The South Project (Inc) is a major international arts project that supports and promotes the experience and understanding of contemporary visual culture in the south for global audiences. Learn more about the South Project
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
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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.
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