door.
MOONAH MOVES: DANCE STRONG
Dance Workshops running 16 – 20 April
Eric Avery and Gwenda Stanley with Tasmanian Indigenous youth and local dance leaders from pakana, explore resistance, struggle and identity through dance. Cost TBA.
FRIDAY NIGHTS LIVE: A LUTA CONTINUA
6pm Friday 20 April
A performance bringing together generations of protest singers/rappers/poets from diverse cultural backgrounds, curated by Mwase Makalani and Shua Langford with Matthew Fargher. $5 on the door.
CONVERSATIONS WITH THE ARTISTS: A LUTA CONTINUA
1pm Sat 28 Apr
Join the artists exhibiting in current exhibitions for Conversations with the Artists. Meet the makers, and learn more about the artworks and the stories behind them. Free entry.
Dexter Rosengrave, Back to Back, Back to Black, 2018, digital image (documentation of performance)
Vantablack was developed as a technology and introduced in 2014, but it became a known as a colour in 2016 and created controversy when UK artist Anish Kapoor was given sole rights for it’s use in art. Many in the art world took exception to the exclusivity of this agreement between Kapoor and Vantablack developer, Surrey Nanosystems, but none so much as Stuart Semple, a painter and printmaker, also from the UK.
A result of this very public spat has been Semple’s Black 2.0, which uses a binding medium that is capable of holding more pigment than conventional binders, thus sucking in more light and resulting in the flattest, blackest paint available to artists. Semple rallied internet users in a social media campaign called #sharetheblack, and created his own pigments, which he then made available to anyone in the world - except Anish Kapoor.
For The Blackest Spat, curator Linda Crispin provided a select group of artists a quantity of Semple's Black 2.0. The artists have then responded not only to its unique qualities but also to the idea that the paint was created by a "punk reaction" - Semple's passionate defiance of Kapoor's exclusive right to a colour - aiming to create an exhibition through which, in their chosen media, artists can communicate resistance, defiance and opposition.
James Hullick THE ARBOUR OF DOORS 2018 (detail of installation components)
Photo: James Hullick
Courtesy of the artist
For this exhibition, new work from James Hullick’s machine installation practice will accompany TarraWarra Museum of Art’s major survey of the work of Edwin Tanner. The exhibition will feature two new components by Hullick that are in dialogue with the works of Tanner: THE ARBOUR OF DOORS, an enclosed speaker cave made of recycled audiovisual materials that visitors can enter, and THE ORRERY OF HUMAN DESIRES, a mechanical model of rotating speakers and analogue synthesisers which will articulate orbits of human desire. The two works have been conceived of as ‘instruments’ for expanding audiovisual practice.
Monday, 18 September, 2017 to Monday, 30 April, 2018
Take a Kodak: The Doris McKellar Ephemeral Exhibition presents a snapshot of student life from 1915-18 through the lens of Melbourne University student, Doris McKellar (nee Hall). The images in this exhibition portray Doris’ personal experience at the University as she documents her friends, classmates, and the grounds themselves in a playful and entertaining way. As a collection, these charming photographs explore the nature of student life in the early 20th century, and capture the atmosphere of the early university.
The University of Melbourne Archives include over 500 digitised photographic images by Doris McKellar. A display of a selection of these images is also currently on display on Level 1 of the Arts West building.
The Baillieu Library Ephemeral Exhibitions feature programmes of projected images created in partnership with Arts West.
Wednesday, 18 April, 2018 to Saturday, 5 May, 2018
Susana Pilar Delhante Matienzo, Contacto (Cajón para Ana Mendieta), 2015, video documentation, dimensions variable, 1:06 hours. Courtesy the artist.
Intercambio: Cuba Australia Video Exchange is a part of a five-year artist residency and exchange program between RMIT School of Art and the Wifredo Lam Centre for Contemporary Art, culminating in a presentation of Australian works at the 2019 Bienal de la Habana.
The Video Exchange focuses on the works of six women artists from Cuba and Australia. The exhibition brings into focus shared concerns for artists in the geographical South, with particular emphasis on themes of identity and social participation.
Wednesday, 18 April, 2018 to Saturday, 5 May, 2018
Garth Howells, Studio 118 Throne, 2017, bricks, wood, dust, dirt, oil paint, aerosol, aper, dimensions variable. Courtesy the artist.
Site(s) is inspired by how the force and meaning of locations can shape Art making. It explores the processes of each exhibiting artist in relation to space and site. Varied locations manipulate the meaning of art objects, objects that stand as both a response and homage to the site.
This can be taken literally with Belinda Curry’s series of works created from selected images of Townsville, contained in box journals and artists books created from recycled packaging and prints. These mixed media works give a glimpse of everyday images and objects found throughout Belinda’s exploration and response to the environs of Townsville over a three month period.
A series of pen, ink and watercolour drawings of Townsville and other destinations, which explore the urban environment as well as the natural world. Michael Pope’s ongoing series is brimming with life and character. The works, always completed in-situ, capture the unpredictable experiences of travel and quieter, everyday moments.