Shirana SHAHBAZI Iran/Switzerland b.1974 / [Voegel 08 2009] from Flowers, fruits & portraits series 2009 / Type C photograph on aluminium, ed. 3/5 (1 AP) / Purchased 2010 with funds from Tim Fairfax, AM, through the Queensland Art Gallery Foundation / Collection: Queensland Art Gallery
A World View: The Tim Fairfax Gift is the story of a deep commitment to contemporary art and to the Queensland Art Gallery | Gallery of Modern (QAGOMA). Since 2002, Tim Fairfax AC, has supported the acquisition of some of the most remarkable works to have entered the Collection. Reflecting this generosity, the regional touring exhibition presents works by renowned and emerging artists, from monumentally scaled installations to intimate photographic works.
One of the distinguishing qualities of the Fairfax gift has been the donor’s willingness to venture into new collection-building territory, particularly Africa, South America and the Pacific, and this is evidenced in the great diversity of works on display.
‘A World View’ is a fitting tribute to Tim Fairfax AC, whose extraordinary commitment has helped to bring works by leading international artists into the QAGOMA Collection for Queenslanders to enjoy now, and into the future.
Saturday, 2 February, 2019 to Sunday, 24 March, 2019
Janet PARKER SMITH / The Vanishing Point 2016 / screenprint / 76 x 56cm / Courtesy the artist
As far as the eye can see celebrates the contemporary topography of both landscape and printmaking. The exhibition challenges these doubly conventional themes through the work of twenty-two Australian artists whose work reflects the breadth and depth of print practice in Australia today. The artists express their individual relationships to the land through a variety of print media, describing both the vast scale and the intimate detail of our diverse natural environment and portraying Australia’s unique and varied geography.
Featuring Antonia Aitken (TAS), Raymond Arnold (TAS), G. W. Bot (ACT), Susanna Castleden (WA), Jan Davis (NSW), Gary Jolley (NSW), Locust Jones (NSW), Martin King (VIC), Judith Martinez (NSW), Clyde McGill (WA), Helen Mueller (NSW), Alice Nampitjinpa (NT), Dorothy Napangardi (NT), Daniel O’Shane (QLD), Janet Parker-Smith (NSW), Julie Paterson (NSW), Olga Sankey (SA), Gary Shinfield (NSW), Rochelle Summerfield (NSW), Chris Tobin (NSW), Judy Watson (QLD) and Freedom Wilson (NSW).
A Blue Mountains City Art Gallery touring exhibition
Wednesday, 2 January, 2019 to Sunday, 3 February, 2019
Peta BERGHOFER / Baby vessel, Four handled mug & Lady Amphora 2018 / stained white raku & porcelain / dimensions variable / Photograph: Theresa Hall
Commonplace, by local artist Peta Berghofer, explores the synthesis of sculptural and functional ceramics. With traditional, domestic forms as a starting point, each object is made or installed to disrupt complete functionality. This body of work is designed to bounce between two sectors and discuss the dichotomy between 'art' and 'craft'. Through informal techniques, each clay object is made to be about things as well as for things, placing an accent on facility and concept driven work.
Continuing the intersection between clay and art object, alternative plinths referencing everyday furniture display the ceramics. At once, the plinths are reminiscent of domestic design, yet remain a device for raising an object as sculpture and bringing it into public view. Together, the ceramics and plinths create abstract still-life installations that slip in and out of gallery and domestic space.
Saturday, 15 December, 2018 to Sunday, 10 March, 2019
George BALDESSIN / Final banquet for no eating III (final version) 1972 / etching and aquatint with colour stencils / 47 x 101cm / Toowoomba City Collection 368
Departing from its pre-war status as craft or an illustration for a book, printmaking in the 1960s and 70s became an important platform for communicating visual information to a mass audience and was for the first time placed alongside painting and sculpture as a main form of artistic expression. Displaying prints from prominent artists from this time such as Barbara Hanrahan, George Baldessin and John Olsen, this exhibition provides a glimpse of the artistic transformations that occurred throughout this pivotal era.
Sunday, 10 February, 2019 to Sunday, 14 April, 2019
Cassils, Alchemic no.4, 2017, Archival pigment print, plexi faced and aluminum backed. Photo: Cassils with Robin Black.
Cassils has achieved international recognition for a rigorous engagement with the body as a form of social sculpture. Through a practice spanning more than 15 years Cassils has ‘tackled the complicated politics of transgender visibility and its intertwinement with the politics of form’ (Artforum).
Cassils’ first exhibition in Australia features video, photography and sculpture, as well as a presentation of their iconic performance, Becoming an Image.
Habitually using their own body as medium, Cassils changes it through rigorous training and nutrition schedules to create artworks that offer shared experiences for contemplating histories of violence, representation, struggle and survival. Keenly aware of art history, Cassils’ approach to art form and representation re-frames the gaze and subverts art’s historical canon.
Cassils’ body – defiant, strong and transgender – is the through line of their body of work. With breathtaking skill and finesse, the artist uses their body to question attitudes and society structures, revealing the damaging inadequacies of simplistic binaries and mainstream hegemonies of power.
Thursday, 15 November, 2018 to Saturday, 22 December, 2018
Selena de Carvalho, season of thought, 2017, photograph by the artist
Over the past few years, Selena de Carvalho has journeyed between sites. During multiple expeditions and artist residencies, she has sought out international, national and local sites of disturbance. These have included nuclear reactors in India and France as well as environments directly affected by climate change like melting glaciers in Iceland. All the while, the artist has returned again and again to visit an orchid – the last of its species – found in a Tasmanian cemetery.
Out in the field Selena has performed personal rituals, with the intension of working with ‘more than human’ witnesses to disturbance. She has developed documentation as well as composing physical samples as remnants of these ecological visits.
The artist invites you to witness this translation of experience – a creative response to acts and actions of pilgrimage or ‘reverse tourism’. The exhibition will develop over the course of five weeks and will grow to inhabit more gallery spaces. The gallery becomes a testing ground for ideas and the conversation of exchange.
Friday, 16 November, 2018 to Saturday, 8 December, 2018
Stilled composition 43 2018
stoneware, glaze, wood and acrylic paint
38d x 145w x 48h cm
I am curious about the way we interpret things and how an understanding of one object may influence the perception of another. My work therefore explores illusion, the relationships of ceramic objects in still life compositions and asks how carefully do we look? How is what we perceive connected to the depth with which we see? Some of my forms are grounded in utility and familiarity while others are more ambiguous and abstract. The inclusion of painted timber shelves further explores the idea of illusion; placing three dimensional objects within two dimensional framing.
Formal relationships between individual objects weave the constructed groups together. Quiet shifts in surface quality from matt to gloss aim to enhance the subtlety and detail of the works. An overall sense of resonance and softness is sought through the use of colour, tone and shadow.
Friday, 16 November, 2018 to Saturday, 8 December, 2018
The Wake 2018
oil on linen
122 x 102
I love the strange inexplicable atmospheres that a painting can create. My mother died earlier this year, so much of this recent work… the lying down figures, the bed in the room is informed by this time. My mother had dementia in the last few years. She was born in 1921 so she lived through the depression and WW11. I would walk in to her room at the nursing home and find her chatting to several wounded soldiers under her bed. There was someone outside her window climbing the wall and someone called Pepé living in her wardrobe. We had to ask each of them to join us for coffee.
I draw and write every day. It is here that my ideas begin as small sketches often triggered by some memory or an actual place that becomes a condensed symbol of a mood at the time.
I enjoy it when I’m in the middle of a body of work and I’m almost unable to hold all the paintings in my head and I’ve got a name for the show and I’m not entirely sure what it means. I want my work to transform the everyday and become more like a dream. I’m happy when something makes no sense, is not in proportion, but just works, then I know something significant has happened.
Thursday, 28 February, 2019 to Friday, 5 April, 2019
Lisa Reihana, in Pursuit of Venus [infected], 2015–17 detail, single channel ultra HD video, colour, sound, 64 min. Courtesy the artist.
The Adelaide//International is a new series of exhibitions for the 2019, 2020 and 2021 Adelaide Festivals, each comprising works by artists from Australia and overseas, along with associated forum programs.
In 2019 two Australian artists—Brook Andrew and Eugenia Lim—and two international—Lisa Reihana (New Zealand) and Ming Wong (Singapore)—will be featured in an exhibition covering issues of identity, post-colonialism and migration.
Lisa Reihana's panoramic video in Pursuit of Venus [infected]was the most discussed and acclaimed work from the 2017 Venice Biennale and will be presented at its original, extraordinary scale. Ming Wong turns a scene from Wong Kar-wai's In The Mood for Love on its head with his playful In Love for the Mood, recasting a hapless Caucasian actress who struggles with the script while prompted in fluent Cantonese.
The 2019 exhibition will also include world premieres of work from Brook Andrew and Eugenia Lim, the latter of whom appears as the mysterious gold-Mao-suited persona from her celebrated series The Ambassador. In contrast, Brook Andrew’s slightly unsettling installation aims to repair and broaden the representation of Aboriginal history.
Friday, 30 November, 2018 to Monday, 11 February, 2019
Forty-six years ago, five young artists from Ernabella went to Sturt as part of a residency to learn new weaving techniques. To celebrate Ernabella’s 70th birthday, In These Hands: Mara nyangangka tells the story of that residency, its impact on subsequent generations and offers a showcase of the contemporary work in painting, ceramics and tjanpi (native grass) weaving and punu (timber) work.
Friday, 14 December, 2018 to Sunday, 10 February, 2019
Glass artist Madeline Prowd presents a body of new work exploring pattern, repetition and density of simple line work while highlighting the optical qualities of the material. In her practice, Prowd utilises the layering of clear glass canes to bend light and the perception of underlying patterns.
Saturday, 17 November, 2018 to Saturday, 15 December, 2018
Brett Colquhoun's paintings explore the phenomena of absence, presence and memory as captured in moments of time. While these paintings are representational, their fragmented planes and minimal rendering tend toward the abstract. Previously, Colquhoun has painted static reflections of transient impressions - thumbprints, lightning, tree rings, burning matches and film reels, making visible the remnants of an action or exposure. In his Breath series, Colquhoun created psychological spaces in which vague orbs appear to obscure - or perhaps erase - vistas of serene landscapes.
Invested with trepidation and apprehension, the paintings in Colquhoun's new exhibition Impending, emerge as a setting for imminent activity. Each artwork in this series features a dense ground intercepted with fine lines, suggesting either trip wires suspended over thick vegetation or ropes draping a theatre stage. These threads function as a metaphorical visual device to activate the image and conceptually ensnare the viewer within the artwork. It is the combination of symbolic meaning with a lightness of touch evident in these works, which encourages contemplation and makes Colquhoun's paintings exude a strange and elegant mystery.
Saturday, 17 November, 2018 to Saturday, 15 December, 2018
Lindy Lee's practice considers her Chinese Australian heritage primarily through the philosophies of Zen Buddhism and Taoism. In Kalpa Fires the artist juxtaposes historical images from her family's archive with abstract fire drawings to reflect on the cosmos and our interconnectivity and transience as beings.
Lee has invoked the elements in these works on paper by repeatedly piercing, scorching and drenching them with fire and water. As each burn mark and notation embodies a single moment, similarly, each photographic portrait is the record of an instant of time in the sitter's life. By aligning the photographic (and human) with the elemental, Lee addresses the vast sweep of time that is intrinsic to all nature and life and draws on the cosmos as the totality of everything that has happened in the past, present and future. Cosmos is the eternal unfolding of time - of cause, condition and process. From an ego standpoint, individual life may seem unutterably insignificant in comparison to this unfathomable magnitude, yet from an absolute perspective, each life is a living unit of cosmological time. As Dogen, the 13th-century Japanese Zen master relates: we are time-beings.
*In Buddhism, a kalpa is an immeasurably huge unit of cosmological time so vast that if an angel were to descend from heaven every 500 years to brush the world's highest mountain with her wings, the mountain would be completely depleted long before the end of a kalpa. A kalpa fire is the apocalyptic event that ends all epochs... all time.
Thursday, 22 November, 2018 to Saturday, 8 December, 2018
Why Listen to Plants? is a program of talks, workshops and performances presented by Liquid Architecture and Design Hub.
Plants know worlds, they contain worlds and they make worlds
Plants exist within plurality; they are part of, and themselves contain many worlds. In the course of survival in its environment, a plant cultivates relationships with various non-human others with whom it shares the earth and air. Plants communicate through these interspecies proxies, passing messages through pollen, bacteria, and along underground filaments of vast mycelial networks. Less competitive than they are collaborative, these interspecies co-operations position plant partners as important co-creators of vegetal life - and suggest that mutual aid may be as much a condition of material existence as mutual struggle.
In this program of experimental plant-listening, we attempt to model the best features of these interspecies entanglements (reciprocity, mutualism, collective intelligence) while leaving behind the worst (co-dependency, parasitism). Through talks, screenings, workshops, performances, reading groups and residencies, we explore plants as sites of collective organisation, and their collaborators microbes, fungi and bees as social protagonists. With so much to say, these super-organisms suggest expanded definitions of both non-human subjectivity, and the listening – discursive, decentred, yet embodied – necessary to tune into them.