NITE ART 15
THURSDAY 23 JULY
NITE MEETS ART
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BEAM CONTEMPORARY / 2013 SCOPE Miami Art Fair
Beam Contemporary is excited to announce the gallery's participation in the 2013 SCOPE Miami art fair, as part of the SCOPE Breeder program, which introduces emerging galleries and artists to the global contemporary art market. Breeder galleries are selected by a rotating panel of independent curators for each edition of the SCOPE Art Show.
For its contribution to SCOPE Miami 2013, Beam Contemporary will present a curated group exhibition, Wandering Archive, which brings together work by three represented artists: Karla Marchesi, Clare Rae and Melanie Jayne Taylor. Each artist's work presented here engages with the concept of the archive in personal, and often playful, ways. Eschewing austerity and authority, these artists have produced idiosyncratic archives, or interactions with institutional archives, that emphasis the archive as a process, dened by transience, malleability and re-interpretation. This theme also reacts on the nature of the art object and the art fair itself.
Archives catalogue objects through which we both hold onto and re-construct the past. Necessarily, then, the works included in Wandering Archive also reect on the condition of the art object. Artworks are precious objects to which we form indenable attachments rooted in the minutiae of our daily lives and interactions, yet they also have lives delineated by institutional contexts and archival practices, of galleries, museums, and art fairs.
Clare Rae's photographic prints, Untitled (glass plates) and Untitled (decanted rack), form part of a series of works contrast these lives of the artwork, documenting the artist's body, engaged in a series of oblique and unpredictable gestures, within the photographic archives of the National Gallery of Victoria. Rae's photograph's capture a moment of a eeting impromptu gesture, juxtaposed against the archive room designed to protect and maximise predictability. Rae's body is an interruptive presence within a precisely controlled and monitored space that attempts to ensure the images it contains remain xed, unchanging, and predictable.
This curatorial thematic of Wandering Archive also responds to the condition of the international art fair, a space of dislocation, anchored by the objects it contains. A series of seven oil paintings by Karla Marchesi, from the series Every Moment Lives Together, are presented here and attempt to grapple with the dislocations typical of the global art world. Each painting depicts Marchesi's hanging bath towel, uniquely interpreting its textures and folds, on each successive day for a week. Here, a careless everyday moment, placing a bath towel on a rack, is rendered with care, scrupulously catalogued each day, and made permanent. The work, produced in the early months of Marchesi's relocation from Brisbane (Australia) to Berlin (Germany), captures both the beauty of the everyday, and also the way that we imbue the objects around us with signicance. This series of paintings, a makeshift archive of a small detail in a new context, emphasises a single moment's continuity with, and subtle differences from, every other day and every other place. Objects, here, are able to both anchor us and set us adrift.
Melanie Jayne Taylor's practice is as much concerned with the continued processes of interpreting her personal archive of images, as it is concerned with generating new images. Images are carefully arranged within the gallery, or in the case of Coastal Fragments, to be exhibited here, within the space of a single print. In Taylor's practice, images are never axed, but instead, through a dynamic concept of the archive, become subject to constant re-interpretation and reconguration.
Courtesy Kyle Weiss & Beam Contemporary
READ MORE+ SCOPE MIAMI
BLACKARTPROJECTS PRESENTS REKO RENNIE
AT SYDNEY CONTEMPORARY
19 - 22 September 2013
245 Wilson Street
Eveleigh, New South Wales
Three hand drawn symbols - the crown, the diamond and the Aboriginal flag - are presented as an emblematic statement about the original royalty of Australia. The crown is a homage to Reko Rennie's graffiti roots and pays due respect to Jean-Michel Basquiat, but most importantly symbolises sovereign status. The crown reminds us that Aboriginal people are the original sovereigns of this country. The diamond is emblematic of the artist's connection to his Kamilaroi/Gamilaroi people. This diamond symbol is similar to a family crest; it is a part of his makeup. The Aboriginal flag, drawn in the form of a graffiti tag, pays respect to all Aboriginal people from environments both urban and remote and anywhere in between.
Download Catalogue PDF 2MB
"IS THE GALLERY SPACE DEAD?"
Panel discussion and Q & A at West Space launches Nite Art 2013
Six industry experts discussed the future of galleries and the experience of art in the 21st Century. The provocation "Is the Gallery space Dead?" has captured the imagination for an informal conversation.
Dr Isobel Crombie - NGV Assistant Director
Corbett Lyon - Founder of Lyon Housemueum/Architect/Collector
Vasili Kaliman - Gallerist/Co Founder of Art Month Sydney
David Hagger - Independent curator/Director of blackart projects
Dr Sanne Mestrom - Artist
Simon Hayman - Collector/Vault editor
The panel and Q & A moderator is Jill Singer, a prominent award winning journalist with close to 30 years experince in the the broadcast industry.
Ms Singer's portfolio of work extends across all media platforms including print, online, radio and television. The underlying ethos of Ms Singers work is to communicate ideas and complex issues to as broad an audience as possible, to play an active role in public debate and to help mentor the next generation of thinkers and communicators. The recipient of numerous awards, a Walkley Award for best investigative journalism and Quill Awards, Ms Singer is regularly called upon for public commentary on political, social and media issues.
L-R: Corbett Lyon, Sanne Mestrom, Jill Singer, Vasili Kaliman, Isobel Crombie
READ MORE + http://niteart.com.au/
WHITE NIGHT MELBOURNE
DUSK UNTIL DAWN
23 February 2013 7PM UNTIL 7AM
Darren Sylvester, who will be performing at Howl at the Moon during White Night.
8-8.30pm Darren Sylvester
A performance by Darren Sylvester who presents the photograph much like a pop song - as a universal story that although is direct and to the point, is inherent with levels of complexity.
NGV:THE POTTER CENTRE
FULL WHITE NIGHT PROGRAM + http://whitenightmelbourne.com.au/
Summer program 2013
JOHN R NEESON
VENUE SPECIFIC PROJECT
A pivotal part of his practice since 1993, John R Neeson's next instalment of his Venue Specific Projects will see him respond to the interior architecture of Anna Pappas Gallery, representing the structural details of the space as well as the effect of light at various times of the day.
12 - 4PM WEDNESDAY - SUNDAY UNTIL 25 JANUARY 2013
RECEPTION THURSDAY 24 JANUARY 7-9PM
Anna Pappas Gallery
2-4 Carlton Street
Kindly sponsored by
Join artwalk for a private viewing and in conversation with the
Thursday 24 January 6.15 - 6.45PM
John R. Neeson lives and works in Melbourne, Australia - has a PhD from Monash University (Melbourne) and has completed post-graduate studies at The Royal College of Art, London. Neeson is a visual artist with a practice that includes venue specific installations and conventional exhibitions of representational works.
Since 1993 he has completed thirty four venue specific installations of mimetic works in Australia and Internationally, and in addition he has held numerous solo shows and participated in major group exhibitions in Europe, UK, the Middle East and throughout Australia including Museum of Modern Art at Heide, RMIT University Gallery, Royal College of Art, World Fair, Seville, Australian Embassy, Paris, Australian Centre for Contemporary Art, Melbourne, Gasworks and ArtHouse, London, Fondazione Bevilaqua La Masa, Venice, Cite International Des Arts, Paris, University of Sharjah, United Arab Emirates, TarraWarra Museum of Art, Victoria, AC Institute (Direct Chapel) New York City.
He has curated Museum exhibitions including 'Imaging the Apple' auspiced by the University of Ballarat, Victoria, 'Projects One - VCA' VCA Gallery, University of Melbourne and 'Arrangement - Australian Still life 1973 - 1993' at Museum of Modern Art, Heide, Melbourne. He has received numerous Grants and Awards including an American Australian Association Dame Joan Sutherland Grant , City of Melbourne Arts Project Grant, Australia Council - New Work Grant, Arts Academy, University of Ballarat, Research Grant - Royal College of Art, Project Funds, Anne & Gordon Samstag International Visual Arts Scholarship Australian Post Graduate Research Award.
Rather than painting directly from life, as the traditions of 'still life' and 'landscape' painting once entailed, Neeson uses mirrors to frame his chosen subjects, from which he paints - in situ - mimetic representations of fragments of both internal and external space. This technique stems from a self-conscious critique of the illusionistic nature of painting, which is further highlighted by his incorporation of bevelled edges in both the mirrors and his paintings - so the viewer is conscious that they are observing reflections rather than 'real' space (Raan, 2008). Neeson creates a veritable trompe l'oeil - the painting of an optical illusion - although maintaining the integrity of the structural detail of the space.
Residencies at different art spaces produce work that are unique to each individual space. Although each painting, and mirror, reflect various spaces of production, his ouvre is held together by the strong influence of natural light on each of his works. Neeson deploys two other significant strategies that break with painting conventions and uphold his 'white cube critique'. Firstly, his use of mirrors distinguishes his work from traditional painting genres; instead of painting directly from life, as 'still life', he paints mirrored reflections. Secondly, his installation method not only allows the viewer to move through the space, but, by exhibiting the mirrors with his paintings, he suggests a play with the double meaning of 'reflection' - as in seeing a mirror-image and the act of thinking.
His installations thus become a phenomenological and visual experience of his work and the space, which in turn becomes speculative as the viewer navigates between what is viewed (the real), what is painted (the represented) and what is reflected (the virtual) (Raan, 2010).
Courtesy of the artist
Read more + http://johnrneeson.com/
POP-UP EXHIBITION MELBOURNE
UNTIL 15 DECEMBER 2012
Ormond Hall in the former Royal Victorian Institute of the Blind buildings
557 St Kilda Road, Melbourne
TUESDAY - SATURDAY 11.00AM - 5PM
ARNDT Australia presents its second international contemporary art pop-up exhibition Migration in Melbourne this November, following the success of its inaugural pop-up in Sydney earlier this year. Migration Melbourne opens to the public 1 November to 15 December 2012, as part of the Berlin gallery's most recent initiative of shifting focus to Australia and the Asia Pacific Region.
Gallery owner Matthias Arndt has curated a group of established and emerging artists from Germany and Eastern Europe who will exhibit new paintings, sculpture along with some film and video works. Exhibited artists include Gilbert & George, Sophie Calle and Anselm Reyle. Migration will also include a 'Design Chamber' to showcase major design works from the 20th century and contemporary periods by designers including Joe Colombo, Franz West, Oscar Niemeyer, Marcel Breuer and Erno Saarinen.
Whilst maintaining a dynamic programme for his well-established Berlin Gallery, Matthias Arndt is now working in some of the new exciting markets, including Indonesia, India, Hong Kong, Singapore and Australia as an independent art specialist and adviser to both artists and collectors.
Matthias Arndt comments: 'For these fast-developing areas, we are adopting a different approach for exhibiting contemporary art, creating pop-up exhibitions in unconventional and challenging spaces - a shift away from the permanent white wall space.'
'I see a great opportunity in coming to Australia, being a direct neighbour to the most booming art landscapes and markets in Asia. In addition, the Australian private, corporate and public collections are now ready and committed to engage and collect contemporary art from all over the world,' explained Matthias.
Migration is created and produced by Matthias Arndt and his wife, Tiffany Wood, who has 20 years experience in the art world with Sotheby's in London and New York, Marianne Boesky Gallery New York and Phillips de Pury & Company New York, London and Berlin.
With 25 years as an art dealer and gallery owner in Europe, Matthias is an art adviser to corporate European collections and maintains an impressive portfolio of important international collectors and museums from the United States, Europe and Asia. Matthias has an innate feeling for artistic talent married with a gift for guiding the curious collector into a position of confidence and engagement when it comes to collecting art.
MIGRATION MELBOURNE PRESENTS:
Christine Ay Tjoe, Georg Baselitz, Joseph Beuys, Mathieu Briand, Erik Bulatov, Jonas Burgert, Sophie Calle, Nick Cave, Hanne Darboven, Lippo d´Andrea (Ambrogio di Baldese), Gilbert and George, Marcel van Eden, Olafur Eliasson, Gregor Hildebrandt, Thomas Hirschhorn, Geraldine Javier, Jitish Kallat, Martin Kippenberger, Heinz Mack, MadeIn Company, Eko Nugroho, Magnus von Plessen, Qiu Zhi-Jie, Julian Rosefeldt, Anselm Reyle, Charles Sandison, Eugen Schönebeck, Chiharu Shiota, Nedko Solakov, Agus Suwage, Ena Swansea, Miroslav Tich., Jorinde Voigt, Zhan Whang, Entang Wiharso, Ralf Ziervogel.
Migration Melbourne will also contain a Design Chamber featuring major works of 20th Century and contemporary design, including objects by: Harry Bertoia, Marcel Breuer, Fernando and Humberto Campana, Joe Colombo, Gianni Colombo, Oscar Niemeyer, Werner Panton, Dieter Rams, Marcel Wanders, Vogt & Weizenegger, Franz West, as well as objects by anonymous designers from 1960's Denmark and 1960's Germany.
MEET MATTHIAS ARNDT:
Matthias Arndt is a German Gallerist and founder of the gallery ''Arndt & Partner''. He established himself as a pioneering connoisseur of the Berlin art scene and an expert authority in the field of international contemporary art.
Born in Frankfurt am Main in 1968, Matthias Arndt attended a secondary school specialising in business and completed an apprenticeship with a bank. At the age of 20, however, his interest in art led him to switch fields and become a trainee at a Berlin and London based Gallery Galerie and the Centre national d´art contemporain Villa Arson in France. While studying Art History and Art Education at the Kassel School of Art and Design, Arndt established his first gallery project from 1990 to 1992, which received the city of Kassel's Cultural Promotion Award. He also worked as an art educator and visitors' guide at the documenta IX (under the artistic direction of Jan Hoet).
After earning a further degree in Education and Cultural Management at the Hamburg School of Economics and Politics, Matthias Arndt moved to Berlin and founded the gallery Arndt & Partner in 1994. Over 18 years, Matthias Arndt organised a total of 250 exhibitions and 80 international art fair participations, published almost 50 monographic publications and artists books, establishing himself as a pioneering connoisseur of the Berlin art scene and an expert authority in the field of international contemporary art.
In his capacity as arts and culture manager, Matthias Arndt founded the company artservices (1997-2001) and managed the guide and visitor support services of the documenta X. He subsequently devised the concept for the Berlin art platform Kunstherbst Berlin, managed the visitor support services for the Expo 2000, and acted as a consultant for the TUI Group responsible for the Expo's implementation. Again with artservices, Arndt developed the concept for the guide and visitor support services at AUTOSTADT Wolfsburg for the Volkswagen AG.
Matthias Arndt lectured at the Berlin Institute for Cultural and Media Management from 1996 to 2004. In 2001, Matthias Arndt was named a "Chevalier des Arts et des Lettres" and thus made a member of the Order of Arts and Letters by the French Ministry of Culture.
Born in 1977 in Yogyakarta, Indonesia
Lives and works in Yogyakarta, Indonesia
Eko Nugroho's work represents the daily life of Indonesian
society, which is on one hand strongly hierarchical and
Muslim-influenced and on the other hand influenced by globalization
and the western value system. In his paintings this contrast is
visualized by showing fantasy beings comprised of human limbs and
machine elements with faces mostly hidden behind masks or helmets.
By juxtaposing these images with humorous but also critical texts
and sayings, Nugroho tries to entice especially the young
Indonesian generation to deal with political issues. He develops
his skills in as many mediums as he can, from painting to drawing
and video to more traditional hand craft techniques such as hook
rugging. He often works in the public arena-whether it is in his
native city Yogyakarta or in the Wrangel Strasse neighborhood of
Berlin-Kreuzberg, where he realized a Graffiti-painting with a
group of local youths while reflecting on their social environment.
For the 10th Lyon Biennale he had been invited to a residency near
Lyon. There he worked with the local community, consisting mostly
of immigrants, together they made a puppet shadow play based on the
traditional wayang, resulting in a contemporary version of it which
captured the western audience with its mixture of traditional and
contemporary elements reflecting on western society.
Beside numerous solo exhibitions in Southeast Asia, he has been invited to several artist in residency programmes such as the one of the Lyon Biennal (2009), the Kiasma Museum of Contemporary Art, Helsinki, Finland (2008) or the ZKM Center for Art and Media, Karlsruhe (2011).
Following his solo exhibitions in Amsterdam (2004), Den Haag (2005), New York und Peking (2011) the "Musee d'Art Moderne de la ville de Paris" will present his work end of 2011 in a solo show.
He has also taken part in numerous national and international group exhibitions including the "ASIA PASIFIC TRIENNALE 5" Queensland Art Gallery, Australia (2004); Contemporary Arts Center New Orleans (2004); "WIND FROM THE EAST", KIASMA Museum of Contemporary, Helsinski, Finland (2007); "EXPENDITURE" Busan Biennale 2008, Busan, South Korea (2008); "CONTEMPORANEITY", MOCA Shanghai, China (2010) and forthcoming Rally: Contemporary Indonesian Art - Jompet Kuswidanto & Eko Nugroho opening 18 October 2012 at the NGV.
READ MORE + http://www.arndtberlin.com
We cannot bury her
in the black earth
Opening 19 September, 7- 9pm
Building 6, Palmer Parade
Cremorne, Victoria 3121
19 - 30 September, 2012
Read more + http://blackartprojects.com.au/about.html
Lucid and the NGV present
30 Portraits 30 Days by Vincent Fantauzzo
Vincent Fantauzzo, recipient of such prestigious awards as The Packer's Room Prize (2011), The Doug Moran Portrait Prize (2011) and Archibald Prize - People's Choice Award (2009), has undertaken an artistic marathon, painting 30 inspirational Australians in 30 days.
A first in Australia, Fantauzzo has previously done the 30 Portrait 30 Days challenge in New York last year and Hong Kong 2008.
The result is a truly inspiring exhibition of portraits, including personalities such as Li Cunxin, David Walsh, Kimbra, Baz Lurhmann and Matt Moran - executed in Fantauzzo's exquisite realist style.
This exciting exhibition is a collaboration between the NGV and Lucid, a new social enterprise for which Vincent is an ambassador, that aims to raise awareness and breakthrough the stigma surrounding alcohol and other drug addiction. Visit this free exhibition at NGV Australia until 29 July, 2012.
Join Artwalk, meet Lucid Ambassador Vincent Fantauzzo and explore this artistic marathon in conversation with the artist, during the final hanging of the exhibition.
Saturday 21 July 3.00PM
NGV STUDIO, Federation Square
Located on Flinders Street, at the Cnr of the Atrium
Tickets $35.00 with all proceeds to Lucid.
BOOKING ESSENTIAL AND CLOSE TODAY 20 JULY 6.00PM
Read more about Lucid + www.lucid.org.au
Zoe Croggon / Littlewhitehead / Andre Piguet / Sean Whelan / Oscar Yanez
19 - 29 April 2012
OPENING Wednesday 18 April 2012, 7- 9pm
6 Palmer Parade, Richmond
Isn't time itself a black hole into which everything is falling? Regardless of apparent change, i.e. the universe evolving, the wave patterns of matter remain the same, resembling the DNA of the universe. Some suggest that these wave patterns are preserved, smeared two dimensionally at the mouth of the vortex by the gravitational pull of all matter, time and space into it.
Memory itself can only be wave patterns that we retrieve to give ourselves consistency. Perhaps then, as one slips down the funnel towards the black hole, physical information would also be smeared across the surface of this gravitational whirlwind. A trace would be left at the edge, which itself would become infinitely thin as it was stretched and sucked through the spiraling void. This universal knowledge would be preserved two-dimensionally as a page of all recorded time in the book of cosmic forgetting.
A ghost, a spirit, a phantom.
And how do we recall this?
This is Tenancy 3
Read more+ http://blackartprojects.com.au/
15 February - 3 March, 2012
Opening Wednesday 22 February, 6 - 8pm
With a career spanning over four decades, meet the artist Gladdy Kemarre
41 Derby Street Collingwood
Tue - Fri 10AM - 5PM
Sat 11AM - 5PM
The essence of Gladdy Kemarr's œuvre is anwekety - bush plum or the conkerberry. This traditional bush food is abundantly found throughout central Australia and associated with Kemarr's country: Ahalper.
Ahalper country is situated in the heart of the Utopia homelands, 250 km north-east of Alice Springs where Kemarr lives. She inherited the knowledge about Ahalper and its Dreaming stories through her father, Kwementyay Pwerl. Through her mother she learnt about stories relating to Harts Range, where her mother Clara Kngwarray was from. Kemarr grew up at Mount Swan Station, which lays half way between Utopia and Harts Range.
Ahalper and anwekety are sources of continuous inspiration for Kemarr. In her works she depicts all phases of germination of anwekety: from a small seed to a fully developed plant with flowers and fruits. Kemarr alludes to anwekety instead of figuratively depicting it. She evokes the plant and its stages of germination through the colours associated with each one of these: green for the plant, white for the flower during the dry time, black for the fruit, yellow, orange and red for the seeds. The differently sized and coloured dots thus represent the various elements of anwekety: flowers, plants and seeds. All of these elements are captured in a simultaneous moment, almost floating, without the soil in between or on top of them. They are seen from a bird's-eye-perspective and evoke Ahalper with a focus on anwekety. Other plants or features of the landscape are deliberately left out of her paintings. The accentuation of a colour, such as orange or red, highlights the stage of the plant and thus the particular time of the year or season. Her densely dotted fields refer to an abundance of anwekety in a specific area, which again indicates the presence of underground water. Kemarr creates a dual effect in her works: one of zooming out of the landscape and one of focusing on a tiny area within a landscape, thus representing the macro-cosmos at the same time as the micro-cosmos.
In her paintings Kemarr creates layers as well as colour fields with varying densities of dots. These fields move across the canvas at the same time as instilling movement within the viewer. The vibration emitted from the surfaces of these paintings alludes to the movement of ancestral beings across Ahalper. These paintings then show the ancestral presence, by marking the tracks of the ancestral beings in country, by possibly indicating the underground water and by depicting the actual traces of the ancestral beings in country, manifest in the continuing presence of bush plums.
Placing these paintings of anwekety side by side means stepping into Kemarr's world.
Chrischona Schmidt is a PhD candidate at the Australian National University in Canberra. Her research, through which she worked with Gladdy Kemarr, focuses on the history and development of the Utopia art movement over the past four decades.
 Personal communication with Gladdy Kemarr (October 2010).
Berlin, continuously under change and reinventing itself from its chaotic and revolutionary beginnings, is considered the cultural and creative capital of Europe. A city alive with creative experimentation born from a complicated history, Berlin has the capacity to constantly surprise.
Join Artwalk for a week's program in 2013 from an enthusiast's perspective exploring ART BERLIN and important Private Collections.
Our program will allow for free time for individual exploration and discovery. Visit Hamburger Bahnhof, Neue Nationalgalerie, Helmut Newton Foundation, KW Institute for Contemporary Art, Deutsche Guggenheim, Martin-Gropius-Bau Berlin, Gemaldegalerie and the Pergamon Museum on Museum Island.
Email firstname.lastname@example.org if you would like to register your interest.
Travel arrangements: The Departure Lounge - Personal Travel Specialists