Tuesday, 16 December 2008
Thursday, 11 December 2008
Java's Machine: Phantasmagoria by Jompet Kuswidanato
Jompet Kuswindananto last year participated in Yogyakarta-based Cemeti At Houses's residency program 'Landing Soon #4'. He continued his research on Javanese culture and studied the form and practice of Java's royal soldiers, as a symbol of the particularly Javanese syncretic impulse to merge divergent beliefs and cultures. Jompet's work will be part of the South Project supported exhibition Kompilasi at Bus Gallery in Melbourne, opening on 24 February 2009. The show, curated by Kristi Monfries, Tim O'Donoghue and Georgia Sedgwick, surveys the work of emerging and established contemporary Indonesian artists. For more details visit Bus Gallery's website: www.bus117.com or contact Georgia Sedgwick on georgia_sedgwick@yahoo.co.uk.
Monday, 8 December 2008
South African Artists in Residence at Monash
Sizwe Mabiezela, Project Journey 2, digital print 2008
The South Project's partner organisation, Monash University, has initiated a residency exchange program with South Africa and the exhibition Lost and Found is the result of six weeks of work by the four invited artists.
Friday, 28 November 2008
Group Therapy at Immersion Therapy
GROUP THERAPY
OPENING FRIDAY 5TH DECEMBER, 2008, 6PM > 9PM
EXHIBITION: SATURDAY 6TH DEC > SUNDAY 21 DEC
@ IMMERSION THERAPY ARTSPACE, 420 HIGH STREET, NORTHCOTE
HUA CUN CHEN
SHIAU-PENG CHEN
ALAN COTTON
BENEDICT ERNST
ANDREA INNOCENT
DAMON KOWARSKY
JESSICA MAIDEN
FATEMEH VAFAEINEJAD
NAOKO YEHENARA
Part and parcel of the modern experience is the sensation of duality; the underlying feeling that one never truly belongs in one time or place.
The competing pulls in our lives; geographic, emotional or temporal are symptoms of a world in which our borders are crumbling and our boundaries are constantly on the move. For many, the reality is that whilst we remain rooted in our daily existence we do so without the same level of grounding we once might have expected.
Articulating the sensation of these oppositions, Group Therapy brings together nine of Australia's most interesting emerging artists in a show which explores the push and pull between cultures and times that are now so prevalent in modern life.
The artists undertaking Group Therapy are united in that they all to some degree juggle the influence and pull of multiple cultures although their individual approaches and use of media adds another layer to the equation.
Immersion Therapy is a non profit art space, committed to exploring contemporary art by artists in Australia and beyond. The program emphasizes artists whose work is either directly or indirectly inspired by Asian, Middle Eastern and Latin American themes.
Darmasiswa scholarship program
DARMASISWA is a scholarship program offered to foreign students from
countries which have a diplomatic relationship with Indonesia.
Participants can study Bahasa Indonesia, arts, music and crafts and
choose one of 44 different universities located in different cities in
Indonesia. This program is organised by the Ministry of National
Education (MoNE) in cooperation with the Department of Foreign Affairs
(DFA).
The DARMASISWA program began in 1974 as part of an ASEAN (Association
of South East Asian Nations) initiative, admitting only students from
ASEAN. However, in 1976 the program was extended to include students
from other countries such as Australia, Canada, France, Germany,
Hungary, Japan, Mexico, the Netherlands, Norway, Poland, Sweden, and
USA. In early 90's, this program was extended further to include all
countries which have a diplomatic relationship with Indonesia. To
date, more than 75 countries have participated in the program.
The main purpose of the DARMASISWA program is to promote and increase
an interest in the language and culture of Indonesia among the youth
of other countries. It has also been designed to provide stronger
cultural links and understanding among participating countries.
There are two Darmasiswa programs:
REGULAR PROGRAM (one year). Courses are conducted from first week of
September 2009 to the end of July 2010. Students must be in Indonesia
a week prior to the commencement of the course for an orientation
program.
SHORT PROGRAM (six months). Courses are conducted from first week of
September 2009 to the end of January 2010 OR from first week of
February 2010 to end of July 2010. Students must be in Indonesia a
week prior to the commencement of the course for an orientation
program.
HOW TO APPLY
Prerequisites:
1. Be able to communicate in English
2. Be not more than 35 years of age
3. Be in good health, demonstrated by a medical certificate
4. Have a basic knowledge of the field they're applying for
5. Have completed secondary education or its equivalent
Interested Applicants should first register online at
http://darmasiswa.diknas.go.id After registering online, you MUST
inform the closest Indonesian Embassy/Consulate General to be
approved. Completed application forms and other documents should be
submitted to the Consulate General of the Republic of Indonesia in
Sydney for applicants in NEW SOUTH WALES, SOUTH AUSTRALIA &
QUEENSLAND.
The deadline for applications to be lodged with the Consulate General
in Sydney is MONDAY, 30 MARCH 2009.
For more information about the program & application procedures,
registration and forms please visit http://darmasiswa.diknas.go.id/
Information Section
Consulate General of the Republic of Indonesia
236 Maroubra Road
Maroubra NSW 2035
Tel. (61 2) 9344 9933
Website. www.indonesianconsulatesydney.org.au
countries which have a diplomatic relationship with Indonesia.
Participants can study Bahasa Indonesia, arts, music and crafts and
choose one of 44 different universities located in different cities in
Indonesia. This program is organised by the Ministry of National
Education (MoNE) in cooperation with the Department of Foreign Affairs
(DFA).
The DARMASISWA program began in 1974 as part of an ASEAN (Association
of South East Asian Nations) initiative, admitting only students from
ASEAN. However, in 1976 the program was extended to include students
from other countries such as Australia, Canada, France, Germany,
Hungary, Japan, Mexico, the Netherlands, Norway, Poland, Sweden, and
USA. In early 90's, this program was extended further to include all
countries which have a diplomatic relationship with Indonesia. To
date, more than 75 countries have participated in the program.
The main purpose of the DARMASISWA program is to promote and increase
an interest in the language and culture of Indonesia among the youth
of other countries. It has also been designed to provide stronger
cultural links and understanding among participating countries.
There are two Darmasiswa programs:
REGULAR PROGRAM (one year). Courses are conducted from first week of
September 2009 to the end of July 2010. Students must be in Indonesia
a week prior to the commencement of the course for an orientation
program.
SHORT PROGRAM (six months). Courses are conducted from first week of
September 2009 to the end of January 2010 OR from first week of
February 2010 to end of July 2010. Students must be in Indonesia a
week prior to the commencement of the course for an orientation
program.
HOW TO APPLY
Prerequisites:
1. Be able to communicate in English
2. Be not more than 35 years of age
3. Be in good health, demonstrated by a medical certificate
4. Have a basic knowledge of the field they're applying for
5. Have completed secondary education or its equivalent
Interested Applicants should first register online at
http://darmasiswa.diknas.go.id After registering online, you MUST
inform the closest Indonesian Embassy/Consulate General to be
approved. Completed application forms and other documents should be
submitted to the Consulate General of the Republic of Indonesia in
Sydney for applicants in NEW SOUTH WALES, SOUTH AUSTRALIA &
QUEENSLAND.
The deadline for applications to be lodged with the Consulate General
in Sydney is MONDAY, 30 MARCH 2009.
For more information about the program & application procedures,
registration and forms please visit http://darmasiswa.diknas.go.id/
Information Section
Consulate General of the Republic of Indonesia
236 Maroubra Road
Maroubra NSW 2035
Tel. (61 2) 9344 9933
Website. www.indonesianconsulatesydney.org.au
Wednesday, 26 November 2008
Techno Park Studios
You are invited to drop into the launch of
TECHNO PARK STUDIOS
a new concept in project spaces
29 NOVEMBER 2008 from 4 pm
BLUE Room
Small, Medium and Large Moving in Sale
KIM DONALDSON
YELLOW Room
'The makeover team'
INCLUDING
NICOLE BREEDON, SUSAN LONG, SEAN LOUGHREY, TAREE MACKENZIE, FIONA MORGAN,
LUCRECCIA QUINTANILLA, UTAKO SHINDO, DYLAN STATHAM, JANE TRENGOVE
15 TECHNO PARK DRIVE WILLIAMSTOWN
FOR MORE DETAILS
CONTACT KIM DONALDSON
ON 9397 6344
TECHNO PARK STUDIOS
a new concept in project spaces
29 NOVEMBER 2008 from 4 pm
BLUE Room
Small, Medium and Large Moving in Sale
KIM DONALDSON
YELLOW Room
'The makeover team'
INCLUDING
NICOLE BREEDON, SUSAN LONG, SEAN LOUGHREY, TAREE MACKENZIE, FIONA MORGAN,
LUCRECCIA QUINTANILLA, UTAKO SHINDO, DYLAN STATHAM, JANE TRENGOVE
15 TECHNO PARK DRIVE WILLIAMSTOWN
FOR MORE DETAILS
CONTACT KIM DONALDSON
ON 9397 6344
Monday, 24 November 2008
Exhibition: I, HERE, NOW by Vivian Lynn at Adam Art Gallery
The Adam Art Gallery is proud to present a long-overdue survey of the work of artist Vivian Lynn. Curated by Christina Barton and Laura Preston, this exhibition canvasses the diversity of Lynn’s practice and brings to light works that have not been seen for many years. Vivian Lynn will be well known to many as the artist who used human hair in a series of
large-scale installations in the 1980s, such as Guarden Gates (1982) and The Gates of Goddess: A Southern Crossing attended by the Goddess (1986). These are landmark works in New Zealand’s art history for their trenchant re-coding of materials and subjects that aimed to expose the binary logic of western patriarchal culture and its consequences. Perhaps less well known is the fact that Vivian Lynn has been a practicing artist since the late 1950s, working across a range of media – painting, drawing, printmaking, book-making,
and installation – to develop a complex body of work that asks fundamental questions about the nature of being and the problematics of representation, especially if one is a woman. The curators believe that Lynn’s work should be better known, both for its technical virtuosity and its critical examination of the beliefs, values, ideas and assumptions that structure society and inform how women and the environment are treated. In refusing to develop a signature style and in her continual attempt to develop new modes of socially engaged practice, Lynn is an artist for our times. The exhibition will be accompanied by a public programme of talks, readings and a film screening to expand on the issues raised by Lynn’s practice.
Until 15 March 2009
For more information please visit: http://www.victoria.ac.nz/adamartgal/
Until 15 March 2009
For more information please visit: http://www.victoria.ac.nz/adamartgal/
Opportunity/Exhibition - I am the land & the land is me / ng woka, woka nganin
Presented as part of the 2008 Birrarung Community Exhibition Program, Bunjilaka Aboriginal Cultural Centre, Melbourne Museum
Ng woka, woka nganin: I am the land & the land is me is an exhibition showcasing traditionally inspired Aboriginal works by four Victorian Aboriginal women - Lee Darrock, Debra Couzens, Vicki Couzens and Maree Clarke - illustrating their strong connections to country and to each other. Some of the traditionally inspired works featured in the exhibition have not been made for over 220 years and include kangaroo tooth necklaces, echidna quill necklaces, emu feather skirts, string and wooden women’s bags, feather flowers, and kangaroo and possum skin cloaks.
About the Birrarung Community Exhibition Program
Each year the Bunjilaka Aboriginal Cultural Centre at Melbourne Museum hosts three Koorie community exhibitions showcasing the many artistic talents of our Victorian Koorie community. Call for entries: If you would like to be involved in this excellent opportunity to showcase an exhibition of your or your community's works during the 2009 program, make sure you get your application in by 30 November 2008.
Applications due 30 November 2008
Exhibition runs until 8 February 2009
For more information please visit: http://museumvictoria.com.au/I-am-the-land-the-land-is-me
Ng woka, woka nganin: I am the land & the land is me is an exhibition showcasing traditionally inspired Aboriginal works by four Victorian Aboriginal women - Lee Darrock, Debra Couzens, Vicki Couzens and Maree Clarke - illustrating their strong connections to country and to each other. Some of the traditionally inspired works featured in the exhibition have not been made for over 220 years and include kangaroo tooth necklaces, echidna quill necklaces, emu feather skirts, string and wooden women’s bags, feather flowers, and kangaroo and possum skin cloaks.
About the Birrarung Community Exhibition Program
Each year the Bunjilaka Aboriginal Cultural Centre at Melbourne Museum hosts three Koorie community exhibitions showcasing the many artistic talents of our Victorian Koorie community. Call for entries: If you would like to be involved in this excellent opportunity to showcase an exhibition of your or your community's works during the 2009 program, make sure you get your application in by 30 November 2008.
Applications due 30 November 2008
Exhibition runs until 8 February 2009
For more information please visit: http://museumvictoria.com.au/I-am-the-land-the-land-is-me
7+1 Project Rooms
MARCO, Museo de Arte Contemporáneo de Vigo, Spain
7+1 Project Rooms curated by Cuban curator Gerardo Mosquera, opened at MARCO, Museo de Arte Contemporáneo de Vigo in Spain on the 10th of October 2008. The exhibition, which occupies the ground floor of the building, originates from the idea of using the spatial independence of the seven exhibition rooms at the Museum’s ground floor to present a different artist in each one of them. All these seven spaces, together with the Museum’s façade, constitute eight project rooms where the following exhibitors will develop their ideas: Teresa Margolles, Tania Bruguera, Monica Bonvicini, Fernando Sánchez-Castillo, Kendell Geers, Thomas Hirschhorn, Jorge Perianes and Young-Hae Chang Heavy Industries.
Until 15 February 2009
For more information visit: http://www.marcovigo.com/
7+1 Project Rooms curated by Cuban curator Gerardo Mosquera, opened at MARCO, Museo de Arte Contemporáneo de Vigo in Spain on the 10th of October 2008. The exhibition, which occupies the ground floor of the building, originates from the idea of using the spatial independence of the seven exhibition rooms at the Museum’s ground floor to present a different artist in each one of them. All these seven spaces, together with the Museum’s façade, constitute eight project rooms where the following exhibitors will develop their ideas: Teresa Margolles, Tania Bruguera, Monica Bonvicini, Fernando Sánchez-Castillo, Kendell Geers, Thomas Hirschhorn, Jorge Perianes and Young-Hae Chang Heavy Industries.
Until 15 February 2009
For more information visit: http://www.marcovigo.com/
Exhibition: Collective Conscience, Human Rights Arts and Film Festival (HRAFF)
HRAFF is a dynamic and vibrant national art and film festival featuring a variety of creative media aimed at raising awareness and generating debate on human rights issues in Australia.
The arts component of the Melbourne-based festival program is Collective Conscience, an exhibition that considers the recent shift in contemporary artistic practice away from individual experience towards inter-personal activity and social exchange. The artists in Collective Conscience represent, to varying degrees a re-humanising of artistic practices via an emphasis on participation, dialogue and collaboration. Through a variety of perspectives, approaches and forms, Collective Conscience explores issues of human rights, and the power of collective action.
12-30 November 2008
The Carlton Studios (upstairs) 193 Bourke St
Melbourne
Collective Conscience
curated by Andrea Bell & Romy Sedman
Artists:
Alex Martinis Roe, (Australia)
Culture Kitchen, (Australia), Taring Padi, (Indonesia), Gembel (East Timor).
Fiona Jack, (New Zealand)
Freedom Burmese Artists, (Burma)
MHUL Conversation Program, Christian Thompson, Helen Johnson (Australia)
Panther, (Australia)
PVI Collective, (Australia)
Richard Bell, (Australia)
The Long March Project: Chen Qiulin, Yang Shaobin, Jiang Zhi (China).
For more information please visit: http://www.hraff.org.au/
TAG Newsletter
TAG is a professional visual artists’ newsletter providing a global platform to the artists in residency at Greatmore Studios, Cape Town, South Africa and also to art practitioners within the network of Triangle Art Trust. As a compliment to their regularly updated web site, TAG provides artists with relevant updates about the studios, artists’ work and opportunities in the art arena both locally in Cape Town, on the continent and abroad.
For more information and to subscribe please visit: http://www.greatmoreart.org/
For more information and to subscribe please visit: http://www.greatmoreart.org/
TAG Newsletter
TAG is a professional visual artists’ newsletter providing a global platform to the artists in residency at Greatmore Studios, Cape Town, South Africa and also to art practitioners within the network of Triangle Art Trust. As a compliment to their regularly updated web site, TAG provides artists with relevant updates about the studios, artists’ work and opportunities in the art arena both locally in Cape Town, on the continent and abroad.
For more information and to subscribe please visit: http://www.greatmoreart.org/
For more information and to subscribe please visit: http://www.greatmoreart.org/
South-South Dance Project
Recently launched, South-South.info is a web-based resource on contemporary dance in South America. The website aims to offer an overview of the main contexts of exchange for contemporary dance in the countries of the southern hemisphere including information on the principal festivals, spaces, articulators, publications, etc. With this initiative South-South intend to stimulate and facilitate international exchange, cooperation and circulation of artists and ideas from South to South.
For more information and to upload relevant material please visit: http://www.south-south.info
For more information and to upload relevant material please visit: http://www.south-south.info
2da Trienal Poli/Gráfica de San Juan: América Latina y el Caribe
The 2da Trienal Poli/Gráfica de San Juan: América Latina y el Caribe aims to explore and unfold the concept of the polygraphic into marginal and experimental creative practices working with contemporary art and graphic design. Over a dozen polygraphic platforms will be presented between June 2008 and June 2009, concluding in a large scale presentation opening in April 2009 that will consist of solo and group exhibitions, magazines, posters, artists' books, postcards, wallpapers, flyers, billboards, among others.
18 April - 28 June, 2009
For more information please contact:
Instituto de Cultura Puertorriqueña
Antiguo Arsenal de la Marina Española
La Puntilla, Viejo San Juan
P.O. Box 9024184
San Juan, Puerto Rico, 00902-4184
T: 1-787-725-8320; 1-787-724-1877
http://www.icp.gobierno.pr
trienalsanjuan@icp.gobierno.pr
18 April - 28 June, 2009
For more information please contact:
Instituto de Cultura Puertorriqueña
Antiguo Arsenal de la Marina Española
La Puntilla, Viejo San Juan
P.O. Box 9024184
San Juan, Puerto Rico, 00902-4184
T: 1-787-725-8320; 1-787-724-1877
http://www.icp.gobierno.pr
trienalsanjuan@icp.gobierno.pr
Husi Bei Ala Timor Sira Nia Liman – From the Hands of our Ancestors: The art and craft of Timor-Leste - Arte no artesantu Timor-Leste
A Museum and Art Gallery of the Northern Territory exhibition in partnership with the national Directorate of Culture, Timor-Leste
This international exhibition will present the traditional and contemporary art and crafts of Timor-Leste. The national collection of Timor-Leste will be complemented with works from the Museum and Art Gallery of the Northern Territory. This comprehensive, collaborative exhibition of the textiles, ceramics, wooden carvings and body adornment of Timor-Leste will give insights into the distinctive living cultures of this young nation.
22 November 2008 - 12 July 2009
For more information please visit: http://www.nt.gov.au/nreta/museums/exhibitions/upcoming.html
This international exhibition will present the traditional and contemporary art and crafts of Timor-Leste. The national collection of Timor-Leste will be complemented with works from the Museum and Art Gallery of the Northern Territory. This comprehensive, collaborative exhibition of the textiles, ceramics, wooden carvings and body adornment of Timor-Leste will give insights into the distinctive living cultures of this young nation.
22 November 2008 - 12 July 2009
For more information please visit: http://www.nt.gov.au/nreta/museums/exhibitions/upcoming.html
Bienal de São Paulo
Director Isabel Garcia, Centro de Documentacion de las Artes, Centro Cultural Palacio la Moneda (CCPLM) presents the work of renowned Chilean artist Juan Downey as one of four special projects in thee 28th biennial. Isabel was an active participant in the South Project’s Santiago Gathering in 2006. Southern countries represented in the biennial include: Brazil, Chile, India, Mexico, Peru, Argentina, Mozambique and Colombia.
Until 6 December 2008
For more information on the Bienal de São Paulo please visit:
http://bienalsaopaulo.globo.com
For more information on CCPLM please visit: http://ccplm.cl/
Until 6 December 2008
For more information on the Bienal de São Paulo please visit:
http://bienalsaopaulo.globo.com
For more information on CCPLM please visit: http://ccplm.cl/
M1 Singapore Fringe Festival 2009: Art & Family
Featuring 21 exciting works from 12 countries
The M1 Singapore Fringe Festival is back with its fifth edition from 7-18 January 2009. Organised and curated by The Necessary Stage, this much anticipated festival showcases a wide array of artists from all over the world, covering various artistic genres that would appeal to any virgin or veteran of the Fringe. This year’s theme explores the relationship between Art and Family. The term “family” extends beyond the confines of biological affiliations defined by the traditional context of what a family constitutes. “Families” here refer to anything that provides us with references to and support for our own identity.
for more information visit:
Official Website: http://www.singaporefringe.com
Official Fringe TVC: http://www.vimeo.com/1908850
The M1 Singapore Fringe Festival is back with its fifth edition from 7-18 January 2009. Organised and curated by The Necessary Stage, this much anticipated festival showcases a wide array of artists from all over the world, covering various artistic genres that would appeal to any virgin or veteran of the Fringe. This year’s theme explores the relationship between Art and Family. The term “family” extends beyond the confines of biological affiliations defined by the traditional context of what a family constitutes. “Families” here refer to anything that provides us with references to and support for our own identity.
for more information visit:
Official Website: http://www.singaporefringe.com
Official Fringe TVC: http://www.vimeo.com/1908850
smashed to pieces at Gambia Castle (NZ)
Gambia Castle presents:
smashed to pieces
(in the still of the night)
gestures towards habitual actions while leaving the location vague and the event unpredictable
Amit Charan
Francis Alÿs
Michael Stevenson
Curated by Laura Preston
7 - 29 November 2008
************************************************************************************************************
This month in Gambia Castle’s office we proudly present a selection of rare cards and catalogues by the totally wicked Ken Price. You should come by and have a look.
************************************************************************************************************
Gambia Castle is also pleased to announce the release of a new publication documenting the 2007 program. Designed by The Wilderness. Now available in the office for a square $10.
************************************************************************************************************
For further information please contact the gallery:
Gambia Castle
Level 1, 454 Karangahape Rd
PO Box 68782 Newton
Auckland 1145
New Zealand
Ph. +6493361601
Mob. +64212442243
info@gambiacastle.net
www.gambiacastle.net
Open: Thurs, Fri 12-6, Sat 11-4
smashed to pieces
(in the still of the night)
gestures towards habitual actions while leaving the location vague and the event unpredictable
Amit Charan
Francis Alÿs
Michael Stevenson
Curated by Laura Preston
7 - 29 November 2008
************************************************************************************************************
This month in Gambia Castle’s office we proudly present a selection of rare cards and catalogues by the totally wicked Ken Price. You should come by and have a look.
************************************************************************************************************
Gambia Castle is also pleased to announce the release of a new publication documenting the 2007 program. Designed by The Wilderness. Now available in the office for a square $10.
************************************************************************************************************
For further information please contact the gallery:
Gambia Castle
Level 1, 454 Karangahape Rd
PO Box 68782 Newton
Auckland 1145
New Zealand
Ph. +6493361601
Mob. +64212442243
info@gambiacastle.net
www.gambiacastle.net
Open: Thurs, Fri 12-6, Sat 11-4
Monday, 20 October 2008
Yun Zhang at Immersion Therapy
Acclaimed Adelaide based calligrapher Yun Zhang brings his work to Melbourne for the first time with A Brush With Love at Immersion Therapy, marking his first solo exhibition on this scale.
Having first picked up his brush at the tender age of four, Zhang has more than two decades of experience. He has exhibited across South East Asia and has been the recipient of numerous awards, including three National Calligraphy titles in his native China.
A Brush With Love offers a fascinating opportunity to experience his calligraphy first hand, as he bridges the gap of a millennia, drawing out themes of love and longing from Tang Dynasty poetry and re-positioning them within a contemporary arts space for an Australian audience.
This is Zhang's first exhibition in Melbourne following exhibitions in Adelaide and throughout Asia.
Immersion Therapy is a curator run, non profit art space. The Immersion Therapy program is committed to its focus on contemporary art produced by Australian based and regional artists who are either directly or generally influenced by the increasingly prominent cultural motifs of Asia, the Middle East and Latin America.
Exhibition Dates: 17 Oct > 9 Nov
A Brush With Love is showing at Immersion Therapy, 420 High Street, Northcote, from October 17 to November 9, 2008.
Gallery hours; Fridays 12 - 6pm,
Saturdays & Sundays 12 - 5pm.
Other times by appointment on 0401 183 875.
Monday, 13 October 2008
Asia Week: Contemporary Expressions of Minority Groups in Indonesian Mass Media
Asia Week: Contemporary Expressions of Minority Groups in Indonesian Mass Media
When: 6:00 - 7:30pm Tuesday 21 October
Where: Yasuko Hiraoka Room, Sidney Myer Asia Centre
This public discussion focuses on the contemporary expressions of
minority groups, especially the Chinese Indonesians, in mass media.
This event is part of the Asia Week organized by the University of
Melbourne's Asia Institute in promotion of studies of Asian languages
and societies in the University of Melbourne particularly and in
Australia generally. The discussion begins with verbal presentations by:
Tintin Wulia (Artist and Researcher, RMIT)
The Name Game – or the years of living with no one to blame
Born and bred in a Chinese-Balinese family that survived 1965, the
discrepancies between the personal and the political have been
central to Tintin Wulia's practice as an artist. Recounting the past
ten years of her artistic research, in this lecture-performance she
will illustrate how she found the experiences which accompanied the
regime change of 1998 as complementary to the traumatic events and
mass killings of alleged communists in 1965. She will also show how
reflecting on 1965 can help re-contextualise the newly revived
'Chinese-Indonesian' identity within 'Indonesian' identity, by
looking at 1965 as a common ground shared by many 'Chinese' and 'non-
Chinese' Indonesians.
Tintin's work has been awarded, screened, exhibited, and collected
internationally, including in the International Film Festival
Rotterdam, Clermont-Ferrand Short Film Festival, New York Underground
Film Festival, SBS TV Australia, Istanbul Biennial, Yokohama
Triennial, Guangzhou Triennial, Jakarta Biennial, Van Abbemuseum,
Haus der Kulturen der Welt and London's Institute of Contemporary
Arts. Now based in Melbourne, Australia, Tintin Wulia's artistic
research is inspired by the geopolitical boundary and effects of its
renegotiations in the global and local, political and personal context.
Stanley Yosep Prasetyo (Commissioner of the National Commission of
Human Rights)
Is There Media for People of Chinese Descent in Indonesia?
(Address delivered in Indonesian – English translation available).
This discussion attempts to answer questions concerning media for
people of Chinese descent in Indonesia over the last decade of reform
or reformasi. What are the types of media that deal with the
segmentation of the Chinese Indonesians? Is the media for this ethnic
group of a high quality, and is it useful for political education of
this group? Or is it only meant to serve as an advertising tool in
the business world?
Stanley Prasetyo was born and raised in Malang, East Java. He studied
electrical engineering at Satya Wacana Christian University in
Salatiga, and Development Studies at Brawijaya University in Malang.
He has for years been actively involved in advocacy of human rights
especially the rights of minority groups in Indonesia. Amongst his
many important roles and activities in the field throughout the
years, from 2008 to 2013 he holds the responsibility of chair to the
strategic planning briefing committee for the national commision of
human rights. He is currently the national commissioner of human
rights, directly responsible for the sub-commission of education and
public awareness. He has published many written pieces including
'Media and May 1998 Riots' (2005), 'Racial Politics and Media
Publishing' (2003), 'Racial Politics and Efforts to Combat
It' (2002), and was editor of the Memoire of Oei Tjoe Tat (1995).
http://www.asiainstitute.unimelb.edu.au/events/asiaweek_minority_groups_expressions.html
When: 6:00 - 7:30pm Tuesday 21 October
Where: Yasuko Hiraoka Room, Sidney Myer Asia Centre
This public discussion focuses on the contemporary expressions of
minority groups, especially the Chinese Indonesians, in mass media.
This event is part of the Asia Week organized by the University of
Melbourne's Asia Institute in promotion of studies of Asian languages
and societies in the University of Melbourne particularly and in
Australia generally. The discussion begins with verbal presentations by:
Tintin Wulia (Artist and Researcher, RMIT)
The Name Game – or the years of living with no one to blame
Born and bred in a Chinese-Balinese family that survived 1965, the
discrepancies between the personal and the political have been
central to Tintin Wulia's practice as an artist. Recounting the past
ten years of her artistic research, in this lecture-performance she
will illustrate how she found the experiences which accompanied the
regime change of 1998 as complementary to the traumatic events and
mass killings of alleged communists in 1965. She will also show how
reflecting on 1965 can help re-contextualise the newly revived
'Chinese-Indonesian' identity within 'Indonesian' identity, by
looking at 1965 as a common ground shared by many 'Chinese' and 'non-
Chinese' Indonesians.
Tintin's work has been awarded, screened, exhibited, and collected
internationally, including in the International Film Festival
Rotterdam, Clermont-Ferrand Short Film Festival, New York Underground
Film Festival, SBS TV Australia, Istanbul Biennial, Yokohama
Triennial, Guangzhou Triennial, Jakarta Biennial, Van Abbemuseum,
Haus der Kulturen der Welt and London's Institute of Contemporary
Arts. Now based in Melbourne, Australia, Tintin Wulia's artistic
research is inspired by the geopolitical boundary and effects of its
renegotiations in the global and local, political and personal context.
Stanley Yosep Prasetyo (Commissioner of the National Commission of
Human Rights)
Is There Media for People of Chinese Descent in Indonesia?
(Address delivered in Indonesian – English translation available).
This discussion attempts to answer questions concerning media for
people of Chinese descent in Indonesia over the last decade of reform
or reformasi. What are the types of media that deal with the
segmentation of the Chinese Indonesians? Is the media for this ethnic
group of a high quality, and is it useful for political education of
this group? Or is it only meant to serve as an advertising tool in
the business world?
Stanley Prasetyo was born and raised in Malang, East Java. He studied
electrical engineering at Satya Wacana Christian University in
Salatiga, and Development Studies at Brawijaya University in Malang.
He has for years been actively involved in advocacy of human rights
especially the rights of minority groups in Indonesia. Amongst his
many important roles and activities in the field throughout the
years, from 2008 to 2013 he holds the responsibility of chair to the
strategic planning briefing committee for the national commision of
human rights. He is currently the national commissioner of human
rights, directly responsible for the sub-commission of education and
public awareness. He has published many written pieces including
'Media and May 1998 Riots' (2005), 'Racial Politics and Media
Publishing' (2003), 'Racial Politics and Efforts to Combat
It' (2002), and was editor of the Memoire of Oei Tjoe Tat (1995).
http://www.asiainstitute.unimelb.edu.au/events/asiaweek_minority_groups_expressions.html
Sidney Myer Performing Arts Awards
NOMINATIONS NOW OPEN FOR THE
2008 SIDNEY MYER PERFORMING ARTS AWARDS
Nominations are now open for the Sidney Myer Performing Arts Awards, with three awards to be
presented, with prize money totalling $125,000.
At the 2008 Awards, we celebrate 25 years of the Sidney Myer Performing Arts Awards. From their
creation, these prestigious national awards continue to pay tribute to outstanding achievement in drama,
comedy, dance, music, opera, circus and puppetry.
The nominations for 2008 will be for the following Awards:
- Individual Award $40,000
- Group Award $70,000
- Facilitator’s Prize $15,000
“Sidney Myer was one of the greatest advocates for the arts, believing whole-heartedly that art should
be enjoyed and made accessible to everyone,” says Christine Edwards, CEO, Sidney Myer Fund.
“The Sidney Myer Performing Arts Awards celebrate the achievements of outstanding Australians who,
like Sidney Myer, have made a major contribution to the cultural lifeblood of this country, one that will be
felt for many years to come.”
The Awards are decided on a national basis and each nomination is considered by a Judging
Committee. While the Awards recognize past achievement, consideration is also given to the potential
of an individual or group to continue their contribution to Australian society through the performing arts
into the future.
The Awards were created in 1984 by the Sidney Myer Fund to mark the 50th anniversary of the passing
of Sidney Myer. Since then, the awards have honored some of Australia’s finest performers and most
respected members of the arts community. Geoffrey Rush, for example, won the individual award in
1993.
While they commemorate the life and cultural interests of Sidney Myer, the Awards are primarily
intended to enhance the status of the performing arts in Australia.
Nominations close on 31st October. Nomination forms can be found by visiting
www.myerfoundation.org.au or by phoning ph. 03 9207 3040 or Fax: 03 9207 3070, or by e-mailing
enquiries@myerfoundation.org.au.
2008 SIDNEY MYER PERFORMING ARTS AWARDS
Nominations are now open for the Sidney Myer Performing Arts Awards, with three awards to be
presented, with prize money totalling $125,000.
At the 2008 Awards, we celebrate 25 years of the Sidney Myer Performing Arts Awards. From their
creation, these prestigious national awards continue to pay tribute to outstanding achievement in drama,
comedy, dance, music, opera, circus and puppetry.
The nominations for 2008 will be for the following Awards:
- Individual Award $40,000
- Group Award $70,000
- Facilitator’s Prize $15,000
“Sidney Myer was one of the greatest advocates for the arts, believing whole-heartedly that art should
be enjoyed and made accessible to everyone,” says Christine Edwards, CEO, Sidney Myer Fund.
“The Sidney Myer Performing Arts Awards celebrate the achievements of outstanding Australians who,
like Sidney Myer, have made a major contribution to the cultural lifeblood of this country, one that will be
felt for many years to come.”
The Awards are decided on a national basis and each nomination is considered by a Judging
Committee. While the Awards recognize past achievement, consideration is also given to the potential
of an individual or group to continue their contribution to Australian society through the performing arts
into the future.
The Awards were created in 1984 by the Sidney Myer Fund to mark the 50th anniversary of the passing
of Sidney Myer. Since then, the awards have honored some of Australia’s finest performers and most
respected members of the arts community. Geoffrey Rush, for example, won the individual award in
1993.
While they commemorate the life and cultural interests of Sidney Myer, the Awards are primarily
intended to enhance the status of the performing arts in Australia.
Nominations close on 31st October. Nomination forms can be found by visiting
www.myerfoundation.org.au or by phoning ph. 03 9207 3040 or Fax: 03 9207 3070, or by e-mailing
enquiries@myerfoundation.org.au.
Thursday, 9 October 2008
Wednesday, 8 October 2008
Fernando Palma Rodriguez at Heide Museum of Modern Art
Heide Museum of Modern Art had great pleasure in welcoming Fernando Palma Rodríguez - the Museum's first international artist-in-residence - for a three-month stay from March to May of this year. Inspired by this residency, he created an installation for the Kerry Gardner & Andrew Myer Project Gallery, Butterflown of love
click here for details , that is displayed at Heide until 26 October 2008. Redolent with personal and historic cultural meaning for Palma Rodríguez, this interactive work brings objects to life with a range of intriguing narratives.
Palma Rodríguez is a Nahua Mexican artist now living and working in the United Kingdom. He came to Heide under the Arts Council England and Stour Valley Arts Fellowship.
Palma Rodríguez’s predominantly sculptural practice demonstrates his keen interest in pre-Columbian art and the mythology of Mexico as well as his experience as an industrial engineer. His concern for the dilemmas currently faced by the environment has prompted works that seek to address both the teachings of bygone cultures and the impact of technology on the natural world. He is a founding member of Calpulli Tecalco ONG AC, Mexico City, an association committed to the preservation of the Nahuatl language and the environment in San Pedro Atocpan, Mexico City.
While at Heide, Fernando also participated in Heide’s Education & Public Programs, where he conducted a school holiday activity, Masked Warriors and featured in Artists in conversation where he spoke about his mixed media sculptures and the inspirations he drew from his time here in Australia. Fernando also participated in The South Project where he conducted workshops for South Kids .
Read the blog Palma Rodríguez wrote about his residency at Heide and visit to Australia. Click here to read the blog and make a comment .
Click here to listen to a podcast of Rachel Bongiorno interviewing Fernando Palma Rodríguez for SBS World View, Wednesday 30 July 2008.
Heide Museum of Modern Art
7 Templestowe Road
Bulleen Victoria 3105
T 9850 1500
E info@heide.com.au
www.heide.com.au
click here for details , that is displayed at Heide until 26 October 2008. Redolent with personal and historic cultural meaning for Palma Rodríguez, this interactive work brings objects to life with a range of intriguing narratives.
Palma Rodríguez is a Nahua Mexican artist now living and working in the United Kingdom. He came to Heide under the Arts Council England and Stour Valley Arts Fellowship.
Palma Rodríguez’s predominantly sculptural practice demonstrates his keen interest in pre-Columbian art and the mythology of Mexico as well as his experience as an industrial engineer. His concern for the dilemmas currently faced by the environment has prompted works that seek to address both the teachings of bygone cultures and the impact of technology on the natural world. He is a founding member of Calpulli Tecalco ONG AC, Mexico City, an association committed to the preservation of the Nahuatl language and the environment in San Pedro Atocpan, Mexico City.
While at Heide, Fernando also participated in Heide’s Education & Public Programs, where he conducted a school holiday activity, Masked Warriors and featured in Artists in conversation where he spoke about his mixed media sculptures and the inspirations he drew from his time here in Australia. Fernando also participated in The South Project where he conducted workshops for South Kids .
Read the blog Palma Rodríguez wrote about his residency at Heide and visit to Australia. Click here to read the blog and make a comment .
Click here to listen to a podcast of Rachel Bongiorno interviewing Fernando Palma Rodríguez for SBS World View, Wednesday 30 July 2008.
Heide Museum of Modern Art
7 Templestowe Road
Bulleen Victoria 3105
T 9850 1500
E info@heide.com.au
www.heide.com.au
Tuesday, 7 October 2008
One Day Sculpture Presents: Amy Howden-Chapman
Amy Howden-Chapman
(b. Wellington, New Zealand, 1984; lives and works in Wellington, New Zealand)
COMMISSIONED BY City Gallery Wellington
Marine Bells, collection Museum of Wellington. Photo: Amy Howden-Chapman
The Flood, My Chanting
Thursday 9 October 2008, commencing at 1PM*
A Performed sound circuit travelling from the lagoon by Jervois Quay, down lower Willis St, Featherston St, Waring-Taylor St towards the waterfront, Wellington
*if raining, the event will be postponed until Friday 10 October 2008 at 2.00 pm
A series of bells will be temporarily installed through central Wellington in a circuit curving from the waterfront though the central city and back to the sea. The line which the bells collectively delineate will correspond to the part of the central city most under threat from future flooding. By mapping the space of the city with sound, the project will consider the relationship of the built environment to Wellington’s natural topography.
A chain reaction of sound will be activated by the sound of one bell reaching the position of the next. This sound cue will be acted on by ringers running between the bell stations. As the circuit is repeated passers-by will hear the over-lapping and varying resonances of the bells. The duration of the sound circuit will be naturally determined, responding to the ringers moving through the streets, as well as to the necessary duration required for each of the bells to send the signal on.
The antique marine bells are on loan from the Museum of Wellington City & Sea’s collection. These decommissioned maritime bells are rich and imposing objects, inscribed with the names and dates of their vessel, their surfaces marked with the history of their original use. Customarily bells aboard ships were used for ceremonial purposes, the marking of time, and to communicate a ship’s presence to other vessels and warn of imminent danger.
The project also looks back to the out-dated tradition of ringing church bells in times of danger in order to raise alarm to inhabitants of surrounding parishes. Church bells have traditionally been a way in which sound maps distance, and thereby defines distinct communities. The project seeks to use sound, objects and performative action to ask what emotional reactions we should have to the warnings of today about the natural disasters predicted for the future.
Amy Howden-Chapman works in a range of media including performative collaborations. Her work considers social and emotional responses to our surroundings, particularly sites where urban settings meet natural and environmental phenomena. A dance is created between fable and fact, science and prophecy. Reaction is summoned, and an event becomes a chant.
Biography
Amy Howden-Chapman, Save the Whale/The Great Pacific Ocean Rubbish Patch Recreation, 2006, (photographic documentation of an event, work presented at a single channel video). Courtesy of the artist.
Amy Howden-Chapman is a Wellington-based artist and writer, born in 1984. She has a Masters degree in Creative Writing, Victoria University, (2005) and an Honours degree in Art History, Victoria University, (2006). Her work has appeared throughout New Zealand, as well as in Australia and America, including being in group exhibitions such as 'E.P.A.(Environmental Performance Actions)' Exit Art, New York (2008); 'Earth Matters' Auckland City Art Gallery (2008); 'The Water Show', The Physics Room Christchurch (2008): ' 'An Introduction to the Theory of Everything', Michael Hirschfeld Gallery, City Gallery Wellington, Wellington (2006); ' 'Old Habits Die Hard', Norwich Gallery, UK and Kunstnernes Hus, Olso, Norway (2005), organised by Sparwasser Gallery, Berlin, Germany, and 'ETA', Enjoy Public Art Gallery, Wellington (2004). Solo projects include 'Wall Wall', Kiosk (organised by The Physics Room), Christchurch (2007) and 'The Story of Three Sentences', Enjoy Public Art Gallery, Wellington (2004). She is part of performance group Raised By Wolves with artist Biddy Livesey, and recent projects include 'Popping the Tent ', an episode of New Artland, Television Spaceman (screened May 2008); 'I'm Breathless: Forced Fields' - Conical Gallery, (2007) 'Strange Parade & The Gift of Hills' (with accompanying publication 'After Leaving the Wilderness'), Gertrude Contemporary, Melbourne (2007); 'Mall wall talk task bask bark park', in 'Moment Making: After the Situation', ARTSPACE, Auckland (2007).
Monday, 29 September 2008
Arab Telephone
Arab Telephone
Opening Friday 10 October 6-8pm
Runs Wed 1 October - Fri 31 October 2008
Platform, Degraves Street Subway (Campbell Arcade)
Arab Telephone is French for Chinese Whispers. A children's game which succinctly condenses ideas of truth, fiction and history into a simple chain reaction. For Tape Projects, it is an artists‚ game, an experiment in process, and a time-delayed collaboration. It begins with a story about Campbell‚s Arcade, by a history student, who is also a writer of fiction. Without knowing on which side of this boundary it lays, the story is passed from artist to artist by word of mouth, accreting or excreting details in the re-telling. The 11 resulting audio visual and sculptural installations will reveal the mechanics of this myth, uncover the themes that resonate between the artists and those that divide them.
Featuring: Maggie Scott, Jessie Scott, Eugenia Lim, Michael Prior, Salote Tawale,Saskia Pandji-Sakti, Tanja Milbourne, Lizzy Sampson, Sarah Lake, Nic Whyte, Tony Holzner, Zoe Scoglio, Lee Anantawat, Paul Dornau, and Eliza Hearsum.
Email: hq@tapeprojects.org
Web: www.tapeprojects.org
www.platform.org.au
http://www.melbournefringe.com.au
Tuesday, 23 September 2008
OPENING THURSDAY OCTOBER 2, 6-8PM
ANDREW ATCHISON MARTIN BELL CHRISTOPHER-DAVID BRIL
KELLY DOLEY JEREMY DRAPE EXQUISITE FEATURES
ROMY HOFFMAN ANNIKA KOOPS HIDDE VAN SCHIE
TAPE PROJECTS MICHELLE TRAN CURATED BY VERONICA TELLO
EXHIBITION OPEN UNTIL SUNDAY OCTOBER 12
GUILDFORD LANE GALLERY 20-24 GUILDFORD LANE MELBOURNE 3000
WWW.GUILDFORDLANEGALLERY.ORG WED-FRI 12-9/SAT-SUN 12-5
IMAGE: ANNIKA KOOPS, ROSE COLOURED MASSES, 2008
OIL ON CANVAS, 50X60CM
Wednesday, 17 September 2008
Truth Untruth
Peter Foward, Mr Jailer, You’re a Victim Too 2008 Acrylic, oil, oilstick, collage and permanent marker on canvas. 152cm (w) x 121cm (h)
Truth Untruth is a project where an audience can engage with others, using a visual art-based format. Viewers are encouraged to add their own script or marks directly onto the works.
The project has become a visual link between dominant Australian culture and new arrivals to this country, people of all ages, fine and street art, view-only and participatory art.
Australia aside from major centers, still broadly exists in an essentially Anglo/Celtic world. The displacement of people from regions of conflict is seen nightly and concerns both sides of a cultural divide. Truth Untruth attempts to cross this divide.
Location
Nexus Multicultural Arts Centre, Cnr Morphett St & Nth Terrace, Adelaide
October 30th – 21st November 2008
www.peterforward.com
Marcelo Brodsky y Martin Parr (ESP)
Exposición
Para mayor información y material gráfico, comunicarse con Paulina Zubicueta; Mariana Hales. coordinacion@galeriaafa.com
Galería AFA Bucarest 196 Providencia F: 355 6606-07
Horario: de martes a viernes 14.30pm a 19.30pm Sábados de 10.30am a 14.00pm www.galeriaafa.com info@galeriaafa.com coordinacion@galeriaafa.com
Correspondencia
De Marcelo Brodsky y Martin Parr
INAUGURACION
Jueves 2 Octubre 2008
19.30 hrs.
De Marcelo Brodsky y Martin Parr
INAUGURACION
Jueves 2 Octubre 2008
19.30 hrs.
Treinta son las imágenes que componen el diálogo entre los fotógrafos Marcelo Brodsky (Argentina) y Martin Parr (Inglaterra). Una conversación visual iniciada por Brodsky en mayo de 2007 y que culmina con esta muestra que se inaugura con la presencia del destacado fotógrafo argentino y cierra con la visita del inglés Martin Parr en el marco del festival Fotoamérica a desarrollarse a partir de Octubre.
Correspondencia, es la puesta en escena del diálogo visual entre Marcelo Brodsky y Martin Parr, iniciado por Brodsky en mayo de 2007 y que culminó en junio de este año. Un diálogo que reúne treinta fotografías intercambiadas entre ambos artistas a través de conversaciones sostenidas a través del correo electrónico.
La muestra es a su vez, una invitación a participar de una conversación a través de imágenes, así como cada uno de los recortes que la constituyen, los diálogos realizados por Marcelo Brodsky y sus interlocutores, constituyen una poética de composición visual única, y a su vez, un desprendimiento de la unívoca interpretación o lectura autoral; en palabras de Marcelo Brodsky, “el diálogo visual entre dos rompe el centro en el yo del autor y plantea algo distinto.(…) La correspondencia no es un soliloquio, sino que se sostiene con un interlocutor, otro que también mira, que también elige, que también fotografía, dibuja, piensa”.
Correspondencia, se inaugurará el jueves 2 de octubre a las 20:00 con la presencia del fotógrafo argentino, gestor e impulsor de este diálogo, quien a su vez ha realizado la dinámica con fotógrafos como Cassio Vasconcelos, Manuel Esclusa, Pablo Ortiz Monasterio y Horst Hoheisel.
La muestra, se inicia también con la realización de una mesa redonda a realizarse el sábado 4 de octubre a las 12:00 en la que Marcelo Brodsky abordará -junto a interesantes panelistas- aspectos de su obra política más trascendente; los proyectos Buena Memoria (1997-2008) y Nexo, entre otros.
A su vez, el jueves 30 de Octubre a las 17.00 hrs. se desarrollará un segundo encuentro, esta vez con la presencia de ambos protagonistas del diálogo: Marcelo Brodsky y Martin Parr quienes además de referirse al interesante ejercicio visual expuesto en Correspondencia, compartirán anécdotas y reflexiones en torno a sus destacadas carreras, publicaciones, su visión de la fotografía, el arte y los nuevos medios.
MARTIN PARR . Martin Parr nació en Epsom, Surrey, reino Unido el año 1952. Estudió fotografía en Manchester Polytechnic entre 1970 y 1973 años en los que participó y llevó a cabo numerosos proyectos fotográficos, incrementando su prestigio mundial por sus imágenes innovadoras, su acercamiento oblicuo al documental social, y su aporte a la cultura fotográfica dentro del Reino Unido y en el extranjero ha sido recogido en numerosas publicaciones de importantes editoriales.
En 1994, integra la Corporación Fotográfica Mágnum, de la cual es miembro constante hasta la actualidad. Recientemente, ha desarrollado un interés en el rodaje de películas y ha incursionado con su fotografía en distintos medios, tales como la moda y la publicidad.
Entre sus numerosas exhibiciones, destacan sus retrospectivas; una de ellas desarrollada a partir del año 2002 en el Barbican Centre de Londres, la cual se mostró igualmente en el Museo Internacional de Medios de Comunicación y circuló de manera itinerante durante 5 años. Igualmente, en el año 2008, el mundo de Martin Parr fue expuesto nuevamente en Haus de Kunst, München, exponiendo sus colecciones personales de objetos, postales, fotografías propias y de artistas internacionales.
A la fecha, Martin Parr ha recibido numerosos reconocimientos entre los que destacan: El premio Erich Salomon (2006) y el Premio Baume Mercier otorgado por PhotoEspaña en reconocimiento a su trayectoria y contribución a la fotografía contemporánea (2008)
En el 2008, Martin Parr fue curador invitado en el Festival de Foto de Nueva York, en la exposición de Nuevos Medios.
MARCELO BRODSKY. Nació en Argentina, en 1954. estudió Economía en la Universidad de Barcelona y se formó como fotógrafo en el Centro Internacional de Fotografía con el maestro catalán Manel Esclusa durante su exilio en España en los 80. El trabajo de Marcelo Brodsky procura comunicar a las nuevas generaciones la experiencia del terrorismo de estado en Argentina de una manera diferente, basada en la emoción y en la experiencia sensible, para que esa transmisión genere un conocimiento profundo y real, basado en el diálogo entre las distintas generaciones afectadas por las consecuencias de la dictadura militar. En ese marco se inscribe el proyecto Buena Memoria, compuesto por fotografías, video y numerosas publicaciones que recogen la evolución personal y colectiva de un curso de alumnos del Colegio Nacional de Buenos Aires, marcado por la desaparición de dos de sus miembros a manos del terrorismo de estado. Buena Memoria, ha sido expuesto entre 1997 y 2008 en más de 25 países.
Su larga trayectoria está plegada de exhibiciones; entre las más recientes destacan: Muestra Antológica en el Museo de Arte Contemporáneo de Salta, Argentina, Objetos de la Memoria Atravesados, en la Casa Sefarad – Israel de Madrid y en el Ayuntamiento de Córdoba, España y Memorias, en el CELARG, Caracas, Venezuela. Antes de fin de año expondrá Antología y Correspondencias con Pablo Ortiz Monasterio en la Universidad del Claustro de Sor Juana en México, DF y Correspondencias con Martin Parr en la Galería AFA de Santiago, Chile.
Actualmente, Marcelo Brodsky vive y trabaja en Argentina; es miembro del organismo de Derechos Humanos Asociación Buena Memoria y de la Comisión Pro Monumento a las Víctimas del Terrorismo de Estado que supervisa y coordina la ejecución del Parque de la Memoria junto al Río de la Plata y del Monumento por los desaparecidos y asesinados durante la dictadura militar.
Correspondencia, es la puesta en escena del diálogo visual entre Marcelo Brodsky y Martin Parr, iniciado por Brodsky en mayo de 2007 y que culminó en junio de este año. Un diálogo que reúne treinta fotografías intercambiadas entre ambos artistas a través de conversaciones sostenidas a través del correo electrónico.
La muestra es a su vez, una invitación a participar de una conversación a través de imágenes, así como cada uno de los recortes que la constituyen, los diálogos realizados por Marcelo Brodsky y sus interlocutores, constituyen una poética de composición visual única, y a su vez, un desprendimiento de la unívoca interpretación o lectura autoral; en palabras de Marcelo Brodsky, “el diálogo visual entre dos rompe el centro en el yo del autor y plantea algo distinto.(…) La correspondencia no es un soliloquio, sino que se sostiene con un interlocutor, otro que también mira, que también elige, que también fotografía, dibuja, piensa”.
Correspondencia, se inaugurará el jueves 2 de octubre a las 20:00 con la presencia del fotógrafo argentino, gestor e impulsor de este diálogo, quien a su vez ha realizado la dinámica con fotógrafos como Cassio Vasconcelos, Manuel Esclusa, Pablo Ortiz Monasterio y Horst Hoheisel.
La muestra, se inicia también con la realización de una mesa redonda a realizarse el sábado 4 de octubre a las 12:00 en la que Marcelo Brodsky abordará -junto a interesantes panelistas- aspectos de su obra política más trascendente; los proyectos Buena Memoria (1997-2008) y Nexo, entre otros.
A su vez, el jueves 30 de Octubre a las 17.00 hrs. se desarrollará un segundo encuentro, esta vez con la presencia de ambos protagonistas del diálogo: Marcelo Brodsky y Martin Parr quienes además de referirse al interesante ejercicio visual expuesto en Correspondencia, compartirán anécdotas y reflexiones en torno a sus destacadas carreras, publicaciones, su visión de la fotografía, el arte y los nuevos medios.
MARTIN PARR . Martin Parr nació en Epsom, Surrey, reino Unido el año 1952. Estudió fotografía en Manchester Polytechnic entre 1970 y 1973 años en los que participó y llevó a cabo numerosos proyectos fotográficos, incrementando su prestigio mundial por sus imágenes innovadoras, su acercamiento oblicuo al documental social, y su aporte a la cultura fotográfica dentro del Reino Unido y en el extranjero ha sido recogido en numerosas publicaciones de importantes editoriales.
En 1994, integra la Corporación Fotográfica Mágnum, de la cual es miembro constante hasta la actualidad. Recientemente, ha desarrollado un interés en el rodaje de películas y ha incursionado con su fotografía en distintos medios, tales como la moda y la publicidad.
Entre sus numerosas exhibiciones, destacan sus retrospectivas; una de ellas desarrollada a partir del año 2002 en el Barbican Centre de Londres, la cual se mostró igualmente en el Museo Internacional de Medios de Comunicación y circuló de manera itinerante durante 5 años. Igualmente, en el año 2008, el mundo de Martin Parr fue expuesto nuevamente en Haus de Kunst, München, exponiendo sus colecciones personales de objetos, postales, fotografías propias y de artistas internacionales.
A la fecha, Martin Parr ha recibido numerosos reconocimientos entre los que destacan: El premio Erich Salomon (2006) y el Premio Baume Mercier otorgado por PhotoEspaña en reconocimiento a su trayectoria y contribución a la fotografía contemporánea (2008)
En el 2008, Martin Parr fue curador invitado en el Festival de Foto de Nueva York, en la exposición de Nuevos Medios.
MARCELO BRODSKY. Nació en Argentina, en 1954. estudió Economía en la Universidad de Barcelona y se formó como fotógrafo en el Centro Internacional de Fotografía con el maestro catalán Manel Esclusa durante su exilio en España en los 80. El trabajo de Marcelo Brodsky procura comunicar a las nuevas generaciones la experiencia del terrorismo de estado en Argentina de una manera diferente, basada en la emoción y en la experiencia sensible, para que esa transmisión genere un conocimiento profundo y real, basado en el diálogo entre las distintas generaciones afectadas por las consecuencias de la dictadura militar. En ese marco se inscribe el proyecto Buena Memoria, compuesto por fotografías, video y numerosas publicaciones que recogen la evolución personal y colectiva de un curso de alumnos del Colegio Nacional de Buenos Aires, marcado por la desaparición de dos de sus miembros a manos del terrorismo de estado. Buena Memoria, ha sido expuesto entre 1997 y 2008 en más de 25 países.
Su larga trayectoria está plegada de exhibiciones; entre las más recientes destacan: Muestra Antológica en el Museo de Arte Contemporáneo de Salta, Argentina, Objetos de la Memoria Atravesados, en la Casa Sefarad – Israel de Madrid y en el Ayuntamiento de Córdoba, España y Memorias, en el CELARG, Caracas, Venezuela. Antes de fin de año expondrá Antología y Correspondencias con Pablo Ortiz Monasterio en la Universidad del Claustro de Sor Juana en México, DF y Correspondencias con Martin Parr en la Galería AFA de Santiago, Chile.
Actualmente, Marcelo Brodsky vive y trabaja en Argentina; es miembro del organismo de Derechos Humanos Asociación Buena Memoria y de la Comisión Pro Monumento a las Víctimas del Terrorismo de Estado que supervisa y coordina la ejecución del Parque de la Memoria junto al Río de la Plata y del Monumento por los desaparecidos y asesinados durante la dictadura militar.
Galería AFA Bucarest 196 Providencia F: 355 6606-07
Horario: de martes a viernes 14.30pm a 19.30pm Sábados de 10.30am a 14.00pm www.galeriaafa.com info@galeriaafa.com coordinacion@galeriaafa.com
Ying Ang: Between Here and There at Immersion Therapy Artspace
Immersion Therapy, a new not for profit art space in Northcote, is pleased to announce the opening of its inaugural exhibition, Between here and there by photographer Ying Ang on Friday September 26, 2008 from 6pm-9pm.
Virtually self taught, Ang has hewn a highly successful career from fashion and commercial photography, capturing the extremes of ephemeral and timeless styles on a daily basis. Between here and there marks a departure from her commercial work, and instead finds Ang seeking and celebrating the beauty which we persistently overlook. Between here and there revels in and celebrates the quiet beauty of the in between. Shifting the emphasis away from the result and the final destination, Ying's series of images, taken from all corners of the world, glisten not with the idealised end product, but instead with the deeper lustre of the beauty which naturally accumulates, expands and grows during the course of the journey.
It is from these seemingly unquiet moments that Ying Ang draws from. Sans the fanfare, disappointment and ultimately fleeting elation which accompanies a final stop, she assembles a series of consistently anticipatory and still images, as ripe with expectation as they are in their gentle grace.
Immersion Therapy, a curator run art space, is proud to inaugurate its 2008-09 program with Between here and there. The program will continue with its focus on contemporary art produced by Australian based and regional artists who are either directly or generally influenced by the increasingly prominent cultural motifs of Asia, the Middle East and Latin America.
This is Ying's first solo exhibition in Melbourne following exhibitions in New York and the Gold Coast.
Between here and there is showing at Immersion Therapy, 420 High Street, Northcote, from September 26 to October 12, 2008.
Gallery hours; Fridays 12 - 6pm,
Saturdays & Sundays 12 - 5pm.
Other times by appointment.
For further information, images or to arrange an interview please contact Dave Di Vito on 0401 183 875 or by email at dave@immersiontherapy.com.au
Immersion Therapy Artspace
420 High St
Northcote VIC 3070
www.immersiontherapy.com.au
www.yingangphoto.com
Spring Early Music Festival 7 - 19 October 2008
Presented by the Early Music Studio, Faculty of Music, University of Melbourne
Director John Griffiths
BOOKINGS: Easytix (03) 9639 0096 www.easytix.com.au
ENQUIRIES: Early Music Studio (03) 8344 3023 vwatts@unimelb.edu.au
The Spring Early Music Festival is a unique event in Melbourne’s artistic calendar. Now in it’s fourth year, the Festival brings together Universit
Virtuoso American lutenist Hopkinson Smith comes to Melbourne for the first time to perform along side younger emerging artists from overseas and closer to home. Satyr’s Band, Dutch-based ensemble lead by recorder player & oboist Amy Power, and distinguished Spanish pianist Enrique Pérez de Guzmán also give their fir
----------------------------------------------------------------------------------------------------------------------
7 October (Tuesday) 6pm
Early Music Studio, University of Melbourne - 27 Royal Pde Parkville
$20/$10 senior/student/conc
A great figure of early music, Hopkinson Smith through his recordings and performances has changed the way the world hears and plays the lute. For any player of any instrument or any lover of the art of music, a masterclass with Hopkinson Smith is an unforgettable journey through time and the sonic universe.
A pre-concert talk — John Griffiths
9 October (Thursday) 7pm
Early Music Studio, University of Melbourne - 27 Royal Pde Parkville
Free entry
Pure Silk — True Grit
Hopkinson Smith, lute and baroque guitar
Trinity College Chapel, University of Melbourne - Royal Pde, Parkville
$40/$20 senior/student/conc
Baroque Music from Germany, France and Spain. A program that balances joyous extroversion and sublime poetry within contrasting musical climates: the clearly structured lyricism of Sylvius Leopold Weiss, decorative and decorous re
Early Music Studio Baroque Ensemble (dir. Greg Di
10 October (Friday) 1pm
Ian Potter Museum of Art, University of Melbourne - Swanston St, Parkville
Free entry
A free lunch-hour concert showcasing a varied program of works performed by students of the University of Melbourne Faculty of Music.
Enrique Pérez de Guzmán, piano
10 October (Friday) 8pm
Melba Hall, Faculty of Music, University of Melbourne - Royal Pde, Parkville
$25/$20 senior $15 student/conc
The program is the annual Director’s Caprice, the one concert in the festival that’s outside the square, but that everyone loves. Distinguished Spanish
Sponsored by the Consulate General of Spain.
The Flute’s Pleasure Garden
Recorder Students from the Early Music Studio (dir. Ruth Wilkinson)
11 October (Saturday) 2pm
Early Music Studio, University of Melbourne - 27 Ro
$15/$10 seniors/student/conc
Directed by Ruth Wilkinson, Faculty of Music recorder students join with Louisa Hunter-Bradley, soprano & recorders, to present the pleasures of music by Jacob van Eyck and contemporaries in the delightful garden setting of the Early Music Studio at the University of Melbourne.
Australian Chamber Choir (dir. Douglas Lawrence)
11 October (Saturday) 8pm
Trinity College Chapel, University of Melbourne - Royal Pde, Parkville
$30/$20 senior /$10 student/conc
First performance since the 16th century of motets
This event will also serve to launch the Melbourne publication of this important collection by Lyrebird Press.
The Satyr in the Baroque Imagination
A pre-concert Lecture — John Weretka
Early Music Studio, University of Melbourne - 27 Royal Pde Parkville
Free entry
In Baroque thought the Satyr conjured images of sexual abandon and lust. In classical mythology satyrs were woodland demons, partly human and partly bestial, the supposed companions of Bacchus. Greek artists represented the satyr with the ears and tail of a horse while Roman sculptors gave it the ears, tail, and legs of a goat, and budding horns. This talk explores 17th and 18th-century imaginings of the sat
The Four Corners of the Satyr
Satyr’s Band
Trinity College Chapel, University of Melbourne - Royal Pde, Parkville
12 October (Sunday) 2pm
$40/$20 seniors/students/conc
A program combining unfamiliar jewels from different corners of Baroque alongside works by well-known masters. The Incorporation of improvisation is an important element of their performance, adding liveliness and spontaneity to virtuosic instrumental music of the 17th and 18th centuries.
14 October (Tuesday) 6pm
Early Music Studio, University of Melbourne - 27 Royal Pde Parkville
Free entry
An open invitation to see into the mind of a leading young recorder player through pedagogical interaction with emerging local performers.
Stringanza
17 October (Friday) 8pm
$40/$20 seniors/students/conc
Lorenzo Colitto & Lisa Ferguson violins, and Peter Bucknell, viola, with Melbourne Collegium
Immerse yourself in the sumptuous sounds of Baroque strings when international guests Lorenzo Colitto & Lisa Ferguson violins and Peter Bucknell, viola join forces with Melbourne Collegium to present an exciting program of Baroque favorites and rare masterpieces: Zavateri; Bergonzi; Muffat Armonico Tributo; Vivaldi Estro Armonico; Telemann Viola Concerto; Handel; Geminiani La follia.
Récréation de Musique
University of Melbourne opera project: Soloists, Early Voices & Baroque Ensemble (dir. Greg Dikmans)
18 October (Saturday) 8pm & 19 October (Sunday) 2pm
Brunswick Town Hall - 233 Sydney Road, Brunswick
$30/$15 seniors/students/conc
Devised and directed by French Baroque specialist Greg
www.music.unimelb.edu.au/semf.html
Tuesday, 16 September 2008
One Week in September - Van Rudd
McCulloch Gallery invites you to...
‘One week in September’
Paintings by VAN RUDD
14th-21st September 2008
Please join us for the opening night on the Friday 19th of September from 6pm-10pm.
DJ HUSS SOLEIMAN and DJ RONNIE JANEDI will be performing all night.
Sensitivity to the plight of the oppressed peoples in situations of exploitation and war interested Rudd from the outset of his artistic career. Many of his early paintings and drawings show an inner, psychological questioning of the effects of displacement caused by war and the alienating effects of living in large cities. This has led the artist to enthusiastically explore the pictorial effects of paint within the rich context of popular culture – an ongoing inspiration of his to this day.
Rudd’s ongoing obsession with the “world game” and its capacity to unite people of all nations has, in the past, led him to paint portraits of famous soccer players including Argentina ’s Maradona and France ’s Zinadine Zidane. In 2006, he painted a large portrait of Australia ’s Archie Thompson and donated it to the Melbourne Victory Football Club. Melbourne ’s Telstra Dome purchased a painting by Rudd depicting Melbourne Victory’s captain Kevin Muscat and Archie Thompson.
By the turn of the 21st Century, Rudd’s political persuasions became much more clearly discernible in his music and visual art. In his visual art in particular, he became much more dedicated to exposing the contradictions and injustices within the current, global system of neo-liberalism. This has led to a growing multi-disciplinary approach to his art including the development of The Carriers Project. His simple objective was to expose his paintings to very large audiences by carrying them on foot through busy city streets, shopping malls, major art museums and fairs to inspire debate about art and politics. As expected by the artist, there have been many confrontations with authorities.
He achieved significant notoriety with the Australia Council funded, national tour of The Carriers Project in 2007. Part of the project was cancelled in Brisbane , due to the arrest threats carried out by the Queensland Police. This happened whilst carrying his painting “Portrait of an Exploding Terrorist” through the Queen St Mall. Debate also followed the Canberra leg of the tour when the artist was exhibiting “Painting of an Extremist” (whilst not carrying) at an official polling booth during the 2007 Federal Election.
He also gained national prominence when a painting of his titled “Special Forces – After Banksy” was rejected from an exhibition organized by the City of Melbourne titled “Ho Chi Minh City Young Artists”. He was invited to exhibit due to his half Vietnamese heritage and to represent the Australian contingent of the exhibition, as most of the artists were from Vietnam .
Rudd currently continues to enthusiastically explore the potential of painting’s role in society while planning many other projects involving public installations, interventions and experimental videos in Latin America and South-East Asia . He truly believes that art is a weapon and that in today’s current global climate, should not only be relegated to the matching of somebody’s couch.
McCulloch Gallery
8 Rankins Lane
Melbourne 3000
(03)9670 7850
0422 162 013
www.mccullochgallery.com.au
‘One week in September’
Paintings by VAN RUDD
14th-21st September 2008
Please join us for the opening night on the Friday 19th of September from 6pm-10pm.
DJ HUSS SOLEIMAN and DJ RONNIE JANEDI will be performing all night.
Sensitivity to the plight of the oppressed peoples in situations of exploitation and war interested Rudd from the outset of his artistic career. Many of his early paintings and drawings show an inner, psychological questioning of the effects of displacement caused by war and the alienating effects of living in large cities. This has led the artist to enthusiastically explore the pictorial effects of paint within the rich context of popular culture – an ongoing inspiration of his to this day.
Rudd’s ongoing obsession with the “world game” and its capacity to unite people of all nations has, in the past, led him to paint portraits of famous soccer players including Argentina ’s Maradona and France ’s Zinadine Zidane. In 2006, he painted a large portrait of Australia ’s Archie Thompson and donated it to the Melbourne Victory Football Club. Melbourne ’s Telstra Dome purchased a painting by Rudd depicting Melbourne Victory’s captain Kevin Muscat and Archie Thompson.
By the turn of the 21st Century, Rudd’s political persuasions became much more clearly discernible in his music and visual art. In his visual art in particular, he became much more dedicated to exposing the contradictions and injustices within the current, global system of neo-liberalism. This has led to a growing multi-disciplinary approach to his art including the development of The Carriers Project. His simple objective was to expose his paintings to very large audiences by carrying them on foot through busy city streets, shopping malls, major art museums and fairs to inspire debate about art and politics. As expected by the artist, there have been many confrontations with authorities.
He achieved significant notoriety with the Australia Council funded, national tour of The Carriers Project in 2007. Part of the project was cancelled in Brisbane , due to the arrest threats carried out by the Queensland Police. This happened whilst carrying his painting “Portrait of an Exploding Terrorist” through the Queen St Mall. Debate also followed the Canberra leg of the tour when the artist was exhibiting “Painting of an Extremist” (whilst not carrying) at an official polling booth during the 2007 Federal Election.
He also gained national prominence when a painting of his titled “Special Forces – After Banksy” was rejected from an exhibition organized by the City of Melbourne titled “Ho Chi Minh City Young Artists”. He was invited to exhibit due to his half Vietnamese heritage and to represent the Australian contingent of the exhibition, as most of the artists were from Vietnam .
Rudd currently continues to enthusiastically explore the potential of painting’s role in society while planning many other projects involving public installations, interventions and experimental videos in Latin America and South-East Asia . He truly believes that art is a weapon and that in today’s current global climate, should not only be relegated to the matching of somebody’s couch.
McCulloch Gallery
8 Rankins Lane
Melbourne 3000
(03)9670 7850
0422 162 013
www.mccullochgallery.com.au
Wednesday, 10 September 2008
The Temporary Nature of Things, Sim Luttin at Pieces of Eight
New Exhibition Opening at Pieces of Eight
The Temporary Nature of Things
A solo exhibition by Melbourne-based jeweller Sim Luttin at Pieces of Eight Gallery
Opening night, Wed Sept 17, 6 to 8pm
Pieces of Eight Gallery presents The Temporary Nature of Things, an exquisite solo exhibition by jeweller Sim Luttin. Creating a piece of jewellery each day for one year, Luttin's '3D-diary' is a collection of work that has come to embody contemplations on life, time, and indeed, temporality. The exhibition opens on September 16 and runs until October 11, 2008.
Musing over Luttin's jewellery and objects is like taking a long stroll and stumbling upon unexpected discoveries along the way. There is both a refined quality and something more organic and spontaneous to Luttin's work. In all cases, each piece capture's the unpredictability of contemplations made in a single day.
Creating a piece a day over one year was part of Luttin's MFA (Metalsmithing and Jewellery Design) completed at Indiana University, USA, 2008. Showing for the first time in Australia The Temporary Nature of Things displays a selection of the work taken from the larger body created. The overall collection was exhibited at SoFA Gallery, Indiana, USA in April, 2008.
"These small objects represent the temporality of life; fleeting moments, small observations now past. [They] will be cast out, with no knowledge of who might eventually pick them out to 'plant' them into their lives∑The original intention is transferred, meaning is reinterpreted, but the object hopefully lives on, mediated by the hand of another; a new story begins".
Sim Luttin, 2008
Sim Luttin has exhibited in Australia, Korea, Netherlands, UK and USA. Her work is being collected by Indiana University, USA and Gallerie Marzee, NLD. This is the first time she has exhibited at Pieces of Eight Gallery.Pieces of Eight Gallery 635 Brunswick Street North Fitzroy. Open Tuesday-Friday 11-6pm, Saturday 11-5pm. For more information telephone (03) 9497 8121, email
Luttin completed a BFA (Gold and Silversmithing), RMIT, 2003. In 2008 she received her MFA (Metalsmithing and Jewellery Design), Indiana University, USA. Prior to this, Luttin spent two years in Adelaide as a Design Associate at The Jam Factory. She is a recipient of the Alma Eikerman Award: Indiana University and the Robert Harrison Award, (Excellence in Metalsmithing and Jewelry Design), Indiana University, USA.
www.piecesofeight.com.au
Tuesday, 9 September 2008
Monday, 8 September 2008
Tuesday, 2 September 2008
The 6th Asia Fiber Art Exhibition
The 6th Asia Fiber Art Exhibition
4 – 14 September 2008
Bentara Budaya Jakarta, Indonesia
The 6th Asian Fiber Art Exhibition aims to explore the consciousness of Asian fiber artists toward the problems faced by their own cultures and connections to recent issues such as globalization,gender equality, democracy, nature preservation, global warming, and other subjects related to the tensions between tradition and modernity through creative expressions in fiber media..
This year theme is: TRADITION INTO MODERNITY
Tradition has a variety of definitions. One of those definitions, the most commonly understood, is tradition as a continuity of culture passed on from generation to generation. Based on this definition, culture, aside from being continuous, is also considered static, constant, repetitive, non-inventive, related to the past, and perching as an imperishable permanent power, even though the definition of 'traditional' is recently being discussed in discourses on modernity and experiencing continuous development of its meaning and interpretation.
Tradition is evolutionary, moving along with changes in environment caused by various internal and external factors. Internal factors include rationalization, correction, and imagination coming from human creativity and thinking in responding to potentials contained in the tradition itself. External factors include encounters among different traditions and changes in conditions and situations of the environment. Encounters among different traditions refer to the confrontation between foreign traditions and local traditions, causing syncretism of traditions as the form of change of the initial local culture. Changes in conditions and situations of the environment, whether they happen in spiritual, material, or social contexts, are closely related to demographic, technological, and economic progresses, emergence of more potent new traditions, ideals constructed by public figures, and exploitation of resources for the well-being.
For those reasons, tradition exists within a dialectical relation with modernity and, therefore, it has its inventive contents as a product which is produced according to necessities. In short, tradition is accommodative to changes.
This way of thinking is the starting point for the production of fiber art works.. On the one hand, fiber art implies the inheritance of past values and continuity, while on the other hand it exists within modernity. Here the fiber art thrives and develops from a variety of importance motivated by demands from modernity.
By taking the matter into account, the 6th Asian Fiber Art Exhibition aims to explore the consciousness of Asian fiber artists toward the problems faced by their own cultures and their connections to recent issues such as globalization, gender equality, democracy, nature preservation, global warming, and other subjects related to the tensions between tradition and modernity through creative expressions in fiber media.
OPENING CEREMONY: SEPTEMBER 4, 2008 AT 18.30 WIB BY MADAM MIRANDA GULTOM.
A. EXHIBITION
Date: September 4-14, 2008
Venue: BENTARA BUDAYA JAKARTA (BBJ)
Jl. Palmerah Selatan 17, Jakarta 10270, Indonesia
B. SYMPOSIUM
Theme: TRADITION INTO MODERNITY
Speaker: Kenji Sato (Japan) & Josephine 'Obin' Komara (Indonesia)
Date: September 6, 2008 at 15.00-18.00 WIB
Venue: Bentara Budaya Jakarta, Hall B (2nd floor)
ARTISTS :
CHINA XIAO HONG ZHENG, WANG QINGZHEN, JIN YANG, HONG JUAN ZHANG, WU QINGLIN
INDONESIA BIRANUL ANAS, YUSUF AFFENDI DJALARI, TUTY CHOLID, EKO NUGROHO, CAROLINE RIKA WINATA, SALLY SHEANTI NATANEGARA, KAHFIATI KAHDAR, ESTI SITI AMANAH, DIAN WIDIAWATI, YOSEPHINE KOMARA, F. WIDAYANTO, TIARMA SIRAIT, JOHN MARTONO, NILAM FIKRANI SIHAR, AHMAD KHANAFI – KOPEK, ABDUL SYUKUR, MARADITA SUTANTIO
JEPANG SUZUKI NOBUYASU, HIDEMASA SAKIHAMA, TAJIMA YUKIHIKO, YOSHIAKI SHIMA, TOHRU OHTAKA, SHOKO FUJIMOTO, YASUKO IYANAGA, KAGAJO KEN, YUKO KATO, TOSHIE TAKAHASHI, HISAKO NISHIMOTO, ISHII KAKUKO, YOKOTANI FUMI, MUTSUJI TANAKA, TOMOMI MORIYAMA, SHOAI OU, YOSHIMI KASHIWADA, KENJI SATO, ONOYAMA KAZUYO, NAGIRA ATSUSI, HIRAI MASATO, REI SAITO, KYOUKO TANAKA, NAKAMA NOBUE, FUSACO ONISHI, RIEKO YASHIRO
KOREA EON BAE GHIM, HYEE SOOK LEE, SANG TAE LEE, PARK JONG HAK, KIM YOUNG SOON, KIM JONG UN, KIM TAE HEE, HAN SUN JU, YOON JUNG HEE, PARK YOO JIN, HAN EUN HYE, KWON HAE JOO, PIL IN CHUNG
MALAYSIA NUR SYAFINAZ BINTI MOHD ANUAR, ROZITA BINTI SHAMSUDDIN, HABIBAH BITI HJ ABDUL JABBAR, WAN SOLIANA WAN MD ZAIN, EMILIA ABDULL MANAN, HASLIN BIN ISMAIL, ANEEZA BT MOHD ADNAN, YUSOF BIN DAUD ISMAIL, MOHD BAKERI AB.RAHMAN, SURAYA BINTI SHAARI, RAHAYU BINTI RAMDZAN, SULAIMAN ABDUL GHANI, MOHD. AZHAR BIN SAMIN, ANIZA MOHD ARIF, ZAHARAH ZAFAR
Faculty of Art and Design
BANDUNG INSTITUTE OF TECHNOLOGY
Ganesha 10 Bandung 40132
INDONESIA
info.afa6th@yahoo.com
4 – 14 September 2008
Bentara Budaya Jakarta, Indonesia
The 6th Asian Fiber Art Exhibition aims to explore the consciousness of Asian fiber artists toward the problems faced by their own cultures and connections to recent issues such as globalization,gender equality, democracy, nature preservation, global warming, and other subjects related to the tensions between tradition and modernity through creative expressions in fiber media..
This year theme is: TRADITION INTO MODERNITY
Tradition has a variety of definitions. One of those definitions, the most commonly understood, is tradition as a continuity of culture passed on from generation to generation. Based on this definition, culture, aside from being continuous, is also considered static, constant, repetitive, non-inventive, related to the past, and perching as an imperishable permanent power, even though the definition of 'traditional' is recently being discussed in discourses on modernity and experiencing continuous development of its meaning and interpretation.
Tradition is evolutionary, moving along with changes in environment caused by various internal and external factors. Internal factors include rationalization, correction, and imagination coming from human creativity and thinking in responding to potentials contained in the tradition itself. External factors include encounters among different traditions and changes in conditions and situations of the environment. Encounters among different traditions refer to the confrontation between foreign traditions and local traditions, causing syncretism of traditions as the form of change of the initial local culture. Changes in conditions and situations of the environment, whether they happen in spiritual, material, or social contexts, are closely related to demographic, technological, and economic progresses, emergence of more potent new traditions, ideals constructed by public figures, and exploitation of resources for the well-being.
For those reasons, tradition exists within a dialectical relation with modernity and, therefore, it has its inventive contents as a product which is produced according to necessities. In short, tradition is accommodative to changes.
This way of thinking is the starting point for the production of fiber art works.. On the one hand, fiber art implies the inheritance of past values and continuity, while on the other hand it exists within modernity. Here the fiber art thrives and develops from a variety of importance motivated by demands from modernity.
By taking the matter into account, the 6th Asian Fiber Art Exhibition aims to explore the consciousness of Asian fiber artists toward the problems faced by their own cultures and their connections to recent issues such as globalization, gender equality, democracy, nature preservation, global warming, and other subjects related to the tensions between tradition and modernity through creative expressions in fiber media.
OPENING CEREMONY: SEPTEMBER 4, 2008 AT 18.30 WIB BY MADAM MIRANDA GULTOM.
A. EXHIBITION
Date: September 4-14, 2008
Venue: BENTARA BUDAYA JAKARTA (BBJ)
Jl. Palmerah Selatan 17, Jakarta 10270, Indonesia
B. SYMPOSIUM
Theme: TRADITION INTO MODERNITY
Speaker: Kenji Sato (Japan) & Josephine 'Obin' Komara (Indonesia)
Date: September 6, 2008 at 15.00-18.00 WIB
Venue: Bentara Budaya Jakarta, Hall B (2nd floor)
ARTISTS :
CHINA XIAO HONG ZHENG, WANG QINGZHEN, JIN YANG, HONG JUAN ZHANG, WU QINGLIN
INDONESIA BIRANUL ANAS, YUSUF AFFENDI DJALARI, TUTY CHOLID, EKO NUGROHO, CAROLINE RIKA WINATA, SALLY SHEANTI NATANEGARA, KAHFIATI KAHDAR, ESTI SITI AMANAH, DIAN WIDIAWATI, YOSEPHINE KOMARA, F. WIDAYANTO, TIARMA SIRAIT, JOHN MARTONO, NILAM FIKRANI SIHAR, AHMAD KHANAFI – KOPEK, ABDUL SYUKUR, MARADITA SUTANTIO
JEPANG SUZUKI NOBUYASU, HIDEMASA SAKIHAMA, TAJIMA YUKIHIKO, YOSHIAKI SHIMA, TOHRU OHTAKA, SHOKO FUJIMOTO, YASUKO IYANAGA, KAGAJO KEN, YUKO KATO, TOSHIE TAKAHASHI, HISAKO NISHIMOTO, ISHII KAKUKO, YOKOTANI FUMI, MUTSUJI TANAKA, TOMOMI MORIYAMA, SHOAI OU, YOSHIMI KASHIWADA, KENJI SATO, ONOYAMA KAZUYO, NAGIRA ATSUSI, HIRAI MASATO, REI SAITO, KYOUKO TANAKA, NAKAMA NOBUE, FUSACO ONISHI, RIEKO YASHIRO
KOREA EON BAE GHIM, HYEE SOOK LEE, SANG TAE LEE, PARK JONG HAK, KIM YOUNG SOON, KIM JONG UN, KIM TAE HEE, HAN SUN JU, YOON JUNG HEE, PARK YOO JIN, HAN EUN HYE, KWON HAE JOO, PIL IN CHUNG
MALAYSIA NUR SYAFINAZ BINTI MOHD ANUAR, ROZITA BINTI SHAMSUDDIN, HABIBAH BITI HJ ABDUL JABBAR, WAN SOLIANA WAN MD ZAIN, EMILIA ABDULL MANAN, HASLIN BIN ISMAIL, ANEEZA BT MOHD ADNAN, YUSOF BIN DAUD ISMAIL, MOHD BAKERI AB.RAHMAN, SURAYA BINTI SHAARI, RAHAYU BINTI RAMDZAN, SULAIMAN ABDUL GHANI, MOHD. AZHAR BIN SAMIN, ANIZA MOHD ARIF, ZAHARAH ZAFAR
Faculty of Art and Design
BANDUNG INSTITUTE OF TECHNOLOGY
Ganesha 10 Bandung 40132
INDONESIA
info.afa6th@yahoo.com
Monday, 1 September 2008
Instituto Sacatar - Residency Opportunities
.:: Instituto Sacatar ::.
UNESCO/Aschberg bursaries 2009
The INSTITUTO SACATAR is pleased to announce the UNESCO/Aschberg bursaries for artist residencies at its estate on the island of Itaparica in Bahia, Brazil.
The two bursaries, in Visual Arts and Music, provide:
- roundtrip airfare from the artist's country of residence to Salvador, Bahia, Brazil
- a room with attached private bath
- a separate studio
- all meals (except Saturday evenings, Sundays and holidays)
- logistical support to realize the artist's project proposal
The artist is responsible for his or her own working materials and personal expenses.
The residencies will take place from October 26 to December 21, 2009.
APPLICATIONS MUST BE RECEIVED IN BRAZIL BY NOVEMBER 15, 2008.
The bursaries are restricted to artists between 25 and 35 years of age at time of application. The bursaries are further restricted to artists from Eastern Europe, Russia, the Middle East, Asia, Africa, Australia, New Zealand and/or the Pacific islands.
Full details can be found at the website of the Instituto Sacatar, www.sacatar.org. Go to the website and click on APPLICATION.
UNESCO/Aschberg bursaries 2009
The INSTITUTO SACATAR is pleased to announce the UNESCO/Aschberg bursaries for artist residencies at its estate on the island of Itaparica in Bahia, Brazil.
The two bursaries, in Visual Arts and Music, provide:
- roundtrip airfare from the artist's country of residence to Salvador, Bahia, Brazil
- a room with attached private bath
- a separate studio
- all meals (except Saturday evenings, Sundays and holidays)
- logistical support to realize the artist's project proposal
The artist is responsible for his or her own working materials and personal expenses.
The residencies will take place from October 26 to December 21, 2009.
APPLICATIONS MUST BE RECEIVED IN BRAZIL BY NOVEMBER 15, 2008.
The bursaries are restricted to artists between 25 and 35 years of age at time of application. The bursaries are further restricted to artists from Eastern Europe, Russia, the Middle East, Asia, Africa, Australia, New Zealand and/or the Pacific islands.
Full details can be found at the website of the Instituto Sacatar, www.sacatar.org. Go to the website and click on APPLICATION.
Wednesday, 27 August 2008
OPTICA: Janice Kerbel | Claudia del Fierro ESP/ENG
Janice Kerbel /Claudia del Fierro
6 septembre - 11 octobre 2008/September 6 - October 11, 2008
vernissage/opening: 6 septembre - 15h/ 6 September- 3pm
galerie principale /main gallery:
Janice Kerbel
Commissaire/curator: Marie- Josée Lafortune
de l'artiste | Image courtesy of the artist.
Janice Kerbel a fait son entrée dans le monde de l’art de curieuse façon : en imaginant le vol d’une banque à Londres dans ses moindres détails. Bank Job, 1999, répertorie avec une minutie chronométrée les étapes à suivre, documentant la banque sous différents angles, donnant le plan du lieu, de la ville et la route à prendre pour s’enfuir avec le butin. Cette méthodologie distingue la pratique de Kerbel qui s’intéresse à la notion de document dans une forme fictionnelle. Dans ses projets, l’artiste reprend des convention, réfère à des époques et à des savoir-faire qu’elle étudie à la manière d’une anthropologue, recueillant sur le terrain et s’adjoignant les services d’experts. Le corpus d’œuvres qu’elle a créé est d’une grande sobriété et reprend des stratégies conceptuelles où le langage, le texte performé, est une composante essentielle.
Three Marked Decks, 1999, est une œuvre constituée de trois jeux de cartes (Piatnik Vienna [standard], Bicycle Riderback [poker] et Bee Special Diamondback [blackjack]). Chaque jeu est imprimé sur une feuille. À prime abord, leur design semble conforme aux modèles existants. Pourtant, un œil averti repèrera les retouches à l’endos et détectera leur potentiel en observant la perte d’un motif (le nombre de pétales d’une rosette décorative indiquant la valeur de la carte) ou la subtile prolongation d’une spirale. L’exercice n’est pas facile car il requiert une autre « expertise ». Il condense, à lui seul, ce qui fait la signature de Kerbel : un phénomène perceptuel dont le regardeur est le sujet « invisible ». La particularité de ses œuvres réside dans la promesse d’une action dont la réalisation ne se concrétisera jamais. Elles restent au seuil de cette promesse, nous invitant à imaginer et à prolonger ce qu’elles proposent conceptuellement sur papier.
Remarkable, 2007, est une série d’affiches typographiques conçues pour la foire d’art Frieze de Londres, dans laquelle l’artiste annonce l’avènement de situations extraordinaires imaginées en réponse à ce contexte de foire. Le texte est performatif dans sa forme ; le choix et la taille des caractères dictent la lecture qui souligne le caractère événementiel de l’œuvre. Chaque affiche relate l’exploit, le haut fait, d’une personne remarquable à qui l’on confère des propriétés surnaturelles. La nature de ces exploits est une série de déclinaisons sur l’acte de voir, de regarder, d’affiner sa vue afin de percevoir le phénomène annoncé (l’œuvre d’art). Initialement placardées, les affiches conservent en galerie toute l’immédiateté dont le texte est porteur. À l’instar de Three Marked Decks, cette série démontre la compréhension que Kerbel a des codes (visuel et textuel) et des conventions esthétiques qui permettent à sa pratique d’exister et de trouver un équilibre entre l’action et la pensée, la rationalité et l’imagination, l’abstraction et la représentation.
Janice Kerbel vit et travaille à Londres où elle détient une maîtrise en beaux-arts du Goldsmith’s College de l’université de Londres. Elle expose régulièrement au Royaume-Uni et participe à de nombreuses expositions internationales. Sa pratique conceptuelle comprend un corpus d’œuvres sur papier et également des performances (Ball Game, 2008), certaines conçues pour la radio (Nick Silver Can’t Sleep, 2006 – Artangel, produit et diffusé à la BBC Radio 3), et des projets d’édition (Deadstar: A Ghost Town, 2006 – Locus +, Newcastle). En 2007, elle prenait part à la Biennale de Montréal.
Janice Kerbel est représentée par la Galerie Karin Guenther, Hambourg, Allemagne. Optica tient à remercier la galeriste pour sa contribution.
----------
Janice Kerbel made a peculiar entrance into the art world: in Bank Job (1999), she meticulously envisioned a bank heist in London, providing a minutely itemized timeline of the steps to follow, with views of the bank from various angles and plans of the building, the city, and the escape route. The methodology, with its penchant for fictionalized documents, is characteristic of Kerbel’s practice. The artist takes up conventions, period references, and recognized expertise that she applies and studies like an anthropologist, examining field samples and consulting with specialists. Quite spare and restrained, her work borrows from conceptual strategies in which language and performative text are essential components.
Three Marked Decks (1999) consists of three decks of cards—Piatnik Vianna (standard), Bicycle Riderback (poker), and Bee Club Special Diamond Back (blackjack)—, each set of which is printed onto a sheet. On first glance, the designs seem to follow their models. On closer inspection, however, one makes out slight alterations in the patterns. Practised viewers will recognize their potential, with the absence of a motif, the number of petals on a decorative rosette, or the subtle extension of a spiral indicating a card’s value. The exercise requires a certain “expertise” and, as such, encapsulates the particularity of Kerbel’s work: a perceptual phenomenon in which the viewer is the “invisible” subject. Her creations, offering the promise of an action that will never be realized, lie on the threshold of this promise, inviting us to imagine and extend what they conceptualize on paper.
Remarkable (2007) is a series of typographical posters announcing fantastic situations that Kerbel envisioned in response to the context of the Frieze fair in London, for which the artist conceived the work. The text is performative, as the size and form of typeface governs one’s reading of the work and emphasizes its event-making nature. Each poster tells of the exploits of a remarkable woman demonstrating supernatural qualities. These exploits are a series of variations on the act of seeing, of looking, of honing one’s vision so as to perceive the announced phenomenon (the work of art). Initially put up in and around the fair, the posters preserve all their immediacy and textual impact in the gallery. As in Three Marked Decks before it, this series demonstrates Kerbel’s understanding of the codes (visual and textual) and aesthetic conventions that sustain her work and allow it to balance action with thought, rationality with the imagination, abstraction with representation.
Janice Kerbel lives and works in London, England, where she obtained< a master’s in fine arts from Goldsmith’s College, University of London. He work is often shown in the United Kingdom and she participates in many international exhibitions. Apart form works on paper, her conceptual practice also comprises performances (Ball Game, 2008), radio plays (Nick Silver Can’t Sleep, 2006 – Artangel Interaction, for BBC Radio 3), and publishing projects (Deadstar: A Ghost Town, 2006 – Locus+, Newcastle). She took part in Biennale de Montréal 2007.
Janice Kerbel is represented by Karin Guenther Gallery, Hamburg, Germany. OPTICA would like to acknowledge the gallery for its contribution to this exhibition.
Œuvres en galerie | works in the gallery :
Three Marked Decks, 1999.
Piatnik Vienna (standard) ; Bicycle Riderback (poker) ;
Bee Special Diamondback (blackjack)
3 lithographies offset (encadrées) | 3 offset lithographs (framed)
800 x 1 000 mm
Remarkable, 2007- 2008.
Iggy Fatuse, Human Firefly ; Faintgirl ; Double Attraction, Crystal and Blindspot ; The Regurgitating Lady (2007) ; The Temperamental Barometric Contortionist (2008).
Gravures sur papier affiche (encadrées) | silkscreen print on poster paper (framed)
1067 x 1 575 mm
Claudia del Fierro, Politicamente Correcto, 2001.
Vue de l'nstallation. Installation view. Vidéo et robes | Video and dresses.
Image reproduite avec l’aimable permission de l'artiste | Image courtesy of the artist.
Les vidéos de Claudia del Fierro, présentées chez OPTICA, documentent des performances réalisées dans des lieux publics. La nature des actions rappelle a priori les œuvres vidéographiques des années 1980 au Québec, à mi-chemin entre la fiction et le documentaire. Privilégiant une captation en direct, del Fierro ne se soucie pas de peaufiner une image, ni de l’esthétiser. Elle se préoccupe davantage d’être au service d’un contenu, le plus souvent social et féministe. Il s’en dégage un fort sentiment d’appartenance teinté d’humour. Au travers de ces bandes et dans sa pratique en général qui combine documents visuels et audio, c’est la critique d’une société qui se profile, le climat d’incertitude et de surveillance (dans l’espace public), la précarité de l’être, le statut de la femme chilienne, le rôle des classes, des médias et celui de l’artiste dans sa communauté.
Identica, 2000 illustre candidement le phénomène du concours télévisé, calqué sur le modèle américain. Ici, on ne peut rester indifférent au déroulement de ce concours, diffusé à la télévision nationale, et au sort réservé à la gagnante. Le montage chaotique porte à croire qu’il s’agit d’une fiction où la secrétaire, personnifiée par del Fierro, est l’héroïne tragi-comique de la soirée. Cette vidéo porte un regard cru, sans filtre, sur les médias, surtout sur les stéréotypes véhiculés par le petit écran qui imite la culture hollywoodienne.
Politicamente Correcto, 2001, est une action qui se déroule dans un quartier industriel de Santiago. Sur une base quotidienne et durant plusieurs semaines, l’artiste s’est infiltrée, au moment de la pause, dans une usine de textile où travaille un grand nombre de femmes. Chaque jour, elle est vêtue d’une robe de couleur identique à celle des travailleuses. Ayant déjà peu de temps pour échanger, aucune d’entre elles ne remarquera sa présence. En imitant un code vestimentaire, del Fierro soulève des questions d’éthique et de politique sur le rôle de l’artiste et sur les limites de l’art, en s’introduisant dans l’espace de l’autre.
En galerie, la vidéo, qui documente cette action, est présentée conjointement avec les robes portées par l’artiste. Le nombre de robes forme une colonne qui est elle-même à l’échelle de la Chilienne moyenne. Cette installation a été présentée au Musée d’art contemporain de Santiago quelque temps après l’action de l’artiste et la fermeture de l’usine. C’est la première fois qu’elle est montrée dans son intégralité à l’extérieur du Chili.
Depuis, del Fierro est passée derrière la caméra d’où elle observe l’environnement et la condition des autres, celle d’être immigrant dans The Sweet Promise, 2006, et de vivre en autarcie dans Wild Life, 2008.
Claudia del Fierro vit et travaille à Santiago (Chili) où elle détient une maîtrise en arts visuels de l’Université du Chili. Elle a exposé au Chili et a participé à de nombreuses expositions à l’international dont Göteborg (Suède), Melbourne (Australie), Rotterdam (Pays-Bas), New York (É.U.), en plus de prendre part à la Novena Bienal de Arte de la Habana, à Cuba, et à la IV Bienal Mercosul, à Porto Alegre, au Brésil. En 2008, elle était artiste en résidence à IASPIS, à Stockholm.
Documenting actions carried out in public spaces, the videos that Claudia del Fierro is presenting at OPTICA might first seem to recall the video work done in Quebec in the 1980s as they play with the border line between fiction and documentary. Del Fierro favours live recording and places much less emphasis on touching up or aestheticizing the image. Social or feminist content is her main concern, imbuing all her work with a strong sense of commitment—and a touch of humour. Her videos combine visual and audio elements to delineate a social critique focusing on the climate of uncertainty, surveillance in public spaces, the vulnerability of existence, the status of women in Chile, class relationships, the media, and the role of the artist in society.
Identica (2000) is the candid illustration of an American-styled televised contest. Broadcast nationally, the contest and the fate of its winner cannot leave us unmoved. In a chaotic montage that suggests a fiction, del Fierro plays a secretary, the tragicomic heroine of the evening. This video casts a raw, unfiltered gaze on the media, especially on the stereotypes conveyed by the small screen’s Hollywoodian imitations.
Politicamente Correcto (2001) documents an action that was performed in an industrial neighbourhood of Santiago. Every day, for several weeks, del Fierro snuck into a textile factory when its many female workers were taking their break. On every visit, she wore a dress of the same colour as that worn by the workers. With little time for conversation, the women didn’t notice the artist’s presence. Imitating others’ dress code and infiltrating their space, del Fierro raises ethical and political questions on the role of the artist and the limits of art.
The gallery exhibition documenting the action includes both the video and the dresses worn by the artist. The dresses are stacked to form a column that reaches to the height of the average Chilean woman. This installation was presented at Santiago’s Museum of Contemporary Art some time after the artist’s action and the closing of the factory. This is the first time it is shown in its entirety outside Chile.
Del Fierro has since gone behind the camera to observe the environments and conditions of others: those of immigrants in The Sweet Promise (2006), and of people choosing to live in natural self-sufficiency in Wild Life (2008).
Claudia del Fierro lives and works in Santiago, Chile, where she received a master’s in visual arts from the University of Chile. She has exhibited in Chile and participated in many exhibitions abroad—Göteborg (Sweden), Melbourne (Australia), Rotterdam (Netherlands), New York (U.S.)—, taking part in the Novena Bienal de Arte de la Habana, in Cuba, and the IV Bienal Mercosul, in Porto Alegre, Brazil. In 2008, she was artist in residence at IASPIS, in Stockholm.
Œuvres en galerie | works in the gallery :
Identica, 2000 – DVD 3,57 min
Politicamente Correcto, 2001 – DVD 3,15 min, robes | dresses
Présentation et discussion avec l'artiste (anglais et espagnol) | Artist talk (english and spanish)
4 septembre | September 4 2008 _5 à 7 au GIV
Groupe intervention vidéo
4001, rue Berri local 105
Montréal (Québec)
H2L 4H2
Tél: (514) 271-5506
info@givideo.org
www.givideo.org
Subscribe to:
Posts (Atom)
Posts
Logo.jpg){kind=small}