South Network Events & Listings

Kompilasi: A Survey of Contemporary Indonesian Art

2009-02-09T12:17:00.003+11:00

24 February - 14 March 2009

Opening: 6-8pm, Tuesday 24 February

Bus Gallery 117 Lt Lonsdale St. City

Attending artists: Tintin Wulia (Denpasar/Melbourne), Bambang ‘Toko’ Witjaksono (Yogyakarta), Bayu Widodo (Yogyakarta), Angki Purbandono (Yogyakarta) & Ardi Gunawan (Jakarta/Melbourne)

Also featuring the work of: Video Battle, Ruang MES 56, Taring Padi, Jompet Kuswindananto, Bambang Toko, Iyok Prayogo, Uji ‘Hahan’ Saputro & Forum Lenteng.

KOMPILASI draws upon the contemporary art scene of Yogyakarta, Bandung and Jakarta in Indonesia to present a diverse exhibition of photography, installation, sculpture, interactive art, video, film, drawing, sound, graphic/street art and product design. Co-curated by Kristi Monfries, Timothy O’Donoghue and Georgia Sedgwick with the assistance of the artists involved, the exhibition will he held at Bus Gallery, and will include a program of performances and artist’s talks as well as film screenings at Horse Bazaar and listening stations and product displays at Sunshine & Grease run by Patrick O'Brien

Also watch out for:

Film Screening Night 7pm Thursday 26 February @ Horse Bazaar, 397 Little Lonsdale St, Melbourne

Artists' Talks 1pm Saturday 28 February @ BUS Gallery 117 Lt Lonsdale St. City

Minimal-Barroco/Juan Castillo

2008-12-16T15:33:00.000+11:00

Java's Machine: Phantasmagoria by Jompet Kuswidanato

2008-12-11T11:21:00.009+11:00

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.

Fan the Flames at the VCA

2008-12-08T14:11:00.000+11:00

South African Artists in Residence at Monash

2008-12-08T14:08:00.001+11:00

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.

Group Therapy at Immersion Therapy

2008-11-28T17:14:00.001+11:00

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

2008-11-28T10:06:00.001+11:00

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

Team Australia at The Carlton Hotel & Studios

2008-11-28T09:31:00.001+11:00

Techno Park Studios

2008-11-26T10:19:00.001+11:00

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

Exhibition: I, HERE, NOW by Vivian Lynn at Adam Art Gallery

2008-11-24T17:24:00.003+11:00

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/

Opportunity/Exhibition - I am the land & the land is me / ng woka, woka nganin

2008-11-24T17:24:00.001+11:00

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

7+1 Project Rooms

2008-11-24T17:21:00.000+11:00

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/

Exhibition: Collective Conscience, Human Rights Arts and Film Festival (HRAFF)

2008-11-24T17:17:00.002+11:00

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

2008-11-24T17:16:00.003+11:00

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/

TAG Newsletter

2008-11-24T17:16:00.002+11:00

South-South Dance Project

2008-11-24T17:16:00.001+11:00

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

2da Trienal Poli/Gráfica de San Juan: América Latina y el Caribe

2008-11-24T17:14:00.002+11:00

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

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

2008-11-24T17:14:00.001+11:00

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

Bienal de São Paulo

2008-11-24T17:13:00.001+11:00

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/

M1 Singapore Fringe Festival 2009: Art & Family

2008-11-24T17:11:00.001+11:00

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

smashed to pieces at Gambia Castle (NZ)

2008-11-24T17:09:00.000+11:00

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

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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.

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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.

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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

Yun Zhang at Immersion Therapy

2008-10-20T14:46:00.003+11:00

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.

Trax Presents: The Strand

2008-10-13T16:33:00.002+11:00

Asia Week: Contemporary Expressions of Minority Groups in Indonesian Mass Media

2008-10-13T15:03:00.001+11:00

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

Sidney Myer Performing Arts Awards

2008-10-13T14:56:00.001+11:00

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.

Inscrições para o workshop aparecer-desaparecer

2008-10-09T11:21:00.003+11:00

Fernando Palma Rodriguez at Heide Museum of Modern Art

2008-10-08T12:22:00.003+11:00

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

One Day Sculpture Presents: Amy Howden-Chapman

2008-10-07T15:46:00.003+11:00

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).

Arab Telephone

2008-09-29T09:32:00.002+10:00

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

2008-09-23T10:09:00.005+10:00

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

Truth Untruth

2008-09-17T16:52:00.004+10:00

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)

2008-09-17T16:29:00.002+10:00

Exposición

Correspondencia
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.

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

Ying Ang: Between Here and There at Immersion Therapy Artspace

2008-09-17T16:21:00.003+10:00

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

Cherie Winter at Gilligan Grant Gallery

2008-09-17T16:19:00.000+10:00

Spring Early Music Festival 7 - 19 October 2008

2008-09-17T10:12:00.005+10:00

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 University students, recent graduates, local and visiting professionals for 14 events over 13 days, including masterclasses, pre-concert talks and concerts. No other Festival combines such a variety of artists with years of experience alongside youthful excitement to present a program of stunning virtuosity and passionate insight.

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 first performances in Melbourne. Trinity Chapel will come alive when violinists Lorenzo Colittoo and Lisa Ferguson and viola player Peter Bucknell join with Melbourne Collegium, an orchestra of young early string specialists, to present a concert of Baroque favorites. And the Australian Chamber Choir brings the music of mid-16th century composer Simon Boyleau, chapel master of the Cathedral of Milan, back to life with the premier modern performance of these beautiful motets. The Festival culminates with a student opera production Récréation de Musique, a French musical entertainment devised and directed by French Baroque specialist Greg Dikmans.
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Masterclass — Hopkinson Smith
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.

In Your Lap: the Lute Connection
A pre-concert talk — John Griffiths
9 October (Thursday) 7pm
Early Music Studio, University of Melbourne - 27 Royal Pde Parkville
Free entry
The tool of the spy, the symbol of just government, the soul’s tuning machine and the predecessor of the iPod—this induction into the magic and enchantment of the lute will prepare your spirit for Hopkinson Smith’s recital.

Pure Silk — True Grit
Hopkinson Smith, lute and baroque guitar
9 October (Thursday) 8pm
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 restraint of “le Vieux” Galutier, and the traditionally inspired and intuitive dynamism of Spaniards, Francesco Guerau, Antonio de Santa Cruz and Gaspar Sanz.

Early Music Studio Baroque Ensemble (dir. Greg Dikmans)
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 pianist Enrique Pérez de Guzmán makes his first visit to Australia, and this will be his only Melbourne performance. The first part of his program comprises works by Chopin, Liszt, and Scriabin, while the second part will feature Spanish masters Granados, Federico Mompou and Manuel de Falla.
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 Royal Pde Parkville
$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.

Introducing Simon Boyleau
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 by French nobleman composer Simon Boyleau, chapelmaster at the Cathedral of Milan. Based on the recent research of Melbourne scholar Sally Watt and her edition of Boyleau’s 1544 publication Motetta in quatuor vocem nunquam hactenus impressa.
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
12 October (Sunday) 1pm
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 satyr and their musical implications.

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
Andreas Böhlen - recorder, Amy Power - recorder and baroque oboe, Lisa Goldberg - baroque bassoon, and Takashi Watanabe - harpsichord
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.

Masterclass — Amy Power
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
Trinity College Chapel, University of Melbourne - Royal Pde, Parkville
$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 Dikmans, this concert presents a musical entertainment on the grand scale. The highlight of the program is Marc-Antoine Charpentier’s Actéon, a miniature tragédie en musique that tells the story of the hunter Actéon who, after discovering the goddess Diana bathing with her attendants, is torn apart by his own hounds after being transformed into a stag by the angry goddess. This rarely-heard masterpiece is complemented by instrumental music and choruses from the opera Armide by Jean-Baptiste Lully, including the famous Passacaille from Act V, and Airs de cour by Michel Lambert.

www.music.unimelb.edu.au/semf.html

One Week in September - Van Rudd

2008-09-16T15:49:00.002+10:00

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

The Temporary Nature of Things, Sim Luttin at Pieces of Eight

2008-09-10T12:30:00.004+10:00

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

Stewart Russell at Diaz-Castillo Gallery

2008-09-09T15:32:00.000+10:00

War Lounge - experimental season

2008-09-08T09:48:00.001+10:00

The 6th Asia Fiber Art Exhibition

2008-09-02T09:57:00.001+10:00

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

Instituto Sacatar - Residency Opportunities

2008-09-01T15:59:00.002+10:00

.:: 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.

OPTICA: Janice Kerbel | Claudia del Fierro ESP/ENG

2008-08-27T11:50:00.012+10:00

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

Selina Ou : Santiago, Chile Exhibition at Sophie Gannon Gallery

2008-08-19T17:33:00.002+10:00

Exhibition Dates: 12 August 2008 - 6 September 2008.

Sophie Gannon Gallery
2 Albert Street, Richmond, VIC

(03) 9421 0857
http://www.sophiegannongallery.com.au

International Artists residency opportunities in Tasmania

2008-08-06T12:25:00.003+10:00

INTERNATIONAL ARTISTS

The 'International Artists' residency program offers low cost residencies for an individual artist working in any art form who resides outside of Australia to engage with the Tasmanian community and develop their creative work in response to place within Tasmania.

Applicants can choose to undertake a residency at one of 6 very different locations; within national parks, heritage listed sites or in a friendly community.

These residencies epitomise the feeling of the wild Tasmanian landscape and provide an insight into Tasmania’s rich history and stories of the past, giving artists on location the opportunity to explore the many contrasting environments of Tasmania as well as meet local artists and the community.

Artists receive assistance towards the cost of airfares and a rental allowance whilst undertaking the residency. International Artists residencies are 6 weeks duration, however this period may be extended upon negotiation with Arts Tasmania.

Each of the 6 locations offers a very different experience:
1. Lake St Clair National Park is a beautiful yet very isolated location in the middle of Tasmania within a very small community. The area around Lake St Clair is famous for its rugged mountain peaks and icy lakes, its wild forests and alpine moorlands. The shores of Lake St Clair are rich with wildlife including Tasmanian devils, the Bennetts wallaby and the smaller, more timid Tasmanian pademelon. Site Manager: Parks and Wildlife Service Tasmania. Accommodation and studio space are in the Old Ranger's Hut beside the lake.

2. Mole Creek, Karst National Park is suited to an artist who is comfortable with living in a self-contained and isolated environment close to either King Solomons’ or Marakoopa caves. King Solomon's Cave is a beautiful large limestone cave. There are excellent displays of flowstone, stalactites, straw stalactites, stalagmites, columns and shawls, and a profusion of calcite crystals.
Marakoopa Cave is much larger than King Solomon's Cave. The cave is spacious and has a good display of flowstone, stalactites, stalagmites, columns, shawls and calcite crystals. Marakoopa Cave has two streams running through it and a large glow worm display, looking like stars on a very clear night. There are two locations available for accommodation, both located near the entrance of the caves. Site Manager: Parks and Wildlife Service Tasmania

3. King Island sits within the community and encourages some community engagement with the potential of a public outcome. King Island is renowned throughout the world for its premium dairy, beef and seafood products. It is an island with more known shipwrecks than any other part of Australia, stunning coastal landscapes, nearly 80 species of birds and a bull kelp industry. The people of the island are welcoming and friendly. The residency is located in the island's main centre, Currie. This residency can be taken at any time of the year. Site Manager: King Island Council

4. Port Arthur Historic Site is situated on the Tasman Peninsula in Tasmania’s south east, and is the State’s premier tourist heritage destination. A residency at Port Arthur is suited to an artist who is also willing to engage with the local community. The Port Arthur Historic Site sits tranquil among 40 hectares of English oaks and magnificent gardens featuring numerous stable ruins and restored buildings from the convict era. Close by is the magnificent Tasman National Park with some of the best coastal scenery and pristine beaches in Tasmania. Residency accommodation is located within the Port Arthur Historic site. Site Manager: Port Arthur Historic Site Management Authority

5. Whereas the Kings Bridge Gorge Cottage residency is situated in the middle of Launceston city. A resident artist must be able to demonstrate in their application a relationship between their work and the Cataract Gorge Reserve within which the cottage is located. Perched at the mouth of the Gorge, this landmark cottage has National Trust heritage listing and is carefully maintained. Only artists whose practice will not impact on the building will be considered. This residency can be taken at any time of the year. Site Manager: Launceston City Council

6. The Writers Cottage is located in an historic building (circa 1840) in the heart of the arts and restaurant precinct in Hobart, the State's capital city, overlooking Salamanca Arts Centre and Salamanca Place. The cottage was a bequest to literary community of Tasmania and has a long and cherished history. The work and comments of many famous writers can be found on the shelves and in the visitors' books, and it has been home of the Tasmanian Writers' Centre Residency program since 2000. This residency is for writers only. It comes under the careful management of Salamanca Arts Centre ensuring the cottage continues to house visiting artists year-round. Site Manager: Salamanca Arts Centre. Enquiries to: The Tasmanian Writers' Centre

Please refer to the specific information sheet on each location available from the Arts Tasmania website.

The ‘International Artists’ program, commenced in 2006, and has been highly sought after with applications received from all over the world including; USA, Canada, New Zealand, Germany, The Netherlands, Russia, the UK, Nigeria, Ethiopia, Estonia, Iran, Qatar, Brazil, South America, Latvia and Pakistan.

CLOSING DATE

The closing date for proposals to the Arts Tasmania International Artists residency program is 1 September 2008 for residencies commencing in the calendar year 2009. Notification is posted in November 2008.

MAKING A PROPOSAL

Two residencies are offered each year to artists who reside outside of Australia. Proposals should follow the steps outlined below before submitting:

1. Read the information sheets specific to each residency location;

2. Read all the information contained below, including the Criteria for Assessment and complete the ‘Proposal Requirements’ and ‘Other Requirements’ sections (Please note that you do not need to complete an Arts Tasmania application form); and,

3. Mail or email your proposal to Arts Tasmania before the closing date.

Help With Your Application

All applicants are encouraged to seek the advice of Arts Tasmania's Program Officers, to ensure their application meets the guidelines and is as competitive as possible. Call the Arts Tasmania office on +61 3 6233 7308 or email: arts.tasmania@art.tas.gov.au to contact a Program Officer.

CRITERIA FOR ASSESSMENT

Your proposal will be rated by the assessment panel against the following criteria:

· Creative, innovative and professional excellence of the project and its outcomes;

· Pertinence of the project to the artist’s professional development;

· The project’s potential to invigorate Tasmanian arts.

PROPOSAL REQUIREMENTS

Please provide the following:

· Your full name

· Postal and street address

· Telephone number

· Email and website

· An image of you

· Indicate the location for residency (please view the information about each residency location on the Arts Tasmania website)

· Preferred dates (please note that residencies at Lake St Clair and Maria Island are only available from April until October, Port Arthur is not available in January or February)

· Art form and occupation (photographer, musician, writer, etc.)

· Name and contact details of two referees

OTHER REQUIREMENTS

On separate pages please include 1 copy of each of the following:

· A résumé, of no more than 2 pages, about your past arts experience and practice

· A proposal for a residency, of no more than 2 pages, indicating the following:

1. An outline of your intended residency, addressing your reasons for wanting to undertake a

residency at the specific location (please view the information about each of the residency locations on Arts Tasmania website).

2. How you will respond to the specific place in which you would like to undertake a residency and how you will engage with the community whilst or on completion of residency.

3. That you will in no way impact on the environment or accommodation and will show sensitivity and respect to the natural and cultural features of the location.

4. That you are prepared for the conditions that apply at each residency, including adequate clothing, transport, etc.

5. How you will financially support yourself during the residency (see below for costs for which you will be responsible).

· Examples of your artistic work .

What You Need To Consider When Preparing Your Proposal:

Proposals will be assessed against the criteria for assessment and your ability to address your intentions for a residency as outlined above. Proposals should contain sufficient information to establish your professional standing and potential to benefit from a residency.

The closing date for proposals is 1 September 2008. The Assessment Panel’s decision is final. You will be advised of the results in writing in November 2008.

Proposals are to be submitted to: Arts Tasmania, GPO Box 771, Hobart, Tasmania, 7001, Australia or emailed to: arts.tasmania@arts.tas.gov.au.

All residents must be medically fit and be aware that these residencies are in isolated locations. There is often minimal human contact at some locations.

Arts Tasmania will provide up $3,000 towards a return airfare from your home town to Tasmania and will cover the cost of the rental fee for a 6-week residency.

All other arrangements and costs will be your responsibility including other travel costs associated with a residency; flight transfers, visas (if required), freight, vaccinations, travel insurance, etc., and once in Tasmania, food and living allowance, art materials, on-ground transport, telephone, etc.

Arts Tasmania encourages you to show your work or share your skills whilst in Tasmania and will assist you to make the necessary local contacts to achieve these goals. We can assist with contacting theatres, exhibitions, classrooms, etc., and can help find collaborators, musicians, students, actors and others to realise your project proposal. Residencies are six weeks in duration and are taken in one block amount of time. They are generally available for use from after Easter (around the end of April 2009) and must be finished before November 2009. Seasonally, this period includes the end of autumn, winter and the beginning of spring and is known for swift changes in weather patterns. Please check the information sheet about each location for availability and climate.

The assessment panel is made up of members of the Tasmanian Arts Advisory Board, Parks and Wildlife Tasmania, Launceston City Council, the Port Arthur Historic Site, King Island Council, Tasmanian Writers’ Centre and the University of Tasmania.

Further residency information can be obtained from

Arts Tasmania

GPO Box 771, Hobart, Tasmania, Australia 7001

Telephone: +61 3 6233 7308

Facsimile: +61 3 6233 5555

Web: www.arts.tas.gov.au

Email: arts.tasmania@arts.tas.gov.au

Louise Menzies at Gambia Castle

2008-08-05T17:25:00.001+10:00

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Gambia Castle presents a performance by:

Louise Menzies

Talking while Swimming, cont. /
It's not an awesome park

Saturday 9 August 2008

4.00 pm

B.Y.O.

Giving advice about where to eat lunch, a Taihape checkout operator warned “It's not an awesome park.” Her disclaimer provides the title for a continuation of Louise Menzies' recent performance project, 'Talking while Swimming', commissioned as part of the exhibition 'Land Wars' at Te Tuhi and first performed at the Riverhead Reserve on the shore of the Tamaki estuary.

Menzies' performance will again take the form of a public talk, re-staging her discussion of the possibilities of the urban outdoors, vernacular and fictional, continuing her interest in the form of public gestures, site, and language, within the context of Kate Newby's 'Thinking with your body'.

Moving between sculpture, photography, performance and writing, Louise Menzies's work has been shown throughout New Zealand and Australia, with recent projects including 'Shelter or Marquee' (Enjoy, 2007) and the ongoing series 'Sparkling Duets' (Govett-Brewster Art Gallery, 2006; The Physics Room, 2007). Menzies recently relocated to Auckland from Wellington, where she studied the Massey School of Fine Arts and was involved with the running of Enjoy Public Art Gallery.

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Kate Newby's exhibition, 'Thinking with your body,' closes this Saturday 4 August at 4pm.

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For further information please contact the gallery:

Gambia Castle
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
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un Magazine 2.2 call for proposals

2008-08-05T17:12:00.001+10:00

un Magazine 2.2 call for proposals
Deadline: 15 August 2008

un Magazine – Melbourne’s leading independent magazine for contemporary art.

Following the successful launch of issue 2.1 in March this year, un Magazine is pleased to announce a Call for Proposals for issue 2.2, which will be published in mid-November 2008.

Focused on the independent contemporary art community of Melbourne, un Magazine is an important platform for local critical dialogue within a national and international context.

The Editors:
un Magazine is edited by Rosemary Forde with an editorial board consisting of esteemed Melbourne writers and artists Andrea Bell, Amelia Douglas, Anthony Gardner, Lou Hubbard, Jeff Khan and Phip Murray. We prioritise the following editorial aims:

• To generate reviews and commentary for independent contemporary art communities in Melbourne and beyond;
• To create a space for the development of new and experimental forms of critical engagement with contemporary art;
• To provide editorial support and publishing opportunities for new and emerging contemporary art writers.

Proposals are now invited from prospective contributors
Proposed submissions should relate to contemporary visual art practice.
We welcome proposals for contributions including but not limited to: criticism or review of recent contemporary art projects; interviews; essays and features; experimental or creative engagements with contemporary art practice and its modes of display.

Deadline for proposals: 15 August 2008

What you should submit:
• Competed application form
• 100-word outline of your proposed submission
• Full curriculum vitae
• 2-5 images (as small jpeg files) if relevant

Please note:
Reviews are generally 500 words for solo projects or 750-1000 words for larger exhibitions. Essays and features are generally no longer than 1500-2000 words. un Magazine does not seek to publish catalogue essays, university essays or exhibition texts. Contributor’s fees will be paid.

un Magazine mentorship program
An important objective for un Magazine is to provide editorial support and mentorship to new and emerging writers. We are able to offer a one-to-one mentorship for a select number of contributors. Those on the mentorship program will have the benefit of working with a member of the editorial board in the drafting and development of your piece for publication. Please see the application form for further details.

Please email all submissions and editorial enquiries to the Editor
Rosemary Forde: editor@unmagazine.org

For general magazine enquiries email the Project Manager
Angela Brophy: projects@unmagazine.org

Dance for La Mama

2008-07-25T10:21:00.001+10:00

Fonda La Clinica presents...

2008-07-23T17:21:00.001+10:00

Jessie Borrelle and Caroline Clements 'Tell it to yourself'

2008-07-23T16:03:00.001+10:00

Exhibition Fundraiser

2008-07-09T12:45:00.001+10:00

Indonesia Calling: Asialink Annual Arts Forum 2008

2008-07-08T17:02:00.003+10:00

Why Gather? Symposium 19 to 20 July 2008 Melbourne

2008-07-01T00:07:00.002+10:00

Elisabeth Murdoch Theatre, University of Melbourne

A gathering is a group of people brought together in one space or place, usually congregating for a particular

common purpose. The act of gathering –to meet, share and network– is intrinsic to human behaviour.

Creative expression, critique and reflection are naturally informed by environment, experience and our

engagement with the world. So what role can Gathering play in shaping individual and collective perception

and expression in the arts? In a period of increased mobility where distances are more psychic that physical,

how do we frame such gatherings and consider a transnational dialogue and relevance beyond the usual suspects?

SATURDAY 19 JULY 2008

FROM THEORY TO PRACTICE

Conferences, forums, lectures, colloquia and even symposia follow a generic and approved format: an

opportunity to meet, greet and discuss the arts. As a result they can become self-serving exercises; little

more than talkfests. Day One of the Why Gather? symposium considers purposes, frameworks and processes

that have been employed, evaluating what has made these gatherings successful; whether in a festival

context, international biennale, First Nations meeting or to loose editorial frameworks.

KEYNOTE PRESENTATION – “Why Gather?" Ticio Escobar, PARAGUAY

Drawing on his curatorial rationale and methodology for the Bienal de Valencia (the Bienniale of Two

Oceans), Ticio Escobár will navigate themes of identity, networks, local contexts, and experiences

of gathering.

TIcio Escobar (Asunción, Paraguay) is a leading figure in the contemporary cultural debate in Latin

America. Despite the isolated position of his country and the difficult political conditions, he has remained

in Paraguay, carrying out his work in the field of cultural theory, cultural history, art criticism and education

- work which crosses borders and opens up new horizons. Ticio Escobar plays a leading role in shaping

avant-garde art, in recognising indigenous art and in the cross-fertilisation of these two art forms.

SUNDAY 20 JULY 2008

CONTEXT MATTERS CROSS-CULTURAL ENGAGEMENT VERSUS EXPORT CULTURE

Historically, art and culture are frequently appropriated for social, political and economic purposes. In an

age of heightened global mobility (information and human) the role of arts and culture in transnational

engagement is a topic that has been discussed at various governmental levels (in Australia: federal, state,

municipal). Individual nation-states and govenments, often through genuine interest, are developing

frameworks for cross-cultural engagement as part of their foreign policy and international diplomatic

activities. In response, many artists and arts organisations are feeling the need to establish their own

frameworks for transnational engagment. Where does this leave art in cross-cultural engagement?

Day Two of the Why Gather? symposium will explore the role of cultural context in establishing ongoing

transnational dialogue. How do issues such as place, space and time shape cross-cultural engagement, and

how might they inform the way in which we approach gathering? With the South Project’s next international

Gathering (Yogyakarta, 2009) at an early stage of development, this will also be an opportunity to explore

proposals, future models and develop an open framework for the presentation of Yogyakarta 2009.

INTERNATIONAL AND LOCAL PARTICIPANTS FOR WHY GATHER?

2008-06-29T00:20:00.010+10:00

Dr Ticio Escobar, curator, arts advocate (Paraguay)

Fouad Asfour, editor and writer (Germany/Austria, resides in South Africa)

Titarubi, visual artist (Indonesia)

Nova Paul, visual artist (New Zealand)

Fiona Jack, visual artist (New Zealand)

Jeff Khan, Next Wave Festival 2008 (Melbourne)

Michelle Evans, Wilin Centre (Melbourne)

pvi collective (Perth)

Lindy Allen, Regional Arts Victoria (Melbourne)

Panther, artist collective(Melbourne)

Wulan Digantoro, curator (Indonesia/Tasmania)

Dian Fatwa, journalist (Indonesia)...

www.southproject.org

MELBOURNE FILMOTECA

2008-06-27T15:40:00.001+10:00

Thursday 26th june, 7.30pm

Cinema Nova 380 Lygon Street, Carlton

NO TAN NUESTRAS Dir Ramiro Longo, Argentina, 2005, 73 min (Spanish with English subtitles)

"NOT REALLY OURS describes the human odyssey of the Falkland war. The story, told from the difficult perspective of an Argentinian war veteran, Sergio Delgado, who narrates the story from the time of his call to arms, the tense wait for the English troops, the fierce armed confrontation, followed by his experience as a POW. A story full of uncertainty coexisting with the scars left by extreme cold, hunger and death.

49th London Film Festival-Official Competition.
5th International Barcelona Documentary Film Festival-
Winner Best Latinamerican Documentary.

Plus the short film:

PROYECTO SANTIAGO Loreto Quijada (2002), Chile, 12minutes. A day in the city of Santiago de Chile.

Want to know more? Program info: nicola.anderson@melbournefilmoteca.org

MELBOURNE FILMOTECA is an independent, non-profit, volunteer-run group which aims to provide a clearing for people with a broad range of interests and backgrounds to learn about and appreciate not only film, video and screen culture from the regions, but also the language, music and cultures of the Spanish- and Portuguese- speaking world.

www.melbournefilmoteca.org

Cultural Criticism and Transformation

2008-06-19T12:50:00.006+10:00

THE DEAD REVOLUTIONARIES CLUB
would like to invite you to join them

AN AFTERNOON WITH BELL HOOKS

Video screening of
“CULTURAL CRITICISM AND TRANSFORMATION”

DATE: Saturday, 21 June 2008
TIME: 3pm
VENUE: House of Nsako, 101 High Street, Brixton, Jhb

We are asking all attending to please bring along an item or two that can be donated to persons affected by the recent xenophobic violence.

Food will be provided. Drinks will be on sale.
Please note that the writer will not be present, and that this is just a video screening of her.

LOS LADRONES VIEJOS: LAS LEYENDAS DEL ARTEGIO

2008-05-23T12:43:00.004+10:00

LOS LADRONES VIEJOS: LAS LEYENDAS DEL ARTEGIO
(OLD THIEVES: LEGENDS OF ARTEGIO)

Dir Everado González, Mexico, 2007, 97 min (Spanish with English subtitles)

Los Ladrones Viejos was one of the audience favourites at the 2008 Melbourne International Latin American Film Festival, and with good reason. This compelling documentary explores the lives and times of Mexico City's 'gentleman thieves', veterans of a golden era where burglars operated according to strict codes of ethics and non-violence, and where their reputation in the underworld grew in direct proportion to the artistry and audacity of their modus operandi.

Tickets: $13, $10 (conc.); Admission 18+
Thursday 29 May, 7.30pm, Cinema Nova, 380 Lygon Street
CarltonOn sale at the Cinema Nova box office: 9347 5331, 9349 5201 or online via www.cinemanova.com.au

Founded in 1999, Melbourne Filmoteca is an independent, non-profit, volunteer-run group which aims to provide a clearing for people with a broad range of interests and backgrounds to learn about and appreciate not only film, video and screen culture from the regions, but also the language, music and cultures of the Spanish- and Portuguese-speaking world. www.melbournefilmoteca.org

Abraaj Capital Art Prize (ENG)

2008-05-22T11:12:00.005+10:00

Application Deadline for 1 Million USD Abraaj Capital Art Prize Set for Mid-June

Artists and curators from MENASA region vie to create innovative projects for Art Dubai 2009

On the heels of a highly successful Art Dubai 2008, international art curators are submitting applications to work with artists from the emerging art centers of MENASA (Middle East, North Africa and South Asia) to participate in the first annual Abraaj Capital Art Prize competition. The formal application deadline is 15 June 2008.

The Abraaj Capital art prize – offering the world’s largest art competition endowment worth a total of 1 million USD - is designed to create a viable platform for individual artists who are revered in their local communities but lack international critical and commercial exposure. In the first year, three artists will be selected to work alongside international curators to hone their talent, and will have an opportunity to widen their international reputation and network by unveiling their projects at Art Dubai 2009. Displaying their work at the Middle East’s largest modern and contemporary art fair will raise the curtain on their talent, affording finalists a global platform.

The Abraaj Art Prize includes a selection committee comprised of renowned curators, art fair directors, collectors, publishers and designers. The winning artists will create their projects in time for Art Dubai 2009 in March.

Criteria to participate in the Abraaj Capital Art Prize:
Interested applicants must come from an emerging art center, which is defined as any artistic environment in which an individual artist lacks commercial and critical opportunities to further their career.
Curators may come from any nationality and age bracket, and may submit a proposal for collaboration with an artist from an emerging art center.
Curators must submit a biography, curriculum of past exhibitions and three written articles.
Curators must submit a short essay on the work of the artist they are collaborating with in
the competition.

Applications should be submitted at http://www.artdubai.ae
Applications may only be submitted by curators and must be signed by both participants, and must be received no later than 5:00pm on June 15, 2008.

For press enquiries please contact:
Eileen Wallis/Jumana Bississo at The Portsmouth Group PO Box 71765, Dubai, UAE
E: eileen.wallis@theportsmouthgroup.com
jumana.bississo@theportsmouthgroup.com
T: 009 714-3693575

Arte en Antartida (ESP)

2008-05-20T14:00:00.006+10:00

Jornadas: Sur Polar, Arte en Antártida

Dibujo, Pintura, Video, Instalación, Arte Sonoro, Fotografía y Objeto.

5 y 6 DE MARZO 2008
En el marco del Año Polar Internacional marzo 2007/ marzo 2009

Curaduría: Andrea Juan

La muestra interdisciplinaria y la jornada integrada por artistas argentinos y extranjeros que han focalizado su propuesta estética en el Continente Antártico se suman a los eventos que se desarrollan en el marco del Año Polar Internacional 2007-2009.

Antártida es un continente virgen que cuenta con la mayor reserva de agua potable del mundo y funciona como laboratorio experimental en todas las disciplinas, incluyendo al arte. El imaginario popular tiene una imagen lejana de las evidencias que existen en Antártida y acercarlas al espectador a través de la mirada y la poética de un grupo de artistas exploradores es la intención de esta muestra.

ARTISTAS PARTICIPANTES

Philippe Boissonnet y Lorraine Beaulieu (Canadá): Fotografía y objeto; Phil Dadson (Nueva Zelanda) : Video instalación; Karin Beaumont y Lisa Roberts (Australia): Objetos; Mireya Masó y Pamen Pereira (España): Fotografía y Dibujo; Lucy + Jorge Orta (Brit- argentino) y los Argentinos: Marina Curci: Pintura; Jorge Chikiar- Andrea Juan: Instalación visual y sonora; Adriana Groisman , Stefan Oliva (USA): Video; Marcelo Gurruchaga: Fotografías; Alberto Morales: Pintura y grabado.

Nina Colosi: Curadora independiente y curadora del PROJECT ROOM en el Chelsea Art Museum, New York.

Annick Bureaud: Directora de Leonardo/Olats (Observatorio Leonardo de las Artes y las Tenco-Ciencias) Critica de Arte y Curadora. Es Profesora de la Escuela de Artes de Poitiers, Francia.

AUSPICIAN

Dirección Nacional del Antártico; Programa Antártico Argentino; Unité de Recherche en Arts Visuels (URAV), Université du Québec à Trois-Rivières, Canada; Tansmania Explorers, Australia; Australia Council for the Arts; Embajadas de Canadá, Francia, Nueva Zelanda, Australia y Oficina Cultural de la Embajada de España.

text taken from: http://www.untref.edu.ar/jornada_sur_polar.htm

Free School workshops at the VCA

2008-05-16T16:25:00.003+10:00

15 - 31 May 2008
VCA Margaret Lawrence Gallery, 40 Dodds St, Southbank

New Zealand artist Liz Allan, who will be inverstigating structures for education and learning in a project titled Untitled (Necessary Conditions), is carefully researching the exhibition's situation in a university gallery. Over the course of her residency, Allan will develop a free "school" within the geographical borders of the VCA, which utilises alternative structures and systems to disseminate non-institutionally generated knowledge.

For workshop dates, times and further information please email ela@allan.co.nz
Text taken from http://2008.nextwave.org.au/festival/projects/74-unsheltered-workshops

Dylan Martorell at Craft Victoria

2008-05-16T16:01:00.004+10:00

Dylan Martorell Umbel Ballits
22 May - 28 June 2008
Craft Victoria

Dylan Martorell's drawing and sound installation Umbel Ballits is an overlay of responses to the underlying structure of sound and botanic form. His work couples an ecstatic sense of improvisation with a highly disciplined style detail, relying as much upon the use of found objects and chance as it does upon repetition, sine waves and geometry. The exhibition features hand drawn scores which will be the basis for performances and an evolving installation of sound sculptures.

Opening : Thursday 22 May, 2008 6-8pm.

Check www.hiddenarchive.com for live performance updates, recordings and documentation.

Scholarship Opportunity in Mexico

2008-05-16T15:12:00.001+10:00

¿Sabes de alguien que le pueda interesar una BECA para estudiar CINE, ARTES en México D.F. y luego en Europa?

Si sabes de alguien que le guste el Cine y las Artes, PÁSALE esta información. Seguro que te lo agradecerá.

La Escuela Europea de Artes ENCANTA con sede en México, ofrece 25 becas para estudiar.
BECAS
PARA ESTUDIAR CINE,
ARTES PLÁSTICAS, FOTOGRAFÍA, DISEÑO, ACTUACIÓN, PRODUCCIÓN.
La Escuela Europea de Artes ENCANTA con sede en México, ofrece 5 becas para estudiar en las siguientes disciplinas:

CINE:
Dirección de cine (1 beca)
Actor de cine y tv (1 beca)
Guionista de cine y tv (1 beca)
Fotografía de cine, tv y documental (1 beca)
Edición de cine (0 becas)
Sonido para audiovisual y música (0 becas)

ARTES:
Artes plásticas (1 beca)
Maquillaje artístico (0 becas)
Diseño gráfico y audiovisual (0 becas)
Periodismo y crítica artística de la imagen (0 becas)
Fotografía digital (0 becas)
Escritura literaria (0 becas)

NEGOCIOS:
Producción de cine, tv y documental (0 becas)
Producción musical (0 becas)
Marketing y publicidad (0 becas)

Esta promoción se ha ampliado a INICIOS DE MAYO y es tan sólo válida para incorporación inmediata (horario de tarde-noche), los interesados deberán enviar nombre, teléfono fijo y móvil y área de interés a la siguiente dirección electrónica o comunicarse al 2789-2790 y solicitar cita personal para selección previa:

encanta.becas@gmail.com

PREGUNTAR POR: JUAN CARLOS MARTÍNEZ

ENCANTA
Escuela Europea de Artes y Tecnología
Chihuahua 216, esq. Monterrey, Col. Roma
Tel. para becas: 2789.2790

Fiona Davies and Patricia Prociv

2008-05-16T15:01:00.002+10:00

To be launched Thursday 20 May 2008
1-2pm, at the outdoor pavilion, Parramatta Park

Indigenous Art Awards 2008

2008-05-15T10:43:00.006+10:00

CALL FOR ENTRIES:

The Victorian Indigenous Art Awards (VIAA) 2008 support and acknowledge Indigenous Artists in Victoria. The program aims to foster economic and commercial opportunities for Indigenous artists and encourage the production and exhibition of diverse, high quality art. We invite eligible Indigenous artists in Victoria to submit entries.

For more information please visit: www.arts.vic.gov.au

Emma Davies at Pablo Fanque Gallery

2008-05-15T09:26:00.009+10:00

Pablo Fanque presents: Brocade by Emma Davies

Exhibition from 3 - 21 June 2008

1 Oxford Street, Paddington, cnr South Dowling Street

Please join us for a drink with the artist from 6 - 8pm on Tuesday 3 June 2008

Emma Davies is a Melbourne based artist who works experimentally with industral polypropylene. She has confidently manipulated and brocaded this modern material in unconventional ways to realise the new works for her first solo exhibition in Sydney. Brocade illustrates the artist's love for woven forms combined with organic shapes and textures inspired by mother nature.

Davies has exhibited around the country with some of her woven vessels featured in Object Galleries' Woven Forms: Contemporary basket making in Australia. Earlier this year her work became part of the Australian Vessels & Objects exhibition held in Amsterdam’s prestigious Galerie Ra and she has completed several commissions here and overseas, most recently in Tokyo.

The artist participated in The South Project in Johannesburg last year where she worked alongside artists from countries across the Southern Hemisphere, and she is working on a project with traditional weavers located in Western Arnhem Land Australia in the Northern Territory.

‘Emma Davies guides us through this virtual age. Her objects re-awaken the ghosts of stoneware and glass. …the appeal of Davies’ objects is their openness. They have an almost Platonic simplicity as though representing metaphysical shapes”, Kevin Murray, Director, Craft Victoria. Davies' Orange Flower vessel is to be exhibited in Sydney's Opera House from May 14, 2008.

Phone: 02 9357 4887 Email: gallery@pablofanque.com.au Gallery Hours: Tuesday & Wednesday 11-6, Thursday 11-7, Friday 11-5 and Saturday 10-5

Ash Keating at Next Wave

2008-05-13T11:14:00.013+10:00

Ash Keating’s 2020? is a large-scale, evolving installation that focuses attention on the future importance of environmental sustainability within artistic practice.

Beginning with the interception of numerous truckloads of industrial waste, 2020? is a process-based project involving discarded material being diverted from landfill and dumped en-masse in the Arts House space at the Meat Market. Prior to the project’s launch, a team of waste auditors have assessed, sorted and separated this dumped material into specific waste categories.

Co-ordinator and artist Ash Keating is joined by a team of collaborating artists who will be constantly reconfiguring the salvaged materials to create their own installations, interventions, structures and object-based works. This shifting creation happens within a dramatic backdrop of reused vinyl advertising billboards, manipulated in the tradition of culture jamming.

2020? will be under constant surveillance, with live-feeds and video-footage of the processes of the various artists’ projects and the installation’s earlier incarnations being projected back into the exhibition arena. 2020? concludes with a forum involving artists and environmentalists unpacking the conceptual and practical issues of environmental sustainability that are explored within the project.

Artists: Ash Keating, with Kay Abude, Campbell Drake, Ardi Gunawan, James Guerts, Bianca Hester, Inverted Topology, Susan Jacobs, Rus Kitchin, Bridie Lunney, Lucas Maddock, Pandarosa, Mia Salsjo and Soo-Joo Yoo (text taken from: http://2008.nextwave.org.au/festival/projects/5-2020-)

Call for Visual Arts Submissions

2008-05-13T11:13:00.001+10:00

Frieze Writer's Prize 2008

2008-05-08T11:13:00.005+10:00

frieze magazine writer's prize is an annual award to discover and promote new art critics. The award will be judged in 2008 by Tate Triennial curator Nicolas Bourriaud, frieze co-editor Jennifer Higgie and Guardian critic Adrian Searle.

Entry details:
Entrants must submit one 700 word review of a recent contemporary art exhibition.
Entries must be submitted in English, but it may be a translation (this must be acknowledged).
Entrants must be over 18 years old.
To qualify, entrants may only previously have had a maximum of three pieces of writing published in any national or regional newspaper or magazine.

The winning entrant will be commissioned to write a review for the October issue of frieze and be awarded 2000 GBP.
Two further awards of 500 GBP will be made for outstanding entries.

Closing date is: 23rd June 2008

Entries should be emailed as a word attachment to writersprize@frieze.com
The judges' decision is final and no correspondence will be entered into regarding individual entries.

Fiona Macdonald at Ocular lab

2008-05-02T12:01:00.002+10:00

(click on image to enlarge text)

Call for Loose Threads

2008-04-11T12:46:00.004+10:00

Loose threads are one of life's little problems.
Left unattended our buttons fall off,
our seams unravel,
our pants fall down.
Loose threads symbolise all that is unfinished in the world - that which has come undone.
I want to do something about it and I need your help
Send me a loose thread, textile is best - it can be extracted or found
I will tie it up, along with others, crafting a collective solution to an old problem.
Feel free to send this request on to your family, a friend, an acquaintance, or friends of friends.

Please take the time to contribute by sending your loose thread to
PO BOX 741, Newlands Estate LPO, Coburg, Victoria 3058 Australia
By May 29th 2008
Include an email contact address if you wish to be kept informed.

Roseanne Bartley (mailto:roseannebartley@hotmail.com)

Working with a wide range of materials and processes Roseanne creates jewellery and objects that offer a meditation upon the journey of material substances and their relationship to us, to time, space and place. Roseanne's projects often involve some form of social process or community participation. In a side street in Barcelona she initiated the 'Link Up' project – a collective drawing of a necklace, in Santiago she began documenting the extraction of a single hair from occupants along the lateral line of the Southern hemisphere, and her second Human Necklace performance project, Teardrop was held at the Southern Cross Station in Melbourne. A mother of two young children, Roseanne is temporarily unable to travel the world (or go out at night) but she allows this to shape her work rather than to limit it. To view her work

http://picasaweb.google.com.au/bartleybila/RoseanneBartley
http://picasaweb.google.com.au/bartleybila/LinkUp
http://picasaweb.google.com.au/bartleybila/HumanNecklace
http://picasaweb.google.com.au/bartleybila/CanYouSpareAHair

Queensland Photographer in From the Cold!

2008-03-27T14:32:00.031+11:00

JUDY PARROTT, Moulting Elephant seals in their wallow beside Davis Station., 2006, silver gelatin photograph from Antarctica - A Place in the Wilderness

Having spent several months on an Australian Antarctic Division Arts Fellowship, Brisbane artist Judy Parrott’s exhibition of photographic works Antarctica - A Place in the Wilderness presents a rare and exhilarating glimpse of life on Australia’s most remote research stations. With the support of Museum and Gallery Services Queensland the exhibition is touring to venues throughout Queensland and interstate.

Malihom Artist-in-Residence- Call for Artists

2008-03-26T11:55:00.016+11:00

ABN AMRO – Malihom Artist-in-Residence (“AiR”) Program of the Wawasan Open University Penang, Malaysia Call for Artists Session 1, 2009 (5th January to 30th June 2009)

Application deadline: 30th June 2008

At Balik Pulau, Penang, Malaysia.

The art in ABN AMRO-Malihom Artist in Residence Program (“AiR” Program) is intended to bring new inspiration, perception and understanding to the artists by providing uninterrupted time for work, deliberation, and collegial interaction with the environment and the communities within. We invite visual artists to explore the natural world in varicolored ways.

Residencies are awarded without prejudice, at no cost, to national and international artists in the disciplines of visual arts. Those selected are offered a preparatory allowance, monthly stipend, living and studio space for up to six months with an organized exhibition hosted by AMB AMRO Bank Berhad, Malihom Sdn Bhd and Wawasan Open University at the end of the Program to showcase the Artists’ works.

We seek applications from professional visual artists with national and/or international distinction, to create artwork and/or installation that can augment medium to large-scale thematically-based exhibitions.

For more information please visit :www.malihom-air.org

John Mateer Book Launch

2008-03-26T10:03:00.007+11:00

(click on image to enlarge) for more information see: http://www.saltpublishing.com/books/smp/9781844712755.htm

Nonsites/Image Worlds at TCB

2008-03-18T14:46:00.011+11:00

Nonsites/Image Worlds

Kate Woods

Curated by Andrea Bell

12 March - 29 March 2008

What do you get when you cross 1970s Land art with kitsch pastel-hued landscapes? One artist’s fragmented fantasy of the crystalline sublime. Kate Woods’ works are made up of two elements. The first is a kitsch second-hand landscape, the second, a geometric cardboard model based on the photographic documentation of Land Art. Paying tribute to Land Art pioneers Carl Andre and Robert Smithson (among others), these models are then placed over the found landscapes and photographed, to create floating multifaceted and refracted forms in the context of sites than will never exist.

Whirlpool (Oppenheim, White's Aviation), 2007, image courtesy of the artist

TCB art inc. artist run space

Level 1/12 Waratah Place Melbourne VIC 3000 AUSTRALIA
Phone +613 96638233 Email info@tcbartinc.org.au
Web www.tcbartinc.org.au Gallery hours wed - sat 12-6pm

The Dead Revolutionaries Club, in association with Claudia Shneider and the Afrika Cultural Centre presents:

2008-03-17T11:16:00.011+11:00

Esikhaleni - Spatial Practice

Amos Letsoalo - Beverly Price - Claudia Shneider - Dinkies Sithole - Johan Thom - Kemang wa Lehulere - Lonwabo Kilani - Nicoleen Naidoo - Senzo Nhlapo - Sharlene Khan - Thabang Lehobye

The exhibition Esikhaleni – Spatial Practices uses the concept of ‘space’ as its springboard for creative and artistic expression and intervention. Using the expansive space available at the Afrika Cultural Centre (ACC), a historic site of struggle, teaching and interdisciplinary arts collaborations, a group of artists have been challenged to engage creatively with the warehouse-like space at the ACC. The exhibition interrogates the privileging of spaces within the city and the inner city in particular. Why does one area receive funding while others remain in obscurity? How do physical spaces catalyze the making of artworks? Why are spaces deployed for which purpose in the city? These are some of the issues that are evoked in the curatorial process of selection of artists and in the planning for this exhibition.

Galleries and art collectives from around South Africa have also been invited to showcase some of the artists that they work with, also in an attempt to engage with the ACC. These include Blank Projects (Cape Town), Outlet (Pretoria), Spaza Art Gallery (Johannesburg) and Worldart Gallery (Cape Town/Johannesburg).

PROGRAMME OF EVENTS:

Exhibition opening: Friday, 14 March, 6pm,

Performance night: Saturday, 15 March, 6 pm

Exhibition closes: Sunday, 16^th March, 5pm

Venue: Afrika Cultural Centre, Henry Nxumalo Street, Newtown (behind Museum Africa)

The launch of un Magazine issue 2.1

2008-02-26T17:04:00.002+11:00

Platform presents Runway fashion...

2008-02-26T11:15:00.001+11:00

COLLECTIONS IN THE UNDERGROUND 2

When: Saturday 1st March
Time: 7pm sharp
Where: Platform, Degraves-Flinders St. Subway

That's right, it's that time again and we would love you to join us next Saturday for our very special runway event! Once again Bird Girl is teaming up with our partners in design, a name is a label and Queen, transforming the Platform subway into a unique snakes and ladders runway to present our newest creations.

Look forward to seeing you there.

Anita and Sophie xx

--
bird girl

www.birdgirl.com.au <http://www.birdgirl.com.au>

155 Brunswick St, Fitzroy
mon-sat 11-6, sun 12-5

ph: (03) 9419 5209
mob: 0415 114 195

Bianca Hester at the Showroom

2008-02-26T10:35:00.007+11:00

projectprojects

5 March - 13 April 2008
Opening Tuesday 4 March

The Showroom is delighted to announce that it has invited Melbourne-based artist Bianca Hester to present her first solo show in London between March and April this year. In Australia, Hester is gaining a reputation for her collaborations and projects that collect activity around temporary structures, public situations and live events. Using a range of prosaic materials (such as plasticine, carpet and miscellaneous building supplies) she creates scattered installations of partial-objects and quasi-architectural constructions.

Hester has been in residence at The Showroom since January forming projectprojects, an evolving sculptural installation that has transformed the gallery into a base-camp for the generation and presentation of collaborations with a range of practitioners from Melbourne and London. projectprojects experiments with constructing situations that provide opportunities for the viewer to have a variety of different levels of engagement with the work. Hester approaches art as a ‘proliferating event’; a fragmentary, multi-layered and unfolding process that is context specific. For projectprojects she has plugged into the local knowledge and practices in Bethnal Green and as the project has developed, the installation has functioned as a setting for a series of events ranging from the planning of a raft to navigate Regent’s Canal to the recording of experimental performances on home-made

musical instruments.

Bianca Hester is a founding member of CLUBSproject Inc, Melbourne, an artists initiated project and has shown in group projects at ACCA and Gertrude Contemporary Art Spaces, Melbourne and MCA, Sydney. In addition she has been awarded a number of residencies and prizes across Australasia. For more information see http://www.biancahester.net

As part of projectprojects a special weekend of activities has been planned for 15 and 16 March, including a panel discussion, plus an event culminating at Laburnum Boat Club. For further information please contact Natasha Tebbs at The Showroom on 020 8983 4115 or by email at natasha@theshowroom.org

The Showroom is financially assisted by Arts Council England, Moose Foundation for the Arts and the many members of the gallery’s Friends Scheme. Bianca Hester’s commission is supported by Australia Council for the Arts and Arts Victoria. Bianca Hester would like to thank Olivia Barrett, Phillipe Ciompi, Ari Dyball, Ella Gibbs, Kris Kimpe, Daniel van Cleemput, Jude Walton and Paeces whose participation has formed parts of projectprojects.

The Showroom
44 Bonner Road
London E2 9JS
T. +44 (0)20 8983 4115
E. tellmemore@theshowroom.org
W. http://www.theshowroom.org
F. +44 (0)20 8981 4112
Wednesday - Sunday 13.00 - 18.00 hrs

Bianca participated in the South Project's Wellington Gathering in 2005, and with Clubs Project collaboratively ran a workshop on artists working collectively, co-hosted by Ocular Lab and The South Project.

Elida Tessler at ARCO

2008-02-19T16:45:00.015+11:00

The South Project is pleased to announce that Elida Tessler's Test Tubes <> Tubos de Ensaio have made it to ARCO'08.

Elida first made this work during her South/RMIT residency in 2006.

See: http://www.cultura.gov.br/brasil_arte_contemporanea/?page_id=37)

Lucreccia and Quintanilla and Jason Heller at Bus Gallery

2008-02-19T14:41:00.022+11:00

see www.bus117.com for further details

South enCOUNTER at Craft Victoria

2008-02-19T13:38:00.024+11:00

In partnership with Craft Victoria and the L'Oreal Melbourne Fashion Festival, The South Project is proud to present

MELBOURNE: Bond from the Inside Out

Claudia Beyancourt and Ricardo Pulgar
3 - 23 March 2008

Craft Victoria

A humble – while simplistically bold – reflection of cultural icons within Melbourne's local life, a project and consequence of an intercontinental bridge along the Southern Hemisphere. Latin America's WALKA conceptualizes Melbourne's daily journeys of life via contemporary jewelry, an intimate game between the local self-looking glass and 21st century fashion.

This event is part of the 2008 L'Oréal Melbourne Fashion Festival Cultural Program

ART AND FAMILY: Singapore Fringe Festival 2009

2008-02-13T16:49:00.014+11:00

M1 Singapore Fringe Festival 2009

8 January - 18 January 2009

CALL FOR APPLICATIONS

M1 Singapore Fringe Festival is an annual festival of theatre, performance art, film, dance, visual arts, mixed media, music and forum created and presented by Singaporean and international artists. Based on a different theme every year and curated by The Necessary Stage, the festival aims to bring the best of contemporary cutting-edge and socially engaged works to the Singapore audience.

The application form - as well as more information about the selection process - is available via www.singaporefringe.com. Please note the closing date for submissions is 14 March 2008.

text courtesy of Alvin Tan

Text Camp at Next Wave: applications now open!

2008-02-13T12:14:00.000+11:00

Next Wave is delighted to announce that applications are now open for TEXT CAMP, a mentorship program for emerging arts writers as part of the 2008 Next Wave Festival.

TEXT CAMP, presented by Next Wave in association with Express Media and un Projects, provides an opportunity for emerging writers to work with and learn from established writers, to build networks and contribute to critical and creative discourse around the 2008 Next Wave Festival, and contemporary art practice more broadly. Comprising two parallel teaching streams which explore either creative writing or critical writing methods, TEXT CAMP will explore the many ways that artworks and performance projects can be responded to through writing.

TEXT CAMP is a three-stage program involving a workshop, a mentorship and a publication outcome. The program will be led by two prominent young Australian writers, Rosemary Forde and Nic Low.

Applications are due 5.00pm on Friday 14 March 2008 (post-mark date).

Please contact Next Wave for an application form.

Next Wave Festival Inc.

Office 4, 5 Blackwood St

North Melbourne VIC 3051

Ph: 03 9329 9422

www.nextwave.org.au

text courtesy of Ulanda Blair, Special Projects Coordinator ulanda@nextwave.org.au

A review that mentions one of us...

2007-11-29T12:09:00.000+11:00

http://lumiere.net.nz/reader/arts.php/item/1411

Human Rights Arts and Film Festival

2007-11-27T15:17:00.000+11:00

'Human Rights in Art', Curated by Romy Sedman

Featuring Zehra Ahmed, Clifford Charles, Claudio del Fierro, Juan Ford, Alex Gibson, Matthew Hunt, Mark Hilton, Rafaat Ishak, Ash Keating, Deborah Kelly & Tina Fiveash, Andrew McQualter, Leonardo Ortega, Scott Redford, Christian Thompson, Culture Kitchen Collective, Gembel Collective, Taring Padi Collective, stART Community Artists & Victorian Equal Opportunity and Human Rights Commission Community Art Project.

27 November - 15 December 2007

Bus

117 Lt Lonsdale Street

Melbourne 3000

Wed-Sat 12-5

http://www.bus117.com/

CAPACETE Residency Announcement

2007-11-14T09:42:00.000+11:00

Please read below for information regarding the CAPACETE residency program:

Applications for 2 residencies of each 2 month at CAPACETE (Rio de Janeiro/Brazil) are open.
You can apply if you are an artist, critic curator, architect and DJ.

1 residency for a brazilian

1 residency for a latin-american

Your application should follow the given context
We depart from the assumption that Brazil has ignored it military dictatorship past (1964/1985), it's most obscure period.
Thus there is the need to redefine priorities and identities in an increasingly multiracial space, taking at the same time into account the virulent conflicts that permeate contemporary interactions that cannot be understood as a mere "clash of social classes" but rather as complex sites of conviviality (Gilroy), contact zones (Pratt), in which the unevenness of former dependencies are prolonged and contested.
the resident inlcudes: transport two ways, all housing expenses, 1000 USD per-diem

Applications:
Please fill in the application form and together with your project proposal send it as a PDF file to residencia@capacete.net <mailto:residencia@capacete.net>
If you think it is necessary to send us a CD/DVD with photos or films - use the following address
CAPACETE entretenimentos
Assunto / Residência
Rua do Russel 300/601
Rio de Janeiro 22210 010

Applications are open until the 31 of december 2007
The selection will be done until 31 of january and annouced on our website: www.capacete.net <http://www.capacete.net/>
This residency is coordinated by CAPACETE - with support by Triangle Arts Trust of London, in association with lugar a dudas in Colombia, KISOKO in Bolivia and EL BASILSICO in Argentina _________________________________
Residentes CAPACETE setembro à janeiro 2007/2008 / CAPACETE residents as of September through 2007/2008
Residentes atuais / now in residence:
01/08 - 30/11/2007 - Victor Costales (Ecuador/Belarussia)
01/08 - 30/11/2007 - Julia Rometti (França)
01/09 - 30/11/2007 - Jonas Ohlson (Holand)
01/05 - 30/11/2007 - Margit Leisner (Paraná/Brasil)
01/05 - 30/12/2007 - Rubens Pileggi (Paraná/Brasil)
01/10 - 30/11/2007 - Daniela Abershan (Alemanha/Israel)

Próximos / next residence
01/11 - 31/01/2008 - Adriana Pinedo (Colombia)
01/12 - 31/01/2008 - Gilda Mantilla (Peru)
01/12 - 31/01/2008 - Raimond Chaves (Colombia)
01/11 - 31/12/2007 - Frank Neuman (Alemanha)

For further information regarding CAPACETE http://www.capacete.net/ingles/capacete.asp

Claudia del Fierro: The Sweet Promise @ Museo de Arte Contemporáneo, Santiago

2007-11-02T11:45:00.000+11:00

Comments by the artist, Claudia del Fierro:

The Sweet Promise is a video installation that began by approaching people in Melbourne from various migrant backgrounds. The project developed through a series of conversations with a dozen local migrants who collaborated by sharing personal views about loss, longing and their sense of identity. The Sweet Promise has made it possible for me to engage with the local community from a privileged place: that of ‘the other’.

Click on flyer images above to enlarge

As an artist from Latin America, my intention was to develop a collaborative work in Melbourne as a way of approaching some of the issues surrounding recent migration. The Sweet Promise mirrors my own past experiences as a migrant and premises strategies for an art practice that considers ‘cross border’ concerns.

My initial wish to attempt to place my practice in a ‘situation of risk’ has led me to experience displacement through the experiences of others, who have in turn shared their insight, helping to reformulate my work in unsuspected ways.

The installation at Project Space Gallery in Melbourne reflects the process of the work. Documentation in the form of text and video are exhibited together with collaborations in the form of music, sound, drawing or poetry, from people who were interviewed for this project.

The Sweet Promise. 2007. Installation. 2 video projections, 1 animation, sound, objects. Project Space Gallery, Melbourne, Australia. July 2007.
Museo de Arte Contemporaneo, Santiago, Chile. November-Decemeber 2007.

Claudia del Fierro was the South Project/RMIT Artist-in-Residence for 2007, and The Sweet Promise was developed during her residency in Melbourne during June-July this year.

New work by Megan Evans

2007-10-23T14:06:00.000+10:00

(please click to enlarge text by Sandy Kirby)

Megan Evans is on the South Project committee and has worked as a professional artist for 23 years.

For more details please visit http://www.ochregallery.com/

New Initiatives in Contemporary African Art at the Johannesburg Art Gallery

2007-10-23T12:55:00.000+10:00

(please click on image to enlarge)

The Clark/Mellon Contemporary African Art Workshop taking place at WITS University gathers artists, art historians, curators, art administrators and art organizations from across the continent and the Diaspora to discuss key issues in art historical scholarship, exhibitions, artistic practices and collaborations within the field of contemporary African art. “New Initiatives in African Art” is a part of our public program, which aims to share the outcomes of the workshop with a broader audience as well as to present new artistic initiatives and trends taking place in African art, on the continent and abroad. It is our hope that the workshop and the public discussion will activate new collaborations, enliven existing networks, and create future projects.

Text courtesy of Anitra Nettleton, University of the Witwatersrand

Artlink Lauch: “THE SOUTH ISSUE: NEW HORIZONS” (vol. 27 no. 2)

2007-07-06T11:52:00.000+10:00

AUSTRALIA
Brunetti City Square, 214 Flinders Lane,
7.30-9.00pm, Monday 9th July 2007
To be launched by: Juan Davila

Artlink magazine in association with The South Project invites you to attend the launch of its latest issue (Vol27#2). The launch will immediately follow the South Artists in Conversation talks at the City Library.

Artlink magazine, well known for tackling big issues, has taken on the Southern Hemisphere. Inspired by the celebrated South Project initiated and managed by Craft Victoria, we went on a journey to document contemporary art beyond the well-trodden Northern hemisphere centres.
In this issue, Indigenous and non-Indigenous artists and writers in South Africa, Chile, the Maldives, New Zealand, Pakistan, Singapore and Australia propose a SOUTH which goes beyond geography, extending old boundaries and ideas through south-south dialogue.

Ex-colonies, diasporas, translations and exiles form part of the conversation. Issues of curating outside the mainstream mingle with audacious new works which bring the viewer into unfamiliar territory.

Editor Stephanie Radok travelled to Santiago in Chile to join the third South Project gathering and meet with the practitioners who bring us face to face with situations and regions which we do not often hear about…yet. Coming out of several years’ research and discussion, this action-packed issue of Artlink offers a new matrix for the art world.

This special issue will be launched by renowned Chilean-born Melbourne artist Juan Davila, whose work is featured in this issue. Juan will briefly reflect on the relevance of SOUTH and the timeliness of south-south dialogue.

Light refreshments will be served during the launch. To RSVP, please email info@southproject.org. Copies of Artlink will be on sale at a discounted price of $10 during the evening, or alternatively, receive a free copy with any new subscription to Artlink.

South Artists in Conversation @ City Library

2007-07-06T11:33:00.000+10:00

AUSTRALIA
South Artists in Conversation @ City Library
City Library, 253 Flinders Lane, Melbourne,
6.00-7.30pm, Monday 9th July 2007

The South Project, supported by the Centre for Adult Education, is delighted to present two artists in conversation at the City Library this July; Claudia del Fierro (Chile) & Clifford Charles (South Africa). Both artists will describe their creative processes and the experience of international residencies & cultural exchange.

Highly regarded Chilean artist, Claudia del Fierro, is currently completing an artist residency at RMIT in partnership with the South Project. While in Melbourne, Claudia has considered migrant voices, cultural transliteration, language, and identity, drawing on one-on-one interviews and ongoing collaborations with a diverse group of people now resident in Australia. Her residency will culminate in an exhibition from Monday 2nd to Friday 20th July at RMIT’s Project Space/Spare Room, The Sweet Promise.

Clifford Charles is a renowned South Africa artist, writer and community activist, currently in residence at Monash University in partnership with the South Project. Clifford’s residency is driven by explorative research into communities in transition, with specific references to the impact of globalisation, memory & migration. Clifford is engaging with diverse audiences during his residency, from working with young people in Melbourne’s inner suburbs (through workshops at ArtPlay as part of the South Kids program) and collaborative art projects with young local artists, to art talks sharing the South African experience.

Claudia & Clifford reflect on the South Project and the experience of creating art in another city of the south:

Claudia del Fierro: In my experience as an artist in Chile I find that there are not enough spaces where exchange among artists of the Southern Hemisphere takes place. I think the South Project is a potential space for reflection on the production of art in a post-colonial era, as well as a possible forum for a discussion on the sustainability of art that does not need to look at the north for making itself valid.

Being outside of my home country has given me a bigger perspective on my practice, it has made me question my strategies and it has been a chance to get to know a different art circuit. I would have not been able to access Melbourne without this residency. Since my residency takes place in a university campus, I also have been able to understand a bit about art education in this context and how it relates to the way art is produced here.

Clifford Charles: South Africa, like most countries of the South, has immediate issues to redress. Therein lies the importance of the South Project’s shared experience; connecting networks of communities for exchange & the chance to debate the localism of their parallel histories.

Travelling to other cities of the south as part of the South Project provides a reflective distance from one’s own city while at the same time exposing one’s work to new audiences, making local issues global concerns.

These artist talks will be immediately followed by the launch of the latest Artlink magazine issue at nearby Brunetti City Square.

"The Sweet Promise" @ RMIT

2007-07-06T11:25:00.000+10:00

AUSTRALIA

"The Sweet Promise"- Visiting Chilean Artist, Claudia del Fierro

RMIT Project Space/Spare Room, Monday 2nd - Friday 20th July 2007

Highly regarded Chilean artist, Claudia del Fierro, is currently completing an artist residency at RMIT in partnership with the South Project. While in Melbourne, Claudia has considered migrant voices, cultural transliteration, language, and identity, drawing on one-on-one interviews and ongoing collaborations with a diverse group of people now resident in Australia.

Claudia’s residency will culminate in an exhibition entitled The Sweet Promise, opening on Monday 2^nd July at RMIT’s Project Space/Spare Room, and running through to Friday 20^th July.

The Sweet Promise presents an installation featuring multiple parallel projection and elements of audience interaction. Its content is at once local and global, relating to unique migrant experiences and broader preoccupations of the artist:

The Sweet Promise is an ongoing video installation that began by approaching people in Melbourne from various migrant backgrounds. The project developed through a series of conversations with a dozen local migrants who collaborated by sharing personal views about loss, longing and their sense of identity. The Sweet Promise has made it possible for me to engage with the local community from a privileged place: that of ‘the other’.

As an artist from Latin America, my intention was to develop a collaborative work in Melbourne as a way of approaching some of the issues surrounding recent migration. The Sweet Promise mirrors my own past experiences as a migrant and premises strategies for an art practice that considers ‘cross border’ concerns.

My initial wish to attempt to place my practice in a ‘situation of risk’ has led me to experience displacement through the experiences of others, who have in turn shared their insight, helping to reformulate my work in unsuspected ways.

Claudia Del Fierro, 2007

The Sweet Promise will be launched at RMIT Project Space/Spare Room on Monday 2^ndJuly. A catalogue essay by Tony Birch will be available on the night.

RMIT Project Space/Spare Room, Monday 2^nd – Friday 20^th July 2007

23-27 Cardigan Street, Carlton, RMIT University, Melbourne

(Gallery Hours: Monday-Friday 9:30am-5:00pm)

"Regarding Fear and Hope" @ Monash

2007-06-15T14:57:00.000+10:00

AUSTRALIA

Regarding Fear and Hope
Monash University

Wille Doherty, Closure 2005 DVD still courtesy of the artist,

Alexander and Bonin, New York and Galeria Pepe Cobo, Madrid

Regarding Fear and Hope examines two abiding emotions that are dominating the contemporary political and cultural landscape. Exploring the ways in which artists form connections with this milieu, the exhibition includes works that consider current issues of immigration, diverse identities, conflict, surveillance, and the challenging economic and political environments in which we live. Regarding Fear and Hope features the work of international artists: Yael Bartana (Israel), Willie Doherty (Northern Ireland), Lucia Madriz (Costa Rica), Lázaro A.
Saavedra-Gonzalez (Cuba), Sriwhana Spong (New Zealand) and from
Australia: Janet Burchill and Jennifer McCamely, David Griggs, Tom Nicholson, r e a and Lynette Wallworth.
There is an increasing and pervading sense of ‘fear’ in our midst, made manifest in some of the more extreme attitudes to immigrants and asylum seekers, but also in responses to the abstract notions of change, risk and difference. It is perhaps not so much that we are actually fearful, but that fear itself is more present today, as a concept, a justification, an irritant and a political concern.
A counterpoint to fear is hope – and one of the urgent questions of our time is whether we can hope or not. Hope is an emotion that many of us have experienced at one time or another. But a sense of hope in the wake of fear is altogether different. It requires faith in human behaviour.

Regarding Fear and Hope
Part One: Faculty Gallery, Caulfield Campus
5 July – 28 July 2007
Part Two: Monash University Museum of Art, Clayton Campus
4 July – 25 August 2007
Guest Curator: Victoria Lynn
www.monash.edu.au/muma

Domenico de Clario: A Tertiary World

2007-06-07T16:47:00.000+10:00

AUSTRALIA

Melbourne-based artist and active South Project collaborator since South 1, Domenico de Clario, will be presenting a new exhibition entitled "A Tertiary World" at [MARS] Melbourne Art Rooms (418 Bay St, Port Melbourne), from13th June to 8th July 2007.

For more details, visit the [MARS] website at http://www.marsgallery.com.au

South Network Events & Listings

Kompilasi: A Survey of Contemporary Indonesian Art

Minimal-Barroco/Juan Castillo

Java's Machine: Phantasmagoria by Jompet Kuswidanato

Fan the Flames at the VCA

South African Artists in Residence at Monash

Group Therapy at Immersion Therapy

Darmasiswa scholarship program

Team Australia at The Carlton Hotel & Studios

Techno Park Studios

Exhibition: I, HERE, NOW by Vivian Lynn at Adam Art Gallery

Opportunity/Exhibition - I am the land & the land is me / ng woka, woka nganin

7+1 Project Rooms

Exhibition: Collective Conscience, Human Rights Arts and Film Festival (HRAFF)

TAG Newsletter

TAG Newsletter

South-South Dance Project

2da Trienal Poli/Gráfica de San Juan: América Latina y el Caribe

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

Bienal de São Paulo

M1 Singapore Fringe Festival 2009: Art & Family

smashed to pieces at Gambia Castle (NZ)

Yun Zhang at Immersion Therapy

Trax Presents: The Strand

Asia Week: Contemporary Expressions of Minority Groups in Indonesian Mass Media

Sidney Myer Performing Arts Awards

Inscrições para o workshop aparecer-desaparecer

Fernando Palma Rodriguez at Heide Museum of Modern Art

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

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.

Arab Telephone

Truth Untruth

Marcelo Brodsky y Martin Parr (ESP)

Ying Ang: Between Here and There at Immersion Therapy Artspace

Cherie Winter at Gilligan Grant Gallery

Spring Early Music Festival 7 - 19 October 2008

One Week in September - Van Rudd

The Temporary Nature of Things, Sim Luttin at Pieces of Eight

Stewart Russell at Diaz-Castillo Gallery

War Lounge - experimental season

The 6th Asia Fiber Art Exhibition

Instituto Sacatar - Residency Opportunities

OPTICA: Janice Kerbel | Claudia del Fierro ESP/ENG

Selina Ou : Santiago, Chile Exhibition at Sophie Gannon Gallery

International Artists residency opportunities in Tasmania

Louise Menzies at Gambia Castle

un Magazine 2.2 call for proposals

Dance for La Mama

Fonda La Clinica presents...

Jessie Borrelle and Caroline Clements 'Tell it to yourself'

Exhibition Fundraiser

Indonesia Calling: Asialink Annual Arts Forum 2008

Why Gather? Symposium 19 to 20 July 2008 Melbourne

INTERNATIONAL AND LOCAL PARTICIPANTS FOR WHY GATHER?

MELBOURNE FILMOTECA

Cultural Criticism and Transformation

LOS LADRONES VIEJOS: LAS LEYENDAS DEL ARTEGIO

Abraaj Capital Art Prize (ENG)

Arte en Antartida (ESP)

Free School workshops at the VCA

Dylan Martorell at Craft Victoria

Scholarship Opportunity in Mexico

Fiona Davies and Patricia Prociv

Indigenous Art Awards 2008

Emma Davies at Pablo Fanque Gallery

Ash Keating at Next Wave

Call for Visual Arts Submissions

Frieze Writer's Prize 2008

Fiona Macdonald at Ocular lab

Call for Loose Threads

Queensland Photographer in From the Cold!

Malihom Artist-in-Residence- Call for Artists

John Mateer Book Launch

Nonsites/Image Worlds at TCB

Exhibition: I, HERE, NOW by Vivian Lynn at Adam Art Gallery

(b. Wellington, New Zealand, 1984; lives and works in Wellington, New Zealand)
COMMISSIONED BY City Gallery Wellington

The Sweet Promise. 2007. Installation. 2 video projections, 1 animation, sound, objects. Project Space Gallery, Melbourne, Australia. July 2007.
Museo de Arte Contemporaneo, Santiago, Chile. November-Decemeber 2007.