December 2013 until January 2014 Exhibitions
December 2013 until January 2014 Exhibitions
Launching at aMBUSH Gallery on Friday 22 November from 7-9pm Northern Exposure will bring the varied insights and aesthetics of Asio, Benjamin Reeve, Cezary Stulgis, Fintan Magee, Gimiks Born, Guido van Helten, Gus Eagleton, Lee Harnden and Shida to Sydney’s contemporary art audiences and shed light on a more serious side of Queensland culture.
Delving into concepts ranging from the brutality of Queensland’s hip-hop community to haunting anatomical explorations and the changing face of an increasingly multicultural population Northern Exposure is a captivating cross-section of influences, inspirations and insights of the artists born and bred in the Sunshine State. The show is proudly supported by aMBUSH, Stone & Wood, Ironlak and INFX. The Veggie Patch Van food truck will be serving snacks on the opening night.
Northern Exposure opens on Friday 22 November from 7-9pm and continues on Saturday 23 November and Sunday 24 November from 12-4pm.
As the dismal weather experienced lately subsides Lorne Film presents a great opportunity to visit the seaside mecca that is Lorne. This weekend hosts the inaugural Lorne Film Festival -an event that is showcasing a spate of new and classic films -including the opening night triumph Uncharted Waters which is made by Lorne native Craig Griffin and documents local hero Wayne Lynch and his fascinating surfing career. The programme for the festival also includes classics Wake In Fright (on 35mm) and The Age of Consent with James Mason and a young Helen Mirren, among many more titles; both local and from abroad.
The aim of Lorne Film is to create and nurture film culture in Lorne and the Otway region for the duration of the event and beyond. The festival will achieve this through screenings, workshops, and live screenplay readings. Click the image below for more information:
Asio is interested in image construction and transforming the real, through the use of technology, into personal expression. The process he uses involves taking many photos of a subject, which are then printed via a computer onto a material. Asio mainly prints each photo onto 80-100gsm A4/A3 papers, which he then glues to walls. Asio feels, “doing art in the streets is quite handy and fun. By wheat pasting my posters, I am able to explore my ideas in a larger scale, curate my work around the area and get my kicks. More recently I’ve been focused on the concept on ‘Apophenia’, which is the experience of seeing meaningful patterns or connections in random or meaningless data. To do this I’ve been taking photos of fabrics that I had laid out in an arrangement that suited me, with the intent of evoking Apophenia in people in the street.” Asio has no formal education in art. He’s self taught and “doesn’t really know why I started or when I’ll finish.”
Asio is featured in the aMBUSH Gallery show Northern Exposure in Sydney during November.
TarraWarra Museum of Art is nestled up in the serene and picturesque Yarra Valley. The museum was set up 10 years ago and runs as a not-for-profit initiative showcasing post-1950s Australian contemporary art. Future Memorials is a fascinating cross-cultural ensemble featuring some of Australia‘s leading indigenous and non-indigenous artists, who have collaborated in producing the works. The exhibition was commissioned by TWMA and features Tom Nicholson, Aunty Joy Wandin Murphy & Jonathan Jones and is the first exhibition in a continuing series.
As the museum is located in close proximity to Coranderrk, the former Aboriginal Station, this site features heavily in the context of the works and coincides with the 150ᵗʰ anniversary of the station. Coranderrk was the first land commisioned by the Colony of Victoria in 1863 and remains crucial in both epitomising the dispossession of Aboriginals from their land and also their subsequent struggle for self-determination. It is at Coranderrk that the ramifications of Batman‘s treaty (or the invasion of Wurundjeri land) in 1835 were most directly felt. It is a site that galvanised Aborigines in Victoria to fight against ethnic cleanising, brutal colonial treatment and the survival of their race and culture; and of the Wurundjeri people in particular.
Future Memorials runs at TWMA between 19 October 2013 and 9 February 2014
Adam Freeland is well renowned on the nu-skool Breaks scene and has triumphed over the decks and jam-packed the clubs for over a decade. Adam dropped his first set some 20 years ago in London and is similar to James Lavelle & Mo‘Wax in that he was something of a prodigy in producing tight tracks, promoting club nights, and launching his own record label at a relatively young age. Originally a House DJ, Freeland was one of the nu-skool pioneers alongside contemporaries Orbital & Rennie Pilgrim and labels such as Fingerlickin‘ Records.
Adam Freeland first toured Australia in 1998 alongside DJ Krush and still bounces a nice set of beats; as heard above during August at the Kazantip Festival in Ukraine.
Saturday is the 2013 Australian Federal Election. This year sees the culmination of a political dead heat: the choice between the drab and the drudgery. There is an alternative to placating the major parties: Vote for the Bullet Train party (BTFA).
This party is, as the name suggests, a single-issue platform that will send an imperative to Canberra -that is: invest in high-speed rail infrastructure. High-Speed Rail (HSR) has been mooted by successive governments for over 25 years and this week‘s announcement by Rudd is no exception to the charade. Neither major party has paid more than lip service to this much-needed environmental, social, and national improvement project. We‘re told we are experiencing a boon in mining revenue: but what of the benefits? A handful of road projects and cash for the status quo? Not good enough.
the Bullet Train for Australia Party will not preference any other political parties. The party is not aligned with either of the majors; as they‘ve continually neglected to make HSR happen. The Sydney – Melbourne air traffic route is the 3rd busiest in the world & only increasing. Our roads struggle to handle freight and passenger-travel services. With a cohesive party platform, the Bullet Train party has a refined and detailled policy structure that will make this project happen. BTFA are fielding candidates for both the Lower House and the Senate. Imagine living somewhere like Wagga Wagga and being able to commute to Melbourne for work in an hour? Catch HSR to Tullamarine Airport in minutes.
We must invest for the future and this party is our voice. Vote #1 for the Bullet Train Party.
Submissions are now being sought for the 2013 instalment of the Bivouac exhibition of Video Art. This is an exhibition that explores temporality in site and place. The show is staged in a different venue each year and the curatorial focus is upon video works that have a direct relevance to site & place whilst not being confined to works that are explicitly site-specific. The preferred format is 3-Channel works although all submissions will be considered.
Bivouac 2013 will show new works by 10 selected artists at Horse Bazaar; a Melbourne City venue that is selected for its’ ambience and proximity to prospective target audiences. The venue has a strong repuatation for exhibiting contemporary Audio-Visual works.
The exhibition opens Wednesday 30th October and will screen until November 20th from Monday through Thursday (with extra exposure Friday & Saturdays).
Submissions must be between 2 and 9 minutes in length, with or without audio. The exhibition allows for single, two & three channel works. Works submitted for curatorial consideration may be supplied as a DVD, Blu-Ray, or .MOV format –with all channels published in one video (or file).
Works may be posted to:
Applications will be received until 5pm on Monday the 2nd of September and all successful artists will be notified on Monday 16th of September. A $30 staging fee will be required from the successful applicants.
Please contact curators and organisers for more information:
The Melbourne Video Art Society prepares you for two late nights of curated video art and our friends below at Shanghai Master provide dumplings.
Notice the late times:
JUNE 27th 6pm – 2am JUNE 28th 9pm – 2am.
Featuring video-based artwork by Polly Stanton, Georgina Criddle, David Berka, Diego Ramirez (co-curator) and Matthew Berka (co-curator).
The Melbourne Video Art Society [seeks] to present various art works via screenings and events based on several thematic frameworks that provide a context and overview of the works, exploring the lineage the works may have in a broader video art narrative. Promoting and advocating a video art culture network for emerging video art practitioners, a forum to discuss, receive critical feedback on work, promote exhibitions and share ideas.
James Wright, Matt Leaf, Polly Stanton and Nico Reddaway are contemporary Melbourne artists, curators, and events organisers that have rallied to the aid of the dismal state of social and cultural activity at that ghetto-by-design: Melbourne‘s Docklands.
The group have begun to establish an arts space and studio at Waterfront City after having gained the support of the City of Melbourne to commandeer a defunct foodcourt that sits smack bang in the centre of this failed shopping and tourism mecca. But these guys are only just beginning their battle to inject some long-overdue and desperately needed joie de vivre. And as such, they‘re hoping to attain a modest amount of donations, through pozible of course, to purchase some AV equipment and to dress the space out. It is also crucial to gain interest in their activities: this is an opportunity for artists and like-minded people to assert themselves at Docklands; the payoff being that the larger the patronage, the bigger the shift in the aesthetics and environment of the area. We look at Docklands today as a dystopian abyss. However, there is always the opportunity for change. And that change begins now.
The Arts Space is located on the piazza by the water & and can be accessed by catching the 86 Tram to its‘ terminus at Waterfront City.
Maritime contains video and photographic works that form parts four & five of the Econasia series. The videos Irredentist and Affirm were filmed on the Yangtze River in China and the Inland Sea in Japan, respectively. Incorporating political science text and passages from Albert Camus‘ The Plague these works hope to offer an evocative consideration of contemporary political tensions in East Asia. The videos feature sound by Sarah Phelan & Byron Dean, with vox by Yanxin Li & Jihyun Lee.
This show is perhaps the most poignant representation of the Econasia series to date and will run at Kings Gallery from May 29 until June 22 on Level 1 / 171 King Street.
Many in Film & Television circles regard Film Noir as dangerous territory. As for television itself, I often hold an utter disdain for its‘ oftentimes over-theatricality and false amusement. And with that said, I am quite irreverent that The Hour was axed from production after 2 highly satisfying series.
Although the acting was at times below par; we are, of course, inclined to make certain concessions to the concerns of television series production. And with this in mind, I viewed The Hour as a triumph of a late modernist Film Noir-in-Technicolor as tragedy in both the climax of story and the decision to cease its‘ production.
Amongst the powerful characters lies our heroine, Bel (played by Romola Garai) and her ill-fated liasons with crusading newsman Lyon (Ben Whishaw). The storyline of captivating intrigue (arms race, smut, corruption) also frames failed personal sacrifice (in newsman Hector and his all-suffering wife Marnie) and the pursuit of rigour during the time of newsroom advent. Marnie‘s character is a subtle victory by Oona Chaplin, grand-daughter of the late Charlie Chaplin, as both the epitome of the declining role of housewife and, one might venture; the disparaging of perceived beauty. With great cinematography, set design, and costume I‘d only wish the series could only press on.
Artbox is the creation of Alex Gibson and Michael Menegetti. It is a compact-sized media player that is tailored to use by video artists. It allows the video artist a plug-and-play mode of exhibiting moving images. The Artbox campaign is being run with Pozible to achieve $10,000 to realise the project. It will be an open-source technology; meaning that one can purchase the electronic circuitry for the media player and build it yourself. This is an amazing development; all more when you consider that the Artbox will be surrendered into the public domain. I implore you to give a little coin -or a lot!
Over a year in the making, Vaudeville Smash launch their debut Album Dancing For The Girl to their home town of Melbourne on Fri the 14th of June at the Corner Hotel. The Album has already started garnering some critical acclaim, with Inpress Magazine stating: “It‘s one of 2013‘s great albums“.
Get it here: http://vaudevillesmash.bandcamp.com/
Vaudeville Smash have not played a show since before their US tour in March. This will be their first Melbourne show since returning home [and] it‘s gonna be BIG!. No, it‘s gonna be absolutely ENORMOUS!!
Tickets $15+bf, through: https://corner.ticketscout.com.au/gigs/1319-the-vaudeville-smash-
Supported by synth-funk explosion Sex On Toast and jangle rock Phenomenon She Said You.
This Saturday, 4th May Monash University hosts Honey is Flowing in all Directions at their MUMA gallery at the Clayton Campus. This exhibition brings to the fore works created by the Monash Fine Arts cohort. By title alone; one is left to reflect upon Joseph Beuys and the actual-political art practice. Perhaps we might expect some minimalist creative activity; a study of text & object in the vein of reductionist or essentialist principles championed by Beuys. The show also coincides alongside Direct Democracy (at Caulfield) and will certainly provide food-for-thought on the activities at Monash School of Art. Details below:
Thursday night gone, I was excited to be getting down to the Plumps at the wonderful gothic-revival Royal Melbourne Hotel. The sound was delicious; the crowd generally pretty good & the dance vibe got significantly large. Plump DJs (Lee Rous and Andy Gardner) are touring Australia at the moment on the back of their latest release in the Dirty Weekend series of EPs. This is about the 12th release from their own Grand Hotel label; and the sounds keep going from strength-to-strength. This was evident in over 2 hours of breakbeat glory at RMH. Check out the floor-filler Gobbstopper -such a bangin‘ track: