Silvana MANGANO and Gabriella MANGANO – “Shapes for Open Spaces”

The latest work of this duo comprises of four video works shown on four large screens that hang in succession.

The first screen titled “Monument for Air” has what looks to be the sky with rose tinted clouds. A black material is sporadically thrown into the air punctuating the serene sky above. A piece of haunting music plays on cycle, which is broken by the sound of material being lifted by the air.

The second video work titled “Monument for Monument” begins with the camera scanning the top of a desolate area, which looks to be on a sea cliff. There appears to be a partly demolished historical landmark made of bricks. The camera then scans down towards the long unkempt grass as it blows in the wind. A body in a black envelope lifts up and down as though it too is being directed by the wind. I get a feeling of emptiness, isolation and coldness.

My interpretation of these pieces is an artistic ode to the elements. The hypnotic soundtrack contributes to the overwhelming feeling of meditation and contemplation which links all four works together. Each video work seems to represent a component of nature. I enjoy the contradiction that the work signifies both the unpredictable behaviour and beauty of the elements.  I also got the feeling of the immense space contrasted by the black human forms. Hence the title of the exhibition.

Until the 17^th of Dec.

http://www.annaschwartzgallery.com/

Ranjani SHETTAR – "Dewdrops and Sunshine"

The National Gallery of Victoria has opened a new exhibition space, which will host contemporary artists. Ranjani Shettar is the first artist to be exhibited. What a fantastic artist to showcase. I was truly in wonder and excitement to see this artist’s pieces. I would have to say it was one of the best exhibitions l have seen this year.

The artist Shettar has constructed seven installations in all. Each piece varies in both material and form. There where two pieces that l was in awe of and that is not to say the other pieces were of lesser content or brilliance.

The first titled “Heliotropes” were long toffee coloured tentacles protruding from the wall. They were comparable to life size exaggerated hollow spaghetti growing organically out of the wall. The piece made me think of a magnified skin with hair similar to that seen in illustrated body encyclopaedias. There was also a feeling these limbs were being blown by a natural element such as wind as they all lay in one direction. This piece was made out of opaque latex.

 “Touch me not” is the second sculpture that begins on one wall and took over a corner. It was like a beautiful fungus or coral that spread to give an illusion of movement. It looked like it was constructed by small rounded pins made of a ceramic head that where the size of a cherry. There would have been hundreds of the pins in all and they are grouped together by forming various directions. It resembled sweat beads on skin.

These pieces are also complemented by the shadows made from the installations. It emphasizes the organic form. The materials the artist uses is also significant in the works. The descriptions of the work are my own interpretations and that is the beauty of these installations, as they could represent various amplified objects.

This exhibition by artist Ranjani Shettar is a must see.

On until 26th of Feb, 2012.

http://www.ngv.vic.gov.au/whats-on/exhibitions/exhibitions/ranjani-shettar 

Sean BAILEY – “Union of Opposites”

These were a series of small collages on board with various areas painted. Each work painted various colours as though the board were a mixing palette. The difference here was that the blocks of paint were the objective rather than the constructed image. I felt that the paint was obtrusive and l wanted to scratch away to see what was underneath. There were 25 pieces in all.

I felt l was being told a story or it was a link the chain of events to come to a conclusion. The exhibition seemed blurry and convoluted. I would have liked to see a time lapsed documentation projected of the artist working on each of the pieces. The painted areas displayed some sort of code or symbols. It seemed each piece was marked in a crude and unsympathetic fashion. It could have been two artists working together. 

The more l look at these works online and reminded of what l viewed at the gallery, they seem to coerce me. They did need to be viewed as a whole as mentioned it was a sequence. By reading the titles, they could have been banal daily acts or small fragments of ideas. I would like to view this exhibition again to get a better understanding.

On until the 19Nov.

http://www.dainesinger.com/

John NIXON – “EPW: Silver”

A steamy hot day in Melbourne and l feel instantly cooled down and refreshed as l am greeted by the ever so cool work of John Nixon’s latest dialogue of “EPW: Silver”. 

These paintings consist of various sizes of canvases and chipboard painted mainly in enamel silver chrome dispersed with white, black and red. The canvases are propped unconventionally, sometimes arranged on top of each other, vertically protruding from the wall, up above eye level or simply made in 3 d as a vertical canvas box.

The artist Nixon is continuing his Experimental Painting Workshop or “EPW”. The project begun in 1995.

In my opinion, the artist is deconstructing conventional painting both in product and sentiment. I believe it is the artists own off shoot of Modernism were traditional format is dispelled and experimentation of material is replaced. The artist seems to also explore the viewer’s relationship to the work.

I found myself wanting to investigate the constructed canvas by trying to stand inside the partitioned work. The subtlety of shadows made from the gallery lights on the chrome silver was also compelling. The shapes that could be seen that were made from the various coloured constructed canvases when standing back was interesting. You certainly start looking at these traditional canvases as sculptural. Each piece was named “Silver Monochrome” with the year it was made. I wonder if the exhibition was hung in chronological order, would this change the outcome or is this own traditional bias appearing? This artist is certainly prolific and l feel it would be necessary if you were to participate in an ongoing project such as this.

I look forward to the next development.

http://www.annaschwartzgallery.com/

Reko RENNIE - “Neo Geo”

The back gallery has three large canvases printed with equilateral diamonds in 2-3 different colours dispersed with foil to give a shiny texture. The centrepiece being a large spray-can with a pattern on the label that complements and is the reverse of the background. The spray-can is printed in a bronze colour that defines it from the background.

In the centre of the room are three totem poles of bronze spray-cans. They where etched in a similar fashion to the screen-printed image on the paintings. They spoke for themselves standing like ancient forms with engraved script to be rediscovered in years to come.

“Black Magic” was a neon sign in the corner. It lured me and could be pictured on a lonely stretch of road in inland NSW on a dark night. Driving past paddocks and silent bush. This sign appears in neon colours as a symbol of power and presence in a colonised exterior.

The bio tells me that the diamond pattern used in on the canvases is a traditional use of the Kamilaroi indigenous heritage that Rennie is from. I am also informed that the name of the exhibition “Neo Geo” or Neo-Geometric Conceptualism relates to a New York art movement in the 1980’s. l discovered that it was a movement that was a mix of conceptional, graffiti and pop art. These forms can be seen in these paintings.

My first impression of the canvases for me where almost like pop art signs or advertising. The diamond pattern with the foil drawing me towards the spray-can like a psychedelic vortex. To me, the spray –can represented his tool of language in contemporary Australia. He was also drawing on his heritage by the traditional use of scribing and marking represented in contemporary form by use of screen print. All three pieces where titled “Message Stick” and differentiated by a colour. I missed the fourth piece, which was hanging in the front of the gallery.

On until 5NOV.

http://rekorennie.com/

http://www.diannetanzergallery.net.au/

Glenn SLOGGETT – “Filthy”

These series of photographs by artist Sloggett are both humorous and sad in a strange contradictory way. As aptly stated on the catalogue, it’s a white trash lost love story. There are no niceties here,  these are the working class and poor suburbs. You couldn’t tell where the photos have been taken, as the locations have no obvious landmarks. It is irrelevant to the photographs as they could be in any Australian suburb.

I’m a big fan of photography that explores contemporary Australian life from a working class perspective. It’s real, nasty and existing. I also relate to it living in the western suburbs of Melbourne where things aren’t always pretty and lattes aren’t corner regularity. You have to find humour and oddity to make the grind bearable.

One of my favourite photographs is “Not quite right” which is an image of a sign from retailer NQR selling discount pavlovas which is emblematically Australian. “Throw Syringes in the Bin” was a photograph of a sprayed sign on a disused building brick wall with arrows pointing towards both a boarded up window and a roller door. 

I believe it’s important that suburban life is documented and it would be interesting to see a particular area photographed over a period of time as people move and change the surroundings. There is always something in a suburb to document whether it be subtle or unseen. Sloggett has found his niche in contemporary Australian photography.

Ends 29^th of October.

http://www.colourfactory.com.au/

Patricia TODARELLO – “Marking Time”

The new instalment of Todarello’s latest installation is quite subtle and simple put in its own context. 

“Marking Time” is a continuation of her work, which explores the often-unseen nuances of architecture. Todarello has created pieces of work that at first glance could be misconceived as simple. It is necessary to spend the time to view each work and to view it from different angles within the space. 

On the main wall there are three squared of pieces made and cordoned off with masking tape. Within the boarded tape is tape that has been attached horizontally and continued down to form a square. It has also been taped over in layers that create depth. The work is then painted over with acrylic white paint in both matte and gloss. There are many textures created and a subtlety formed that gives the viewer almost a two-dimensional feel. I felt after spending some time there l could appreciate the nature of the work. The white paint was highly effective in catching my eye and encouraging me to explore the work again.

On the opposing side was three works of photographic paper with masking tape holding it up by the middle of the paper. This meant that the top and bottom of the paper was unattached and collapsed on itself with the tape in the middle of the work being the anchor. There was layer upon layer of tape then painted over with white.

Each piece is unique and the artist tells me that she uses various masking tape. The tape can be types of yellow and can adhere differently. The texture can vary once the tape has been painted over. I would say this gives the works the difference in each, as the variable can be unpredictable.

For me this set of works is a working visual diary. I find it interesting that she creates these works directly on the wall so they can never be recreated and aren’t tangible like traditional artwork. The only documentation is the photos. Once the exhibition is over, the result will be layers of tape with paint left deserted.  This is reminiscent for me of when you paint a house and you cover the window edges with tape to avoid the paint. Once you remove the tape, its use is null and void and cannot be reused. I would be interested to see the documentation of the de-installation, masking/marking and end of time.

The exhibition was on for two days only, you can view the work on Todarello’s website or contact the artist to make an appointment.

http://studio1projects.blogspot.com

Lucreccia QUINTANILLA - "Discoteca Galaxias"

I interviewed Lucreccia Quintanilla for her past exhibition "Discoteca Galaxias" at No No Gallery.  Enjoy.

Q1. I was interested in the connection of your previous show at Techno Park and this show at No no gallery. The cellophane from the ceilings and cables where also at Techno Park, are you continuing a theme?

This year I have been looking at the party, or the event as an aesthetic space. Thinking of the dancing, the music and all that preparations that take place before the party.  

Having been involved in organising music events and many a party in some ways I am indirectly drawing a parallel to the setting up of an art show.  

Q2. Tell me about the video work showing the people dancing. It looked to me to be a recording from the 1980's showing the spontaneity of street dancing in a disco environment. 

That video is from the 90's actually. Its been filmed using 80's equipment which gives it that look.  Oh and the hair do's are very 80's.  

The video is of a party in Jocoro El Salvador which is a small town in El Salvador.  One thing about the video is that the dancing is first class, cumbia meets break dancing.  

I spent a great part of my childhood in Jocoro with my grandmother.  I have a pretty strong connection to Latin American music and now and then I find myself searching for it on youtube which is how I found this video.  I automatically recognised the whole aesthetic of the place the decoration and even the colour of the walls the whole thing was familiar to me. 

Q3. The music that was playing sounded like it was being heard outside a venue and the bass thumped through ,was this reflecting the past present of a discoteca? 

It is somehow comforting to me to hear runaway bass coming out of a distant party.  There are a lot of theories about the appeal of the bass frequency for example that it echoes the Big Bang that created our planet.  That it reflects of our own heartbeat.  I love to dance to bass heavy music and when I DJ it is the music that get the dance floor going. So perhaps in some ways to me adding it to the installation as a sound element makes complete sense somehow.  I think that my personal identification with it comes from trying to get to sleep during family gatherings when after a few warm up drinks somebody would turn on the music in the lounge room to get the party started!

Q4. Your green foam that you added to the existing brickwork between the two spaces, was this to connect the two..Were the gouache and collage on paper peices remanents of the event or are they conceptual dance moves on paper ?

I am glad you read the collages that way because I was trying to make the process of constructing them as improvisational as possible.  Which is how one dances really. I wanted to give them the least thought in terms of composition as possible.  

As for the brick foam,  yes I was thinking of how to bring that crumbling brick wall into participation so I decided to fill some of the gaps with the florist foam bricks which are a perfect brick size.  They are green which aesthetically fitted the collages and the installation work.  It was great how people felt compelled to poke their fingers into the squishy foam.  And it was not just children who could not help themselves,  there were plenty of adult sized finger marks in there as well! 

Q5. Will your next exhibition be site specific and continue with this theme?

 I am trying to work away from the static party...But I think that responding to the space in which I work is always going to be important to me.

http://lucrecciaquintanilla.tumblr.com/

http://rodarodasoundsystem.blogspot.com/

http://nonogallery.org/

Tom NICHOLSON -"Drawings and correspondence"

I really enjoy the space of Anna Schwartz for its shape and high ceilings. It also works having no natural light only what comes through the front entrance.

The new works by Tom Nicholson are well viewed in this space. A cave is required to display these pieces. I needed to do a few laps of the gallery to comprehend these artworks. They look to me to be large paper varying in size of silhouettes rubbed into black charcoal.  The figures are primitive and reminiscent of aboriginal rock art. The artist repeated the motif throughout the pictures. You could call it Contemporary Rock art, which excludes the surface of rock and ochers. At first impression, l was unsure of its significance due to the material and location.

After some contemplation and a read of the catalogue, l had a better understanding of these images. It seemed that this was the result of research that the artist undertook. The correspondence that the artist alluded to as part of the title seemed necessary to draw the whole work together. I did want to read more of the catalogue as it was like a diary of process that resulted in a visual end. The historical Melbourne aboriginal  and colonial reference really draws me to the research rather than the actual pieces.

I did find the the correspondence in the catalogue a little fragmented. I also found that l was disconnected from the artwork. I felt as though the artist was representing the work as though it was a extinct ancient culture. That said,  Nicholson did acknowledge the Wurundjeri people and the struggle that still exists today. I think ultimately the images where a result of his research but the substance of work could be found in the correspondence. 

Well worth a look and be sure to pick up a catalogue.

http://www.tomn.net/

http://www.annaschwartzgallery.com/

Street Art - FOOTSCRAY

In the past month, l haven’t had the chance to do my regular gallery hops. I have however, discovered the slow evolution of street art in my own neighbourhood. There has always been great graffiti along the Western Suburban train lines. In the past few months, the streets of Footscray are slowly transforming with stencils, paste-ups and sprays. It’s refreshing to see although the street cleaners remove it quickly. Unless you’re like Baby Gorilla who chooses elevated positions for her work. It does depend where you go and seems the main streets are unpopular with street cleaners. Like Lego man who has chosen quite an obvious wall that crosses the main street and seems untouched…thankfully.

The most recent contribution to the street art scene is these stickers l have noticed on electricity boxes. They are A5 size and have actually been hand drawn with black felt pens. The subject is the most fascinating, as they are portraits of local people you see around the streets. That being the woman who lies under the ATM machine asking for money. There is also the old guy who hangs outside the Hong Kong BBQ restaurant asking for cigarettes. Or the AC/DC dude on his electric scooter. These stickers are simply portraits of the characters around Footscray. It looks to be the same artist who also uses the stickers against existing graffiti, which is quite clever.

So if you’re ever in the area, just look a little bit closer at the streetscape particularly near the Footscray Market. You will no doubt bump into a character.    

You can see more on the below link.

http://www.flickr.com/groups/1058861@N21/

Chantal WYNTER and Craig COLE - 57 Irving Street

This is the second instalment of my project at 57 Irving Street which is in collaboration with Craig Cole, also a local Footscray artist.

I have continued to use text in each of the four windows. Every individual poster has common statements used by the various characters throughout Footscray.

We are all familiar with the recognizable faces in Footscray such as Nick, the Olympic Doughnut man, Kevin at the coffee shop, Franco Cozzo, the gang at Footscray’s Best and so on. We are exploring the infamous characters that can be seen and heard daily around Footscray. We have approached this through a comic book theme, which embodies these daily remarks and observations.

These posters are designed to encourage the passer by question the greater community known as Footscray.  

Anne KUCERA – “Alone I Keep the Wolves at Bay”

Walking into Trocadero Art Space in Gallery 1, I’m drawn towards a corner with black and white checkers beginning at the floor and working up towards the ceiling. They are half completed and gives you the feeling that you could either disappear towards the ceiling or floor.  A small white chest of draws sits there and on top of that sits a hard covered book. Don’t be fooled by the picturesque scene for here begins the nightmares.

An Abstract Nightmare is the name of this first piece. Open the book and a paper pop up scene of a woman appears and she is either drowning or being sucked into the whirlpool of checker squares. The size of this piece is a little larger than A3. The way the chequered pieces are crafted gives you the feeling of movement and a spiralling effect to an underworld that lives under the checkers.

The largest of the pop up books is named The Clearing (seen in image above). Open the book and your presented with a forest of trees and in the clearing sits a wolf facing a seated person on their knees. A standoff or as the title of the show suggests, alone l keep the wolves at bay. Each leaf of each tree has been individually cut and placed on each trunk. The stare between the wolf and person is intense that you forget this is paper. The structure of the pop up book is clever and for some of us, takes awhile to figure out its construction.

The artist Kucera is sitting the gallery as she is also the treasurer of this artist run space. She tells me that these artworks are small pixels of her nightmares and dreams. Being slightly insomniac, she has built these scenes from her mind and dreams. Kucera has been working on this show for eight months. She taught herself how to build these paper wonderlands. 

For me, pop up books reminds us all of our childhood and the surprise of what each page will present. In this exhibition, as you approach each book your excitement builds. You read the title of the book in the anticipation of the image that you will be greeted with. The exception here is that you’re not a child but an adult with fears, apprehensions and failures. These adult pop up books capture these emotions in a strangely fairytale way.

Kucera has exceptional attention to detail and has beautifully mastered these pop up books which makes for a successful and compelling exhibition.

On until 13th August. 

www.trocaderoartspace.com.au

Kristin McIVER – “Statement Pieces”

I admit that l am bit of a text fanatic. Barbara Kruger and Jenny Holzer comes to mind. My mother has questioned how text based artwork is considered “art” and not a piece of literature in a book where its tradition is based. I believe it’s the way you present the text, which distinguishes art from literature. Like any form of material used, nothing is sacred when it comes to artwork, especially in this conceptual climate. 

I first saw McIver’s work in a group show so l was looking forward to viewing her solo exhibition at James Makin Gallery. The title of the show best describes this group of neon lit words. Interestingly, the mostly single words have different titles which add an extra element to the works. You have to take a step back when viewing these and view them individually. We are bombarded daily with neon signs and you can easily switch on your “tune out” button.

McIver has transformed a word to make us not only think of the meaning but to put it into a context by visually adding small elements. An example of this is “Wishlist”. The word “wish” has been repeated three times in a vertical line. Simple and uncomplicated.  There is also the piece “Changes”. The word “change” is written in a neon white light and flashes on and off.

I also enjoyed two pieces that use not only the neon signage but external materials to enhance meaning. The first being “A Questionable Choice” which was a neon sign in a box with the letters half made. The reflection of the sign on the floor completes the word. The other favourite was “The Good Life II” which was the word “good life” written in neon white with plastic black chains falling from the ceiling over the text.

I feel these works questions our consumer mentality and notions of desirability in a developed country such as Australia. Each piece are all concepts that as humans we relate to whether we encompass it or not. These pieces have a culturally and classless motif, that is people in the same economic and social background would find a connection to these artworks. Go and see.

Until 27^th of August

http://www.kristinmciver.com/

http://www.jamesmakingallery.com/

Kate JAMES – “The other side of despair”

This new space; Daine Singer, was the last gallery on my Flinders Lane visit. I had been looking forward to seeing this space. It was our luck that the heavens had opened and rain was pouring down. The city lunch rush hour was on with people scattering for shelter and frantically checking their mobiles as plans change. We nearly ran past the building in hast to get cover.

Down the stairs to the basement in typical white gallery fashion, is Daine Singer space. You would hardly know of the chaos outside, only a few distant voices and hushed murmurs. The gallery is in an L shape.

I was instantly fascinated by the first installation named Transference. There stood an installation of a glass funnel that was attached at one end. There was an enclosed woven horsehair basket and the other end was the funnel where pieces of coal sat. To me it was a morphed funnel that transferred one substance to end in another substance but the essence remains the same. The woven object of course horsehair could have been a metaphor for a deep emotion, that being despair. The end result may have been the emotion broken down with remanence of the same heaviness that being the coal.

Further along was James installation named Hourglass. This was on the wall where a metal funnel hung with a long metal tube. The funnel and tube looked hand made and raw in construction. The top end of the funnel had a small mound of red pigment. The end had an attached red woven basket of horsehair. It was in the shape of a large half deflated balloon that faced towards the ground. I wanted to wait to see the red pigment fall and go to its end as an hourglass would. Time stood still and the creel seemed to inflate with hours accumulated.

The other installations where just as thought provoking and physically fascinating. There was also three framed pieces. I suggest visiting the show.

I really enjoyed the work by Kate James. My particular interest was the diverse use of materials that worked well depicting for me various states of emotion. Her skill in weaving the horsehair is exceptional. The hours spent must have put her into an almost mediative trance. An aspect of making artwork to be explored.

On until 30 July.

www.dainesinger.com

Dulce PINZÓN – “The Real Stories of the Superheros”

I came across this gallery, the Australian Centre for Photography in Paddington, Sydney by accident.

We where fortunate to view the photographs of Mexican artist, Dulce Pinzón showing in Gallery 3.  She had photographed mainly Mexican migrant workers in New York. Each photograph depicted the person in their place of work dressed as a superhero. The caption described their superhero title, their actual name, place of origin, employment and the amount of money they send home to their families every month.

The superhero in each photograph has an expressionless face as though they are unaware of the camera. Other people starred straight into the camera unsmiling. The type of work each person was involved in varied from taxi driver, union organiser, waiter, courier to demolition worker. The superhero outfit seemed to relate to the employment. The suits where worn as clothing, as though hired or bought from a cheap $5 shop. There wasn’t the sleekness we associate superheros to. The faces painted matching the outfits. This added to the appeal and I’m sure was intentional.

These working women and men, as the title suggests, are superheros. All working hard in physically demanding employment to pay not only for their own necessities but to send money home to their families. They could be forgotten as they serve food to your table, deliver a parcel or work at the Laundromat washing clothes. These series of work does relate specifically to migrants working in North America. These themes could be conveyed to a developed country such as Australia.

 

On view until 10^th of July.

http://www.dulcepinzon.com/

www.acp.org.au

Mark BOOTH – “11XU-PVC.9323745.006474”

I always enjoy visiting First Draft Gallery whenever I’m in Sydney. It’s a gallery that always has quite an eclectic group of work. I find l get captivated by the artists’ work that is showing. It can be from fascination to distaste but either way l am challenged.

The work of Sydney artist Mark Booth in Gallery 4 was appealing. He had cleverly constructed PVC piping twisted and turning onto each other. Each piece was about 1 meter by a metre painted white but it’s joins still visible. The pieces where hanging from the wall at eye level. They where each unique in their twists and turns. You could mistaking think that each piece had a use and where intentionally there to disperse a waste. They where each part of the wall space serving a purpose. It seemed the pipes had gone askew and where feeding onto each other rather than taking waste away.  I can’t help but relate PVC piping to waste.

To see these everyday objects constructed in a quite a beautiful way in a gallery environment makes me want one of these. If they had been painted black or a bold colour, the allure would have been muted.

These wall constructs had an effortless charm about them while contradictory they would have been difficult to assemble.

Take a look until 17July.

http://firstdraftgallery.com/

White Rabbit Gallery

Follow the White Rabbit.

If your in Sydney, doing your gallery hop, make sure this is on your itinerary.

This gallery based in Chippendale is a must see if you want to view contemporary Chinese art. It has been a while since l have been into a gallery that has various artists that l could appreciate and be truely inspired on each floor. The artist represented here push the boundries as far as use of materials and subjects. The work ranges from photography, installation, animation to painting. The curating was brilliant and the surprises ongoing. With four floors of work in a converted old factory, there will be something for everyone.
 
http://www.whiterabbitcollection.org/

Jenny Zhe CHANG - "Detente - Reflection"

This artist l found in the June copy of the art almanac. Her work looked interesting and after visiting Trocadero Art Space in the second gallery it really left an impression on me.

The wall is partly painted in lime green in an L shape at eye level. There are around eight pieces of work of table tennis bats at varying degrees of angles. One piece sits on a plinth. They are made out of wood and have been altered. The bold colours are painted on the bats almost as shadows are cast coupled with the gallery lighting. Each piece uniquely painted sits with the table tennis ball sitting in limbo. Some have caused holes and continued to mark each bat. They could have been played between pieces.

The artist Chang is fortunately sitting the gallery on the day l visit. She comes from a small village in China and explains in her past that paper cutting and table tennis where the only activities her family could afford to enjoy. She has integrated the two. Her initial art practise was paper cutting which was encouraged by teachers to transform into wood cutting.

The outcome is contemporary and smart sculptures that reflect a past and future while maintaining a sort of yin yang balance. Well executed.

A must see until 2July.


www.jennyzhechang.com
www.trocaderoartspace.com.au

Lou HUBBARD and Claire LAMBE – “Yakety Sax”

Conceptual Art, so conceptual that l don’t understand it.

Yes, there is a place for it in the visual arts. I’m not going to be the conveyer of what can and cannot be artwork. It took me three laps of the room to understand the concept and then an hour of debriefing to write about my lack of appreciation.

Upon entry l am greeted with a large lump of unfired clay, semi circle of Perspex standing upright in the clay and a set of pink boobs with nipples eyeing me off. I look to my left and there stands two pieces of rectangular Perspex wrapped in plastic leaning against the wall. Between the pieces of Perspex sits a flat basketball which looks to be a cushion cover.  Next to the lump of clay is another installation. It is a cut out of brown paper where circles have been drawn close to its edge. A lamp is lying over it as if it was used to draw the lines. An unused disposal able coffee cup lies on its side and the top of a seat rests there.

There where smaller pieces in the office next door which where subtle and humorous. I didn’t quite grapple with the larger pieces.

These sculptures to me are manmade materials displaying sexual undertones. The materials used are taken out of their usual function and reconceptualized.  Are they the result of conversations between the artists? Is there a method of their exchange of ideas? What comes to mind is the collaboration with artist Brion Gysin and writer William S Burroughs who created the surrealist method of writing called Cut – up.  This involved writing text then cutting it up to recreate a different novel. Is the exchange more important than the result? Is making of the art a form of breaking down the subject rather than the art itself? I’m not looking for aesthetically pleasing work without meaning or a piece of furniture without stability. I can go to IKEA for that.

These two artists are highly accomplished and successful in their field. I want to understand the work and the collaboration involved. Is conceptual art extending beyond it’s subtleties and only for it’s exclusive audience, that being the artists involved? I know art is not made for audiences. Is conceptional art metamorphosis into the Emperors new clothes?

http://www.sarahscoutpresents.com/

http://www.clairelambe.com/

http://www.deathbekind.com/

Hannah GADSBY – Artscape - The NGV Story/ Part 1 and 2

The National Gallery of Victoria recently celebrated its 150 years of operation. As l result, this documentary was made and narrated or rather hosted by the Melbourne comedian Hannah Gadsby and written by Louise Turley. It was fascinating and Hannah’s injection of humour and sarcasm made it an even more interesting watch. It gave a great historical account and for me, a part explanation as to the lack of public Australian art appreciation. A must for high school students.

http://www.abc.net.au/arts/tv_radio/artscape/

http://www.hannahgadsby.com.au/

Chantal WYNTER - 57 Irving Street

My project at 57 Irving Street was to install a sign along with an image in each of the four windows. I call the signs a set of rules. As a member of society, we adhere to a set of rules in public places. These set of rules are specific to their location and are also culturally encoded. A sign is therefore erected to control behavior and disruption, and to purportedly maintain public order and safety. 

The set of rules l installed are comical and irrelevant in the location. As the public pass the shop front they will view these rules. Once read, the viewer will need to question the directions of the sign itself and decide upon the possible consequences of not abiding to it.

As a site-specific work, l am in interested in exploring the public rules that we adhere to in everyday public places. As the shops are close to the train station, this is an ideal location.

If your in the area, check it out. 

Bonnie LANE – “Into the Dark”

This is my first visit to Bus Projects since they have moved from their Lt Lonsdale location. They are now situated in the basement of Donkey Wheel House. It is a peculiar entrance found behind the elevator. As you enter, you descend the old staircase that leads you to a staffed table. The dark entrance and sound of distant talking is a little disconcerting at first but in the same sense allures to a little mystery.

Immediately to my left is a looped image of a young girl of three years old or so putting on make up. She is facing the viewer as though we are the mirror. She doesn’t look like she is having fun. She looks straight through you. It’s an eerie image as it is a black background so her gaze is even more intense.

I initially missed the other video work hidden to the left in a dark hallway. I felt claustrophobic and didn’t appreciate it. As you exit this space you continue further down the hallway and enter a dark gallery space. To the left is a projection of a curtain slowly and softly blowing. This is projected onto a closed blacked out window. I get the sense of the unknown behind the curtain that never reveals its source. You maintain your gaze waiting for the curtain to blow open.

In the same gallery appears a projection of a young girl who looks to be eight years old lying on her side in her nightdress. The image is projected onto existing tiles of the gallery. The tiles are used white porcelain on a slight angle. Her hair is blowing slightly as though she is sleeping under a window. The tiles exuberate the cold feeling l get from the image. The girl is unaware and seems to be sleeping peacefully. She has no blankets and has bare feet. That cold feeling could also be that your in a basement. The far gallery has a light projection randomly displaying blocks of light. I’m unsure the consequence of this.

This show seems quite site specific and works tremendously well. I’m not a big fan of video work and l have become quite indifferent to it over the years. This artist however, successfully accomplished a show of video work that all relates and the location is ideal and has encouraged the exhibition.

For all those complacent video work viewers, this is a must see.

http://www.busprojects.com.au/

Richard BLACKWELL – "Grotto" (Volume 3)

I initially saw this exhibition advertised in the Art Almanac with an image of a city building duplicated and falling into some sort of out of space black hole. It captured my eye and faintly reminded me of an MC Escher print.

This is the third instalment of a three-part exhibition viewed at different galleries and countries. I haven’t seen the previous two exhibitions or read about it. l haven’t read any literature or background history of this artist or their previous shows. I try this approach with all artists they l am new to so l have no preconceptions. I may have to review this in the future, particularly to a show like this which is a series.

I enter the gallery and first see a freestanding linear structure almost like a pained vortex with protruding sharp angles. I get distracted by the first three images that l can see through the sculpture. They are lines made from two types of dark and light brown. They are of sharp lines bending and warping vertically from left to right. My first impression is of surveyed land graph. It’s like a map of physical geography. As l get a better look they optically move and vibrate. It could almost be a two dimensional piece. I stand mesmerised for sometime moving forward and backwards to enhance the optical illusion.

I can’t help but be drawn to the images of the buildings metamorphosed into atoms. They are floating aimlessly into a dark atmosphere. There is what looks like fragmented parts gravitating towards the viewer. The images are in black, whites and greys. They are the remains of the 21st century civilisations collapsing onto themselves. Empty vessels with little recognition to an outsider. There is something eerie about this work, which speaks a bleak future to me. I enjoyed the contrast of works on display.

Show is until 14^th of May.

http://www.richardblackwell.net/

http://www.flg.com.au

Emily FLOYD - "An Open Space"

I am greeted by an elongated white walled gallery with a colourful wonderland installation. I feel small and insignificant in comparison. “An Open Space” is literally spelt out by various coloured wooden blocks. It stands from one width of the gallery to the other. It is constructed by life size child building blocks. Adult versions of squares, circles, triangles and rectangles spelling out the words. To enhance the exaggerated child play are birds. The birds have some sort of authority as though the installation is their home or a meeting place. They are on various letters and free standing almost inspecting the work. They are part of the words with their black bodies, beaks and coloured feathers. 

The O of the words beckons you to enter even though it’s obvious what stands on the other side…an open space. The open space in this respect is not the focus but rather the gateway in which is the installation. I want to go through the O and come back to view it from the front again numerous times. I did feel like moving the letters around or moving them to another angle. It felt interactive although it could have been that wonderland sense. This could be the active version of “numbers and letters” as seen on ABC.

Having just entered the gallery from the Flinders Lane city lunch rush hour. A typical grey Melbourne day with grey suits and heels. The installation was strangely peaceful, solitary and very refreshing. I wanted to sit for awhile away from the hustle and bustle outside. 

I would have liked to see what a child thought of this. I was with my son but he was asleep and too young to comprehend. Is it a gateway we forget when we transit child to teenager to adult? The forgotten naivety and fun we experienced from simplicity? Or am l reading too much into the installation. Is it simply an adult playground for us to view and enjoy?

I look forward to the next exhibition by this artist. Exhibition is until 28^th of May.

www.annaschwartzgallery.com

Art + Soul – a personal journey into the world of Aboriginal Art – Hetti PERKINS

I feel quite removed from Aboriginal culture and art. My level of understanding is limited which l believe is due to my lack of education, knowledge and my urban location.

I recently watched the documentary Art + Soul from my local library in Footscray. I encourage people to watch this as it gives a really good idea of both contemporary and traditional aboriginal art. It is a three part series which was originally aired on the ABC. Hetti Perkins narrated and produced the series. This documentary really made me question my own identity and position in this country l call home. Aboriginal art is political as it is personal as Hetti Perkins stated.

Emily Kam Ngwarray, Lin Onus, Destiny Deacon, Bindi Cole, Paola Balla, Fiona Foley, William Barak and Albert Namatjira are all aboriginal artists that l enjoy and are familiar with. I did mean to get fortyfivedownstairs gallery to view the winners of the 2011 Victorian Indigenous Art Awards.

I’m now inspired to go and visit the National Gallery of Victoria and revisit the permanent collection of indigenous art. I will be visiting Sydney shortly and will definitely visit the Art Gallery of New South Wales to view Rusty Peters large painting, Jackie Kurltjunyintja Giles “Kaliangku” and  visit the Australian Film and Television Radio School. Naata Nungurrayi “untitled” and Tommy McRea’s early depiction of colonisation are both on my list. When l’m next in Brisbane l would also like to view Gulumbu Yunupingu’s “Garak, the Universe” at Queensland Art Gallery.

As a not quite white Australian, l am definitely more encouraged to engage and understand aboriginal art. Or maybe as Richard Bell painted and  said “Aboriginal Art, it’s a white thing”.

I feel l now have a little better understanding and insight with an historical context. I have a long way to go.

There is an exhibition running at the Art Gallery of NSW until the 13^th of June in conjunction with the docmentary.

http://www.abc.net.au/arts/artandsoul/flash/default.htm

http://www.artgallery.nsw.gov.au/exhibitions/art-soul/

Lucreccia QUINTANILLA - “All aboard the Echo Chamber”

This is the first solo exhibition after some years for Lucreccia Quintanilla at the Techno Park Studios in Williamstown. An interesting show at an equalling interesting location.

It’s a glorious sunny day and from the glass windows, a flicker of green cellophane catches my eye.  As l enter the ground level building, my first impression is of a seascape or rainforest. It maybe the colour green that is distracting or tricking me. I then hear soft music playing from a concealed location of what seems like a mixed limbo soundtrack.

I’m at first greeted by various sized pictures of collaged green onto black pieces of paper. As the artist tells me, part of the images are photocopied from an original three pages of a found book and altered. She has worked with limited resources and space and this exhibition is the outcome.

I get distracted again by the music and follow it and find it is behind a concealed wall. A broom stick with green cellophane blocks the entrance. I’m greeted by a household limbo pole. I instantly want to try my luck but the space is difficult to enter. The ceiling has sporadically spaced cellophane along with the second gallery.

Have l missed the party. Do l listen longingly to the music wondering if l got my dates mixed up? l did get the impression it was an installation left to give the viewer a feeling of a once occupied event. It left me curious. 

I’m hoping to have an interview with the artist shortly.

Tune in.

http://www.technoparkstudios.com/

James VOLLER - “Constructing Site”

This is my first visit to Beam Contemporary in Guilford Lane where James Voller is exhibiting photographs taken in parts of Europe such as Germany, Czech Republic and Austria.

I’m familiar with his works taken in New Zealand. There are two photographs in this exhibition of this work. He finds a location of disuse such as an old construction site or tip. Here his work becomes site specific and he applies a black and white print of houses onto an old concrete blocks. He then takes a photo of this. First impressions make you look closer at the photograph and its location. An industrial bland landscape becomes a living entity, with such a simple technique of mixing paste ups with photography.

However, his photographs of Europe have evolved while maintaining his distinctive technique. Three photographs in particular convey this but he has added the element of perspective. A great example of this is a photograph of a drain in perspective with a suburban seaside landscape with houses above. The drain has Voller’s characteristic paste up of an exaggerated picture of what looks like bricks from a ruin. That same curiosity captures your interest as you try and piece the perspective and location.

The remaining photographs have a different element. These works could be missed for interestingly composed pictures. Closer inspection makes you just as curious. The locations are in construction as the title of the show suggests. The beauty of textures, unfinished structure and location make these photographs work. I think these images would improve in strength if printed on a larger scale.

These photographs made me question unused and insignificant space and it’s relevance to historical ruins. Europe has a long history of western development where  Australia has a young colonial past. Is this a future glimpse of what Australian historical ruins may look like? Will industrial wastelands or disused containers lining the Footscray docklands become tourist sites?

An exhibition worth viewing and an artist worth following.

http://www.jamesvoller.co.nz

http://www.beamcontemporary.com.au

Patricia TODARELLO - "Out of Line"

Walking up the stairs to a natural light filled foyer past the Trocadero Art Space gallery you come to an innovative studio ironically numbered one. Here occupied by an innovative artist Patricia Todarello. As an artist struggling for recognition and dialogue this artist took matter into her own hands. Self funded, she rented a studio and transformed it into a gallery to exhibit her work every month over a 12 month period. Her exhibition openings coinciding with the Trocadero Art space.

The studio is situated on a corner of old office spaces. The once used windows are now transformed into light boxes of artworks. Both sides of the windows are framed by materials like rippled contact and brown paper in symmetrical order. Your instant reaction is to touch and feel the tangible material only to be greeted by cold glass. Each panel is framed with a silver paint which insetuates the works.

As you enter the studio, you are faced with what seems to be a two-toned gloss and matte white wall. As you walk closer to the work, the detail becomes more apparent. The wall is an eccentric architectures delight, clean white matte line reflecting the exaggerated corner of the room. Within these lines stands a white box dripping with paint almost profusely sweating. Like pre determine graffiti which combines well with the clean lines and minimalist entities.

Opposite this wall is a corner painted with muted grey blocks of colour and a white square. Again, the lines are sharp and exaggerated on a large wall. The grey breaks up the intruding white and gives you the feeling of the height and length of both pieces.

Both works question the space you are looking at and somehow makes this small studio into a large gallery challenging your perception of space and corners.

Highly recommend.