Innholdsfortegnelse for September/October 2022 i Art Guide Australia

STEVE DOW is a Melbourne-born, Sydney-based arts writer, whose profiles, essays, previews and reviews range across the visual arts, theatre, film and television for The Saturday Paper, Guardian Australia, The Monthly, the Sydney Morning Herald, The Age, Sunday Life, Limelight and Vault. BRIONY DOWNES is an arts writer based in Hobart. She has worked in the arts industry for over 20 years as a writer, actor, gallery assistant, art theory tutor and fine art framer. Most recently, she spent time studying art history through Oxford University. LAUREN CARROLL HARRIS is a writer who has been published in Los Angeles Review of Books, Literary Hub and Sydney Review of Books. She curates the Prototype moving image platform. TRISTEN HARWOOD is an Indigenous writer, editor and researcher based in Naarm. His work…

Madame Mystery Anna Carey Artereal Gallery 16 September—15 October Madame Mystery is not a real person, but you can text her to learn your fortune. The mystical figure’s phone number emblazons magical shop fronts: she’s your psychic advisor, tarot reader, truth revealer. While these shop fronts may only appear in staged photographs, there is an actual human at the end of the line: Anna Carey. The artist, who spent much of the last decade living in Los Angeles, is known for lifelike photographs of miniature architectural models, made from foamcore and perspex at a 1:50 scale. Carey is fascinated by vernacular architecture (modest designs that are region-specific) and its echoes around the world—her hometown of the Gold Coast takes inspiration from the likes of Miami and Palm Springs. Her photographs…

When Skirts Become Artworks: Sihoti’e Nioge Omie Tapa Artists Redland Art Gallery 21 August—9 October Since 2017, curator Joan Winter has been spending time with the Omie, an isolated community living in the remote rainforest mountains of Papua New Guinea’s Oro Province. Getting to know the approximately 1800 people living there, Winter has been learning about the cultural significance of tapa, a type of bark cloth made from trees like the paper mulberry and fig. Created by removing the inner bark and beating it until soft and supple, this process forms a material akin to cloth, which is decorated and worn as a skirt for marriages, rites of passage and ceremonies. When Skirts Become Artworks: Sihoti’e Nioge is a result of a joint project between Winter and Court House Gallery…

Which Made This Place Home Maddie Grammatopoulos Praxis Art Space 22 September—14 October When South Australian filmmaker Maddie Grammatopoulos began work on the multi-award-winning short film Which Made This Place Home, she set out to answer one question: what makes a house a home? As the filmmaking process progressed, the role household objects played became increasingly clear. “Objects are just things we can touch, smell and see,” she explains. “But ultimately it’s the moments we share in their presence and the memories we attach to them that make them so significant.” Which Made This Place Home takes on the viewpoint of household objects, quietly observing family interactions taking place around them. While the film is projected into the gallery, to provide a physically immersive experience items from the film set…

Sally Scales grew up surrounded by art and artists. Raised in the Anangu Pitjantjatjara Yankunytjatjara (APY) lands in remote South Australia, her mother and grandmother were both painters; her father was a leather maker, community leader and a founder of the not-for-profit Maruku Arts and Crafts. Country and culture were integral to Scales’s upbringing—and art and cultural leadership were all around her. In adulthood, Scales became a respected cultural leader herself, working in consultancy, sitting on arts and culture boards, and being heavily involved in the Uluru Statement from the Heart since its inception in 2017. A portrait of Scales, painted by Tsering Hannaford, was a finalist in the Archibald Prize this year. But it wasn’t until Covid lockdowns hit in 2020 that, with more time on her hands, she…

In her final years of high school, and during her time at the East Sydney Technical College in the late 1970s, Cressida Campbell found herself resisting constraints. At the Tech, they wanted students to paint like Cezanne, using big paint brushes. “I was completely not suited to the way they were trying to make me work,” she recalls. “I got self-conscious and was doing these dreadful paintings. They certainly didn’t look like Cezanne’s; it was quite depressing.” She tried printmaking. Her work today, as she observes, fits neither category, given the uncompromising way it deploys both painting and printmaking skills, with extraordinary effects. Her work is described by the National Gallery of Australia (NGA) as capturing the “overlooked beauty of the everyday”, depicting everything from an unmade bed or a…

A shield, most generally, provides symbolic and material protection—think of the highly decorative shields used in combat across numerous cultures throughout history. Shields have a broad resonance but are also specific cultural and historical records—determined by who has made, decorated and used them. Multidisciplinary artist Yuriyal Eric Bridgeman incorporates references and representations of Kuman, traditional Papua New Guinean shields, in his work. He combines these painted allusions to shields alongside photography, installation, and other painting, conjuring suggestions to abstract art and rugby league. Bridgeman, who works and lives in Brisbane and in Wahgi Valley, Jiwaka Province, Papua New Guinea, started out as a photographer. Speaking of his practice he says, “Painting is not my first language. I began as a photographer. Portraiture was my thing. I only learned to paint…

Albermarle Street, Soudan Lane, McLachlan Avenue, Blackfriars Street, Flood Street, Darling Street, Oxford Street, Art Gallery Road, Powerhouse Road, Crown Street, Elizabeth Street, Clarence Street, Glebe Point Road, Darley Street, Circular Quay West, Hickson Road, First Street, Dean Street, Jersey Road, Watson Road, Goodhope Street, Gosbell Street, Observatory Hill, Military Road, Edgeworth David Avenue, Abbott Road, Riley Street, Balfour Street, Blaxland Road, Myahgah Road, Old South Head Road 16albermarle www.16albermarle.com 16 Albermarle Street, Newtown, NSW 2042 [Map 7] 02 9550 1517 or 0433 020 237 Thu to Sat 11am–5pm, or by appointment. 16albermarle is a gallery and project space that provides Australian audiences with the opportunity to see and learn about contemporary art from southeast Asia. It is directed by John Cruthers in partnership with Sam Cruthers and managed by…

Albert Road, Hunter Street, Wilmot Street, Elizabeth Street, Tasma Street, Salamanca Place, Harrington Street, Davey Street, Main Road, Maquarie Street, Castray Esplanade, Stewart Street, Liverpool Street, George Street, Dunn Place, Murray Street Bett Gallery www.bettgallery.com.au Level 1, 65 Murray Street, Hobart, 7000, TAS 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm. 2 September—24 September The Invisible Lake Sue Lovegrove 2 September—24 September Painting the Silent Music Tim Burns 30 September—22 October Dreams and Effigies (to be burnt) Georgia Morgan 30 September—22 October Preservations Richard Wastell Colville Gallery www.colvillegallery.com.au 15 Castray Esplanade, Battery Point, TAS 7004 [Map 17] 03 6224 4088 Daily 10am–5pm. Presenting works by contemporary Tasmanian and Australian artists featuring paintings, works on paper, photography and sculpture in an annual program of curated exhibitions. 13 September—3 October Ode…

Art Collective WA www.artcollectivewa.com.au 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12noon–4pm, or by appointment. 13 August—10 September Melange Minaxi May Commonplace objects are repurposed into ready-made artworks through modification and assemblage. By challenging their inherent meaning the objects are then considered and treasured as abstract sculptures, rather than throwaways, creating relationships that are whimsical, juxtaposed, or humorous and interconnected through colour and shape. 13 August—10 September Qualiagraph\Qualiagram Hiroshi Kobayashi New paintings investigate the idea of time and depth perception, based on digitised photographic images and 3D models. The works examine the relationships between personal memories and commercial products, and how unique objects can be shared in virtual spaces yet maintain their unique qualities. 13 August—10 September Floe Stuart…

Cressida Campbell captures something special about the everyday: the moment when the familiar suddenly appears meaningful and weighted. Her art graces our cover, where the intricateness of the world is made vast. As with every artist in this issue, Campbell simultaneously creates an aesthetic world, while reflecting and suggesting something about our shared world. This mixture of interiority and social life appears, albeit in a very different way, in Natalya Hughes’s art. Her most recent work interrogates the male-dominated fields of painting and psychoanalysis, where she reveals not only real occurrences of women’s oppression, but also reclaims feminine space in a masculine art world. With a practice as both an artist and DJ, our profile of Hannah Bronte captures her fostering a future based on true collectivity. She asks, “What…

Attempted Portraits Devonport Regional Gallery 3 September–12 November In every photograph there is a story, and in each captured face, a history. What drives our desire to be immortalised in photographs, and how do we hope to be remembered? Devonport Regional Gallery asks these questions in Attempted Portraits, which showcases the historical Robinson Collection alongside work by contemporary artists. From their commercial photography studio in Devonport, Bert Robinson and his son Albert produced over 100,000 photographic negatives between 1927 to 1975, including portraits, landscapes, and notable local events. While developing the exhibition, curator Ellina Evans initially focused on the costumes worn by the Robinsons’ subjects, and began searching the collection. She found women in wedding dresses, men in military uniforms, children in crowns with tridents—even a man dressed as Santa…

None Living Knows John Young Moore Contemporary 5 October—12 November With various streams of work underway at any one time, John Young remains a nimble investigator of the intersection between traditional art making and the complexities of digital output. In his latest show, he has refined his enduring interests: his distinctive approach to colour and form probes the nature of memory, resonance and effect. For at least 15 years Young has been exploring these ideas through what he describes as his ‘History Projects’, which focus on the history of violence and benevolence (and include a history of Chinese people in Australia since 1840). Young has also produced his ‘Abstract Paintings’, a long-term project exploring the effect of technology on bodily skills. For None Living Knows, he is presenting new works,…

Impossible Depth Nicola Scott Onespace 2—24 September “A painted surface is a real, living form,” wrote Kazimir Malevich, the Polish-Ukrainian Russian avant-garde artist. Malevich’s work has been influential for Nicola Scott and her exhibition Impossible Depth. While working towards the show, Scott repeated one of Malevich’s expressions over in her mind: that the visual should induce “pure feeling”. The Brisbane-based artist’s work is heavily informed by tensions between the materiality and history of abstract painting, alongside contemporary digital and virtual spaces. “My practice centres around visual perception and how painting can draw attention to the unreliable or the ambiguous aspects of seeing,” says Scott. The artist’s play with visual perception interrogates the impact of holography—a method of creating three-dimensional illusions—within her two-dimensional paintings. Behind Scott’s ocular subversions is her engagement…

“I have unfinished business with expressionism,” explains Natalya Hughes when speaking about her artistic examination of the 20th-century German painter Ernst Ludwig Kirchner. The Brisbane-based artist has been studying Kirchner, particularly his paintings depicting two models known as Franzi and Marzella. “Kirchner is an incredible artist,” says Hughes, “but it’s difficult for me to just gloss over all his work and so, I’ve focused on the most difficult parts.” I’m struck by the name of Hughes’s latest exhibition, These Girls of the Studio, and I query her about the title: “Are these girls trapped? Why aren’t they considered ‘women’?” Hughes’s answer, despite my awareness of the history of the male gaze, still startles me. “They are quite literally girls … I think the youngest was 13 years old.” Hughes has…

Bruno Booth challenges the ableist art world—and the wider world. He has been known to make tunnels that complicate an exhibition goer’s sense of perspective. He has created a colourful clowder of sculptural cats, preening and prowling in leisure wear, circling the Art Gallery of Western Australia (AGWA), acting as ambassadors for the humans who are overlooked in art spaces. In one solo show in Fremantle, where the UKborn 40-year-old artist now lives, he turned a gallery into an oversized disabled toilet constructed from paper mache. The toilet itself was plagued by its own fragile temporality, just as real-life rest room facilities for people with disabilities can be thoughtlessly repurposed as storage cupboards. “That disabled toilet was made in this crappy old studio that I had that was rat infested,”…

Hannah Bronte greets monoculture with a whiff of suspicion. She’s most at home, she says, among people on the fringes. Those for who difference isn’t a liability but a source of strength. The Queenslandborn artist and DJ recalls her childhood in Brisbane’s pre-gentrified West End in the early 1990s. Her mother was queer and single. A spirit of collectivity pervaded the neighbourhood. She’s been trying to recreate it ever since. “It was so diverse culturally, it was so diverse economically, it had a totally different energy,” she says. “A slogan that a minister said was, ‘The West End is full of ratbags.’” She gives a wry laugh. “But I have these memories of being at halls, being at rallies. It was a signifier of outcasts, of communities that had been…

Brookes Street, Macalister Street, Brunswick Street, Doggett Street, Hasking Street, Russell Street, Bundall Road, Fernberg Road, Fortescue Street, Abbott Street, Jacaranda Avenue, Maud Street, Arthur Street, Pelican Street, Village Boulevard, George Street, Oxley Avenue, Bloomfield Street, Victoria Parade, Stanley Place, Ruthven Street, Flinders Street, Wembley Road Art Lovers Gold Coast Gallery www.artloversaustralia.com.au Unit 14, Brickworks Annex, 19 Warehouse Road, Southport, QLD 4215 [Map 13] 1800 278 568 Tues to Sat 10am–4pm. See our website for latest information. 17 September—22 October Less is More: Minimalism in Contemporary art Minimalist art offers a highly purified form of beauty and represents qualities such as order, harmony and clarity. Less is More presents a contemporary survey of minimalist art across the Art Lovers’ platform. 29 October—17 December BOLD Striking, vivid and flagrantly loud; BOLD…

Lapinta Drive, McMinn Street, Casuarina Campus, Melville Island, Darwin Convention Centre, Mitchell Street, Cavanagh Street, Garden Point, Conacher Street, Vimy Lane, George Crescent Araluen Arts Centre, Mparntwe www.araluenartscentre.nt.gov.au 61 Larapinta Drive, Alice Springs, NT 087008 8951 1122Daily 10am–4pm. 1 September—30 September Innovation In Three Parts Celebrating the art of Aboriginal artists in Central Australia through the Araluen Collection and under three distinct themes: TJORITJA + MPULUNGKINYA, EMERGENCE, MOMENTUM. 8 September—23 October Desert Mob Showcasing one of the most significant art movements, one of vast distance, country and kinship, forming a statement of what’s happening in the Desart member art centres right now. Museum and Art Gallery of the Northern Territory www.magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm. See our website for latest…

Sydney Exploring Giant Molecules Sandra Selig University of New South Wales Galleries 27 August—20 November Sandra Selig has always worked with humble materials—thread, light, paper, salt, steel and wood—arranged in highly diverse forms. The Brisbane-based artist unearths the hidden forces of our universe, examining everything from the arrangement of spiderwebs to celestial forms. The expansiveness of Selig’s practice is tackled in the largest exhibition of her work to date, Exploring Giant Molecules. Spanning two decades of work, it includes thread installations tracing architectural space, neon-sprayed spiderwebs mounted on paper, and performative salt drawings captured on sheets of steel. Selig’s considered use of organic and inorganic materials, which interact with each other as miniature examples of macrocosmic systems, lies at the core of her practice. “Her work has a certain sensibility…

Still tied to a tree Mark Valenzuela Adelaide Central School of Arts (SALA Festival) 26 July—16 September Art Gallery of South Australia (SALA festival) From 1 August For over a decade, Mark Valenzuela has interrogated colonisation, oppression and territory via a highly personal lens, especially through his Filipino-Australian identity. His new exhibition, as part of South Australian Living Artists (SALA) Festival, explores how personal identity is entwined with the legacies of geopolitical history. Still tied to a tree at Adelaide Central School of Arts (ACSA) features large-scale installations that combine ceramics, painting and drawing. The exhibition is one of two the artist will present during SALA, with the Art Gallery of South Australia showing a selection of recent Valenzuela acquisitions. The ACSA show, however, exhibits new works. “Still tied to…

Riverside Lucy Turnbull Sauerbier House 24 September—29 October Lucy Turnbull has been artist in residence at Sauerbier House in South Australia’s beachside suburb of Port Noarlunga for only a few days when we discuss her plans for the exhibition which will follow. She suggests, “We’ll see where the conversation takes us and work it out—like a drawing.” It’s akin to her very process of creating. For Riverside, Turnbull is producing works from her residency that “engage with the community and explore my interaction with Port Noarlunga, which is a place of recreation or adventure; with holiday makers, their fishing rods and beach equipment, camper vans and kayaks. I am interested in pursuing this idea of activity and movement.” Her process develops through drawing, “which is the fastest way to pull…

Michael Staniak STATION Gallery 6 September—1 October “I believe that every artist is now strongly linked with the screen and digital media,” says Michael Staniak, touching on a conceptual departure point for both his wider body of work, and his new show at STATION. “By displaying work online,” continues Staniak, “whether conscious or not, the artist is making work that will have some optimisation for the media on which it is displayed. This may occur within the work or in documentation and post-production. I simply tune in closely to the phenomena and make work that responds accordingly.” Staniak is exploring these ideas with a series of bronze sculptures displayed amid an installation of mirrored panels and plinths. The works, he says, allow him to interrogate how digital media has influenced…

In late 2021 Melbourne artist Damiano Bertoli died unexpectedly. He was 52. An artist and writer who worked across drawing, theatre, video, prints, installation and sculpture, Bertoli was deeply embedded in the Melbourne arts community. With works of great humour and intelligence, Bertoli was best known for his ongoing series Continuous Moment, which sprawled a range of mediums across multiple works, ultimately circulating on time itself. His practice gravitated toward aesthetic and cultural moments, particularly related to his birth year of 1969. Ahead of Bertoli’s retrospective at Neon Parc, we asked those who knew the artist to each write on one of his works. Read the words of artists Darcey Bella Arnold and Yanni Florence, writer Amelia Winata, and Neon Parc director Geoff Newton. Amelia Winata Born in 1969, Damiano…

Federation Square, Kingsley Street, Rosevear Place, Treloar Crescent, Ainsle Avenue, Wentworth Avenue, London Circuit, Blaxland Crescent, Wentworth Avenue, Kennedy Street, Parkes Place, King Avenue, King Edward Terrace, Anzac Parade, Kendall Lane, Reed Street, Manuka Circle, Aspinall Street Aarwun Gallery www.aarwungallery.com.au 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 0499 107 887 Daily 10am–4.30pm and by appointment in the evening. We represent some of Australia’s finest classical landscape and portrait artists as well as carrying a wide portfolio of stunning contemporary works which sit alongside exquisite works from our Indigenous artists including paintings, printmaking, ceramics, glass, bronze and sculpture. 23 September—16 October Re exploration Retracing Burke and Willis Greg Mallyon Artists Shed www.artistshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tues to Sat 9am–5pm, Sun 10am–4pm.…