31 Aug – 15 Sep @ Spectrum Project Space ·
Presented by School of Arts and Humanities, ECU ·
Espresso Self showcases the nexus between creative practice and research, with work by ECU staff being presented to the wider ECU community and general public. Originally conceived as a platform to encourage ECU academics to exhibit their ‘other’ selves, Espresso Self has evolved into a dynamic expression of what it means to engage with creativity in and beyond the research environment.
This year exhibited in three sections:
School of Arts and Humanities, Visual Arts research;
School of Arts and Humanities, research in process/progress; and
ECU, alternate paradigms of the research journey.
Lyndall Adams, Clive Barstow, Graeme Burge, Claire Bushby, Trevor Cullen, Alistair Edwards, Stuart Elliott, Roxanne Fozard, Louise Gan, Paul Godfrey, George Karpathakis, Nicola Kay and Stephen Terry, Geoff Lummis, Justine McKnight, Marziya Mohammedali, Julia Morris, Amanda Myer, Denise Pepper, Glen Phillips, Marcella Polain, Greg Pryor, Diane Slade, Susan Starcken, Hollie Turner, Paul Uhlmann, Tania Visosevic, Vanessa Wallace, Gillian Willmer.
Espresso Self exhibition is open to the public from Tuesday, 31 August to Friday, 14 September at Spectrum Project Space, Mount Lawley Campus, Edith Cowan University with a sundowner event on closing night to coincide with the ECU Mount Lawley Research Week opening.
Sundowner event: Thursday, 13 September 6 – 8 pm
11 Aug-28 Sep @ Midland Junction Arts Centre ·
Presented by Mundaring Arts Centre ·
Official opening 11 August 11am – 2pm
Exhibition continues 15 August – 28 September
Open Wednesday – Friday 10am – 5pm, Saturday 25 August & 15 September 11am – 2pm
Curated by Ashley Yihsin Chang
Personal objects have been the catalyst for conversation between 19 local artists and members of the Perth Taiwanese community who have immigrated to Western Australia. The artists have translated and contextualized these dialogues, creating new works to help navigate the increasingly complex issues embedded in the hybrid cultural society in which we live.
Nalda Searles, Olga Cironis, Janine McAullay Bott, Sarah Toohey, Perdita Philips, Eva Fernandez, Carmela Corvaia, Vanessa Wallace, Elizabeth Marruffo, Mel Dare, Claire Bushby, Louise Monte, Denise Brown, Beverly Iles, Sharon Callow, Elizabeth Devlin, Shona McGregor, Emily Ten Raa, and Candy Chiao-Yun Lee.
Opening Night: 16 Feb 6.30-8.30pm ∙
Exhibition continues: 17 Feb – 25 April @ PICA ∙
Presented by: Kimsooja ∙
Zone of Nowhere will be the first Australian solo exhibition by internationally acclaimed, South Korean-born multimedia artist Kimsooja.
For more than 30 years Kimsooja has dedicated her site-specific works to cultural and political issues facing our world. Kimsooja is perhaps best-known for her use of bottari – the traditional Korean bedcover used to wrap and protect personal belongings – as a symbol of structure and connection.
Heavily influenced by Buddhism, Zen, Confucianism and the age-old role of the artist as shaman, she creates lyrical installations that draw inspiration from everyday activities. The result is a practice that brings together the physical and the metaphysical. The exhibition will feature a new large-scale installation created especially for PICA’s vast central gallery space as well as an associated public art project on the streets of Perth.
Presented in association with Perth Festival
Wednesday 29 November, 12-1pm @ Lawrence Wilson Art Gallery ◆
Slow your day down by joining us for a different kind of art gallery tour. Much like a mindfulness exercise where you focus on your breathing, in this tour you allow your mind to settle on the artwork on display. The 45-minute session involves collaborative viewing of selected artworks with the theme of empathy and compassion, followed by an informal discussion.
This event is part of the Lawrence Wilson Art Gallery’s inaugural Inclusive Arts Week running from 28 November to 2 December
After developing her style over several years Karen found that she could bring her love of drawing into her paintings rather than keeping them separate.
She says, “Working freely and loosely with mixed media excites me. It enables me to create ‘controlled happy accidents’ and is perfect to create the illusion of depth which draws the viewer into the landscape. The layers of paper and ink allow for a serendipitous backdrop or a textured foreground. Charcoal, ink and pastels are used to sketch in familiar shapes.”
Karen is drawn to the tones, colours and shapes, both positive and negative, of her subjects. This exhibition shows off West Australian landscapes and flowers as well as abstract and semi-abstract work from a recent trip to New Zealand.
“I paint primarily to give me pleasure and also enjoy sharing my observations with the viewer so that they can, in turn, take pleasure from my work. I hope that they will be drawn into each canvas to have a little wander around before moving onto the next.”
Karen works from Galleria Art Studio where she runs classes and workshops for both adults and children. Her work can also be seen at http://www.karenfrankel.com
Review: “A Conversation”, Alex Hobba – Moana Project Space – Review by Phoebe Mulcahy –
As much as we may be aware how biased and over-persuasive our news sources can be, it’s something that is, perhaps, harder to remember on a daily basis, as breaking stories and events stream across our televisions, computers and smartphones at an incredible rate. Whether covering local skirmishes or geopolitical disputes, the fast-paced imagery and predictable format of broadcast news particularly appeals to those “basic cognitive processes” that can form impressions in less than an instant. Showing at Moana Project Space this month, Alex Hobba’s “A Conversation” disrupts such established narratives of reportage, and offers an alternative way of relating to global news events.
Entering the gallery, there’s a feeling of having just walked in on something. As though prepared to host a meeting or summit of the most uncanny kind, the room is set up with two chairs that face each other across an odd pebble-encrusted slab on the floor, presumably to be taken as the meeting table in this negotiation. Positioned between them on the facing wall is a video screen which, like a news broadcast, promises to explain this strange state of affairs. The presence of participants in the negotiation is indicated by two large photo frames which sit on the chairs, each bearing the likenesses of Russian President Vladimir Putin and Ukrainian Prime Minister Yulia Tymoshenko. Yet these headshot scale photographs are back to front. Apparently, the talks have reached such a deadlock that the two leaders have turned their backs on each other.
And so we bring our attention to the background noise that inevitably accompanies events like these — the commentary, analysis and investigations of the media. Yet here, again, familiar formats have been turned on their heads in this surreal conference room. In place of polished television reporting, we have a casual interview, in which a friend of the artist speaks on the incident represented in the space: a 2009 gas dispute between Russia and Ukraine. However, it soon becomes clear that this friend possesses neither very extensive knowledge on the topic, nor much interest in maintaining the conversation—or at least not on camera.
It’s challenging to watch, as the interviewee stumbles through his summary of the dispute, looking as though he’d rather be anywhere but in front of this unblinking video camera. As viewers accustomed to mainstream news reporting, our expectations for easily digestible explanation or guidance on the issue are hardly fulfilled. The transmission has been interrupted—and left with just one version of events in this way, we’re invited to wonder what does, in fact, set traditional reportage apart from a “Conversation” like this.
Review: Builded Remnants –
Berndnaut Smilde –
The Goods Shed –
Reviewed by Phoebe Mulcahy
It is a testament to the shifting and often indefinable state of contemporary art today that an artist can build a career working with what essentially amounts to vapour and smoke. A ‘sculptor of clouds,’ Berndnaut Smilde has gained international acclaim both in and beyond the art world after first generating a successful cloud in 2012. He has been manufacturing and photographing these artificial clouds, known as the Nimbus series, ever since.
Beyond the obvious novelty value of witnessing a miniature cumulus cloud take shape indoors, Smilde’s works keenly challenge ideas of space, time and nature. Working between mediums—photography, sculpture and installation—and seeking to explore what lies between established dualities, such elusive and intangible phenomena as clouds and rainbows are fitting centrepieces in his practice.
Smilde’s clouds, which are generated by shooting smoke against water vapour, dissolve in just ten seconds and until recently, had only been produced in indoor settings. Oddly suspended in the ornate rooms and chambers of mansions, cathedrals and museums, Smilde’s inquiry into the boundaries between interior and exterior space, and the natural and artificial, achieve vivid expression.
Yet, as part of FORM’s International Residency Program last year, these synthetic clouds have for the first time been brought outdoors at two locations in Western Australia’s remote Pilbara region. Working with local photographer Bewley Shaylor, Smilde’s month-long residency also saw him create works at disused industrial sites in Perth, as well as in the state’s South-West, where he was able to use the Cape Leeuwin Lighthouse to dazzling effect with an experimental work based on the colour spectrum.
As Smilde’s works are by their nature extremely short-lived and unrepeatable events, the resulting exhibition, at FORM’s The Goods Shed, is chiefly one of documentation, presenting just a handful of large-scale photographs by which these ‘moments of revelation’ have been recorded. The Nimbus clouds are shown at the East Perth Power Station and the Midland Railway Workshops in Perth; but it is their appearance in the Pilbara that is most striking. The clouds may now be outdoors, but you would never mistake them for those that naturally occur in the sky above. Hovering just a few metres from a waterhole in the gorges of Karijini National Park, the implanted cloud appears so uncanny as to be almost sinister, recalling the kinds of misgivings about the Australian landscape that have been immortalised in stories like Picnic At Hanging Rock. As with previous entries in the Nimbus series, the photographs’ intensely crisp and accurate resolution heightens the sense of intrigue and strangeness.
In inviting Berndnaut Smilde to create works in Western Australia, FORM particularly anticipated a series that would speak to the unique natural environments found in this part of the world, taking his critical awareness of Romantic landscapes as the point of departure. It’s clear that this has been more or less achieved, and the resulting works are as captivating as any Smilde has produced. Yet it is inevitably an outsider’s perspective, and it is hard to say whether the images ultimately add very much to our understanding or appreciation of these landscapes on a local level. Placed against the vast and clear-skied vistas of this state, it seems that much of what made these Nimbus clouds so striking as indoor phenomena has only evaporated in the open air.
14 October 2017 – 29 January 2018 @ Art Gallery of WA •
Discover a passionate film-maker – admire a screen legend – celebrate a local hero
Film legend Heath Ledger was a charismatic movie star who pushed the boundaries of acting in his iconic roles. This unique exhibition has been curated by the WA Museum in collaboration with his family and close friends. From his teenage years in Western Australia to his final role as Tony in The Imaginarium of Doctor Parnassus (2009), the exhibition follows a career driven by the actor’s passion for creativity.
Ledger worked with some of cinema’s great directors, actors and crews to achieve unforgettable performances in a range of genres. Heath Ledger: A Life in Pictures will celebrate his screen career with the display of costumes, including the Joker suit from The Dark Knight (2008), and the iconic shirts of Ennis del Mar and Jack Twist from Brokeback Mountain (2005).
On display for the first time, will be Ledger’s research journals revealing the actor’s deep commitment to his profession and how he developed key roles. Awards such as his Best Supporting Actor Oscar and BAFTA for The Dark Knight highlight his achievements in the film industry. Ledger’s celebrity status is reflected in portraits by noted international photographers such as Karin Catt, Platon and Bruce Weber.
A chronological narrative of his acting career will be intertwined with his creative investigations into image-making under the influences of visionary directors Ang Lee, Terry Gilliam and Todd Haynes. Photographic stills and moving images will offer a glimpse of Ledger behind-the-scenes and reveal his creative projects as a director.
16 September – 11 December 2017 @ Art Gallery of WA ◆
This exhibition presents recent photographs by Bill Henson, selected by the artist, and encompassing themes including portraits, nudes, lush museum interiors and transcendent landscapes.
The images in this show are drawn from a body of works created between 2008 and 2011, and continue Henson’s sensitive study of the human condition, which he has realised over his forty-year career.
Each of the works included has a palpable sense of the cinematic and together they form an enigmatic imaginative statement. Like much of his work, there is little that is explicit, and rather the works propose open-ended narratives and capture a transitory sensation.
A powerful sense of mystery and ambiguity can be found within the images, heightened by the deep blackness of the shadows and the striking use of chiaroscuro to selectively obscure and reveal the form of the nudes, sculptures and the landscape itself.
Bill Henson is a National Gallery of Victoria exhibition.
September 8 – October 1 2017 @ Moana Project Space
“I Know How Hard It Can Get” is an exhibition by Taylor Reudavey featuring a multimedia installation that chronicles unemployment and welfare policy in contemporary Australia. A triad of conflicting voices strive to both question and uphold the ideological convictions that have shaped the current Jobactive program. “I Know How Hard It Can Get” examines the relationship between authority and authenticity, co-optation and appropriation, and sympathy and contempt.
Taylor Reudavey (b.1994) is a multimedia artist, writer and performer from Perth, Western Australia. She graduated from Curtin University with Honours in 2015 and has exhibited with The Hive Art Space, Free Range Gallery, the City of Perth’s Grand Lane Light Locker Art Space, and the Victoria Park Centre for the Arts. She is currently the Artist in Residence at Curtin University’s School of Design and Art and will be featured in Geraldton Regional Art Gallery’s upcoming WORLDLINE exhibition. “I Know How Hard It Can Get” is her third solo show.
Moana Project Space is an artist-run initiative in the heart of the Perth CBD showcasing innovative contemporary practice on a national scale since 2012.
Taylor Reudavey: I Know How Hard It Can Get opens 6pm Friday September 8 2017.