Tamara DEAN, born 1976, Sydney, Elephant ear (Alocasia odora) in Autumn from the series In our nature, 2017, pure pigment print on cotton rag, 45 x 60cm; Courtesy of the artist and Martin Browne Contemporary.
Curated by Erica Green
Saturday 3 March - Sunday 3 June 2018
Art Gallery of South Australia | Samstag Museum of Art | JamFactory | The Santos Museum of Economic Botany in the Adelaide Botanic Garden
Titled Divided Worlds, the 2018 Adelaide Biennial presents an allegory of human society, one that meditates on the drama of the cosmos and evolution; on the past and the future; and on beauty and the environment.
Delivering new and unexpected visions in mediums such as photography, painting, sculpture, installation and the moving image will be artists from all corners of the country including:
Vernon Ah Kee (QLD), Lisa Adams (QLD), Roy Ananda (SA), Daniel Boyd (NSW), Kristian Burford (SA), Maria Fernanda Cardoso (NSW), Barbara Cleveland (NSW), Kirsten Coelho (SA), Sean Cordeiro + Claire Healy (NSW), Tamara Dean (NSW), Tim Edwards (SA), Emily Floyd (VIC), Hayden Fowler (NSW), Julie Gough (TAS), Ghostpatrol (VIC), Amos Gebhardt (VIC), Timothy Horn (VIC), Louise Hearman (VIC), Ken Family Collaborative (SA), Lindy Lee (NSW), Khai Liew (SA), Angelica Mesiti (NSW), Patrick Pound (VIC), Patricia Piccinini (VIC), Pip + Pop (WA), Khaled Sabsabi (NSW), Nike Savvas (NSW), Christian Thompson (VIC), John R Walker (NSW) and Douglas Watkin (QLD).
The 2018 Adelaide Biennial is an Art Gallery of South Australia exhibition presented in partnership with the Anne & Gordon Samstag Museum of Art, UniSA, in association with the Adelaide Festival of Arts, and with generous support received from the Art Gallery of South Australia Biennial Ambassadors Program and Principal Donor The Balnaves Foundation.
This project is supported by the Australian Government through the Australia Council, its principal arts funding body and by the Visual Arts and Crafts Strategy, an initiative of the Australian, State and Territory Governments.
This exhibition brings together and presents a range of key works by abstractionist Hilarie Mais made over the last decade.
Hilarie Mais was born in the UK and lives and works in Sydney. Her work is characterised by a deep interest in the grid and its expressive possibilities. She makes abstract constructions and paintings that merge the formal structure of the grid with an interest in more organic forms found in nature.
Mais has been making work since the 1970s, influenced in part by her interest in the history of abstraction – in particular mid-20th century English constructivism, as well as later American minimalism including the work of Agnes Martin.
Mais’s work brings together formal geometry with biological and cellular structures to generate subtle visual experiences that are broadened expressively through the highly personalised application of paint. As such, the apparent formality of her works is undercut by emotional truth and underpinned by an organic and intimate sensibility, whilst the handmade quality of the works functions to personalise, even ‘feminise’ abstraction.
The exhibition is co-curated by Blair French and Manya Sellers, Museum of Contemporary Art Australia.
Saturday, 9 December, 2017 to Sunday, 4 March, 2018
Kylie Minogue, KylieX2008 tour, 2008
Photograph by William Baker
Reproduced courtesy of Darenote Ltd.
Kylie on Stage celebrates magical moments from Kylie Minogue’s highly successful concert tours. Drawn from her spectacular stage wardrobe held at Arts Centre Melbourne’s Performing Arts Collection, the exhibition charts the development of Kylie’s ever-evolving stage persona and goes behind the scenes to explore the creative process behind each tour.
Wednesday, 6 December, 2017 to Wednesday, 17 January, 2018
Adeline Kueh Everything But Gold (Still), 2017.
In Everything But Gold, the paper beads that began with Adeline’s parents’ courtship in June 1963 is extended to present-day Singapore context. The video piece is a continuation of the 1963 project with gold transformed into newer beads of 7grams each. The process began as a personal family story but the result foregrounds values about love, what we carry as item of remembering, gold as the purest form of metal & currency of exchange, as well as nation building & identity.
Friday, 1 December, 2017 to Thursday, 25 January, 2018
Juliette Blightman, 'Nightshift', 2015-2017.
Colour video with sound, cactus plant
Duration 11 hours 33 minutes, dimensions variable
Fine Arts, Sydney is presenting a new exhibition of work by Juliette Blightman, ‘Nightshift’.
On the evening of the 17th June 2015, six friends had dinner in Berlin. The next day whilst looking for something else, I saw my computer’s search history and discovered I had saved every song we played from the beginning of the evening until 7.30 the following morning. I made a playlist with these songs and also with the moments of nothing - like when we eat dinner for instance and don’t attend to the music - or when it automatically chooses the next song for you, so that everything could be replayed at the exact same time on another occasion.
During the exhibition this playlist will replay every night at the exact time. Due to time zone difference, it will play at the gallery in Sydney through the day.
The day that I am told about universal gravitation, that the Earth spins around the Sun, I understand, faster than I understand how to read a watch or a clock face, that others, humans, animals, are awake on the other side of the Earth while I sleep; that is to say, that one humanity watches over the one that is sleeping, and the sleeping one dreams of the other, awake. The thought of History comes to me then, as a child, the thought of tomorrow, of how night divides yesterday from today: night is rumination on the future. I see, then, History contained, great figures, treaties, celebrations, people communing, battles, in the blue sky, inside the firmament: the lofty dead, all the great thoughts, aligned above: the sky rustles with those actions, and at night, the stars signal each, every, all; Time is there, up above.
- Pierre Guyotat, ‘Coma’ (2006)
Thursday, 30 November, 2017 to Saturday, 23 December, 2017
The Vascular Surgeon
Archive Pigment Print on Hahnemulle Cotton Rag
78 x 60.5cm
Edition of 5
Back to the Lit World
The Nine Circles by John A. Douglas is epic theatre, distilled to video and photomedia. Its canonical tropes are all there: a maligned protagonist; a journey across time and space; encounters with advocates and tormentors; contests and challenges; an internal battle of the psyche, all intermingle with the accumulated experience of an individual living an extraordinary life in a literally extra-ordinary body.
The title of the exhibition is lifted from Inferno, the first part of Dante Aligiheriʼs epic poem The Divine Comedy (c. 1308-1320), in which the author is guided by the Roman poet, Virgil, through the nine circles of hell. The Nine Circles and its main video component, Circles of Fire (variations) has been the creative focus of artist, John A. Douglas since his successful kidney transplant operation in 2014. The work forms part of a trilogy of video, photomedia and performance in which Douglas engages directly with his experience of chronic long-term illness, and treatment and interventions upon the medical patient body. The trilogy includes Body Fluid (2012), The Visceral Garden: Landscape and Specimen (2014) and Circles of Fire (2016- ongoing).
Following almost a decade of being physically grounded on Australian soil due to renal failure, Douglas was – very quickly after his recovery from the transplant operation – deemed fit to fly. His location shoots have since included “The Gates of Hell” in Turkmenistan, the Osoyoos Lakes in British Columbia in Canada and Hadrianʼs Villa in Rome. These places and others, across several continents, have become variously the backdrops and material for the construction of the mis-en-scene for these works, in which digital collage is used to unite significant sites, histories, characters and filmic and literary references from disparate eras and locations. The primary site for this work is however, the artistʼs own body, within and through which these accumulations of context, knowledge, history and memory are expressed.
Circles of Fire represents the journey of the artist through the sudden transitions from illness to health, and back again, and again, that are intrinsic to the transplant experience. As Lesley A. Sharp writes in Strange Harvest: Organ Transplants, Denatured Bodies, and the Transformed Self (2006),
“In essence, a transplant marks the beginning of yet another sort of chronic condition that can extend to the end of oneʼs life...They risk an onslaught of infections, where even a common cold might evolve into pneumonia and land them in the hospital.”
But it is still a life, though risky and uncertain. In the dual screen video, his characterʼs body, shrouded in white, is marked like an anatomical model by a renal diagram that courses across his abdomen. As in Inferno, the artist protagonist leaves the world of light, and travels through a series of startling settings and encounters, including a descent into eternal fire, flight over the healing waters of a sacred “spotted” lake and a stylised surgery in which his shroud is cut and jewels are arranged with precision on his exposed skin. The trauma of this surgical event is presented in the video diptych by the artistʼs thrashing, isolated form on the left-hand screen, while a female ʻsurgeonʼ on the right- hand side attempts to contain blubbery viscera on a flat table, creating a disturbing interplay of horror and comedy that are characteristic of Douglasʼ work.
The artistʼs jewelled body later passes serenely over a field of illuminated pinpoints and circles of light that prove to be digital microscopy images of his own T-cells, rendered as a multi-coloured constellation. In his lived experience as a transplant recipient, these leucocytes are suppressed in order for his body to accept the transplanted organ. Three still photographs in the exhibition also represent these blood cells, which are like self-portraits of the artist at his most basic level. They represent his immune system, which has kept him alive for most of his life and which post-transplant, continually threatens the new arrangement of his body with its functioning kidney.
Throughout his trilogy of works, Douglas has researched and documented natural environments that are analogous to particular internal states – saltpans, ossified coastal cliffs, deserts, lush forests, swamps and rivers – and in this photographic accompaniment to Circles of Fire (variations), man-made ruins and historical sites including classical-period hospitals, and early operating theatres. Three images, The Vascular Surgeon, Infermiera and The General Surgeon use framing devices familiar to religious altarpiece painting of the Renaissance, a triptych with haloed figures enclosed by columns and pillars. The Vascular Surgeon depicts a woman (artist, Celeste Aldahn) in stylised costume bearing surgical implements, looming over the supine wax figure of an Anatomical Venus from the Museo di Palazzo Poggi, Universitaʼ di Bologna. The General Surgeon depicts a man (artist, Yiorgos Zafiriou) similarly attired and standing behind a marble dissecting table from the Anatomical Theatre of the Archiginnasio in Bologna. Infermiera, the central image of this triptych, features the surgically costumed figure of artist, Stella Topaz, a burlesque performer in real life whose profession is in LGBTQI health. At her feet are the “incorruptible” remains of Saint Victoria, her embalmed body preserved in wax. This grouping of works draws-out the support characters appearing in the video Circles of Fire (variations), and their representation of the individual doctors and nurses who saved the artistʼs life – preserved now as idols, like the saints and idealised bodies they are arranged in composition with.
Douglasʼ body is of course, a coexistence of bodies, of both his and his donorʼs, and his survival is in part dependent on the community of health workers suggested in these works. In a final photographic collage, shot against a backdrop infused with sunshine, Douglas superimposes his hands proffering a shiny, glass kidney, Intruder (2016) against a background of sand dunes that support and encroach upon classical ruins of statues and columns – reminiscent of the poem, Ozymandias (1818) by Percy Bysshe Shelley,
ʻMy name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!ʼ Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away.”
Shot from the point of the artist, his hands present the kidney as an offering-out to a desolate, destroyed environment – a sacrifice, a gesture of continuing life against the forces of death and decay. As with Danteʼs descent in Inferno, our hero returns to the lit world.
Bec Dean, 2017
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. This project is supported by the NSW Government through Create NSW.
Principal Artist: John A Ddouglas Associate Producer: Bec Dean Performers: John A Douglas with Celeste Aldahn, Stella Topaz, Yiorgos Zafariou Performance Director: Sue Healey Videography: John A Douglas, Dara Gill Ariel Videography: Rubicon Cinema (BC, Canada) Lighting: John A Douglas, Martin Fox, Mark Mitchell, Yiorgos Zafiriou Editing, Compositing and Colour Grading: John A Douglas Digital Stills collage: John A Douglas Soundtrack: Justin Ashworth and Glam Cyborg (Celeste Aldahn, Freya Adele) Arrangements, Sound Design and Mixing: Justin Ashworth and John A Douglas Costume Design and Production: Michele Elliot, Yiorgos Zafiriou, John A Douglas LED Costume design production and rigging: Alejandro Rolandi Props Design and Production: John A Douglas, Nadege Desgenetez (glass objects) and Yiorgos Zafiriou On Location Production Management and camera operator: Melanie J Ryan
Special Thanks to: First Nation Okanagan custodian of Spotted Lake(Kliluk), Alex Louis (Senklip Skalwx) for permission to perform and shoot at Spotted Lake, BC, Canada. Artik Gubaev and Batyr Nitazov for clearance and transport in Turkmenistan. Dr Stuart Hodgetts, Assoc Prof Silvana Gaudieri, Guy Ben-Ary and Celeste Wale for assistance with the artist’s T-cell experiments and microscopy and Symbiotica Lab, UWA. Museo Palazzo Poggi, Bologna, Italy for permission to photograph in situ Clemente Susini’s anatomical wax venus, Venerina, 1782 Ingrid Bachmann, Concordia University Montreal, Quebec, Canada Andrew Carnie, Winchester School of Art, Southhampton University, UK Helen Pynor, University of London, United Kingdom Kate Scardifield, University of Technology Sydney, Australia
The artist gratefully acknowledges the support of The School of Art, ANU Canberrra, ACT, School of Media Arts, UNSW, Symbiotica Lab, UWA. and The Bundanon Trust.
The artist would also like to acknowledge the first nations people of the Osoyoos Indian Band (BC, Canada), the Yuat of the Nyoongar Nation (WA), the Gadigal of the Eora Nation (NSW) and the Turkmen of the Karakum Desert (Ahal, Turkmenistan) on whose land this work was made.
Friday, 24 November, 2017 to Monday, 1 January, 2018
Samuel Bassett Yeah Fitting In With The Locals Just Fine 2017. Acrylic, pen, spray paint, charcoal, and graphite on canvas. 170cm (H) × 140cm (W), signed.
With a stellar line up of international artists, Fresh AF will explore contemporary abstraction and it's relationship to figuration and digital culture from a variety of geosocial perspectives. In a world full of fake news and clickbait, the works in FRESHAF are exactly that - fresh. Each with their own visual language, Bassett, Cheatwood, Kerwick, Raftopoulos, and White, are all exploring how the objective world intersects with the abstract. Combining personal and political narratives, these artists are storytellers, trying to make sense of our increasingly complex world. The juxtaposition of images, out of proportion symbols, and references to different moments in art history, feels honest and raw, a truer reflection of today's climate. What we see is not always what we get.
Wednesday, 6 December, 2017 to Friday, 22 December, 2017
To celebrate our first year, Onespace Gallery is excited to launch Onespace Afterimage Editions – a new platform in which we collaborate with artists to create limited edition digital fine art prints.
For the inaugural collection, Onespace has curated an exciting print range which includes a diversity of imagery and concerns by artists:
Michael Boiyool Anning James and Eleanor Avery Renata Buziak Elisa Jane Carmichael Jodie Connolly Shara Delaney Sebastian Di Mauro Andrea Higgins Georgina Hooper Lucy Irvine Rachael Lee Fintan Magee Sebastian Moody Casselle Mountford
Matthew Newkirk Lix North Elysha Rei Mandy Ridley Brian Robinson Donna Maree Robinson Jackie Ryan Samuel Tupou Benjamin Werner
Friday, 22 December, 2017 to Sunday, 11 February, 2018
Ken Thaiday Snr., Whaling boat 2013, plywood, synthetic, polymer paint, fishing line and beads, 120 x 40 x 60cm. Cairns Art Gallery Collection 2013.01
Story Waters brings together more than sixty works from the Gallery’s Permanent Collection of Aboriginal and Torres Strait Islander art that have been acquired since the Gallery opened in 1995.
One of the strengths of the Collection is its holding of Indigenous art and craft from Far North Queensland. Each of the works selected for this exhibition explores different themes and narratives about the ways in which Aboriginal and Torres Strait Islander peoples holistically value the historical, mythological and cultural significance of the ocean. They tell stories of survival and spiritual connection with the land, sea and sky. Water is a life force that is implicitly embedded in their culture, society, sense of place and identity, well being and economy.
More than twenty artists are represented in the exhibition, including Billy Missi (dec.), Justin Majid, Laurie Nona, Dennis Nona, Alick Tipoti, Brian Robinson, Rosella Namok, Ken Thaiday Snr, Silas Hobson, and Segar Passi.
From artists now famous for their early printmaking in the 1990s, through to more recent ghost net sculptures, masks, headdresses and paintings, the works explore ways in which water informs traditional legends, spirit stories, totems and cultural lore, as well as the cyclic importance of seasons for hunting and gathering sea life and timing for journeying and travel.
A number of works in the Collection and now included in Story Waters have been loaned to major exhibitions around Australia, including Ken Thaiday’s remarkable sculpture Beizam that was included in the 2016 Biennale of Sydney.
Story Waters is a remarkable testament to the breadth and diversity of Aboriginal and Torres Strait Islander artists of Far North Queensland.
Saturday, 31 March, 2018 to Wednesday, 25 April, 2018
Crafted by Evelyn Roth Festival Arts, the climbing web is a large-scale multi coloured crocheted net suspended from the gallery ceiling. This creates a safe, stimulating and enjoyable learning environment where kids can take off their shoes and roll and tumble while safely suspended off the ground. Kids are encouraged to climb, roll, dive and spin above the Children’s Gallery in the Climbing Web, designed especially for 3 to 12 year olds.
Saturday, 17 March, 2018 to Sunday, 29 April, 2018
Commemorate the centenary of the end of the Great War with this poignant view of ANZAC memorials by renowned New Zealand photographer Laurence Aberhart.
ANZAC is a Dunedin Public Art Gallery touring exhibition curated by Aaron Kreisler in close liaison with the artist. It has received significant support from the WW100 Centenary fund, Creative New Zealand and the Dunedin City Council.
Exclusive to Melbourne, NGV Triennial features the work of over 100 artists and designers from 32 countries, including newly commissioned works never seen before. Explore cutting-edge technologies, architecture, animation, film, painting, drawing, fashion, design, tapestry and sculpture and see the world and its past, present and future through the eyes of some of the most creative minds working today. Free entry.
Shin KOYAMA Tsunami 2011. Acrylic on canvas. 182 x 671cm (11 panels).
The Strip Show examines the influence of comic strips on the work of Australian artists Stephen Bird, Chayni Henry, Shin Koyama, Jonathan McBurnie, Brian Robinson and Charles Street. The accessibility and mass consumption of comic strips ensures an ongoing interplay of mythology within contemporary culture. These artists utilise the subversive nature of the comic medium to unveil universal truths of humanity where tragedy, humour, violence and erotica comfortably sit alongside each other. A KickArts Contemporary Arts touring exhibition.
Thursday, 25 January, 2018 to Saturday, 17 March, 2018
Tracey MOFFATT Something more # 8 1989. Cibachrome photograph. Commissioned by MAMA with funds from Visual Arts/Craft Board of the Australia Council, Aboriginal Arts Committee of the Australia Council, the Exhibitions Development Fund of the Regional Galleries Association of New South Wales and the New South Wales Ministry for the Arts, 1989. MAMA Collection.
Tracey Moffatt is one of Australia’s most successful international artists, known for her film, photography and video works. The exhibition is drawn from the collection of the Murray Art Museum Albury (MAMA), and features photographs from Moffatt’s Something More, Scarred for Life and Some Lads series. Moffatt first came to prominence in the Australian art world with her series Something More. Commissioned in 1989 by the Albury Regional Art Gallery, now MAMA, the series set the tone and themes for much of Moffatt’s later work and is accompanied by other works from the MAMA collection. A touring exhibition from the MAMA collection.