Locust Jones’ giant scroll work ‘The end of the beginning, New Year’s Eve to April Fools’ features in Playback, the 2018 Dobell Australian Drawing Biennial at the Art Gallery of NSW. This exhibition features works by Australian artists who find a connection between drawing and the moving image and will be on display until 21 October.
The artist worked on this large-scale drawing obsessively every day for months on end without a vision of the overall image. Every morning before unrolling a new section of the paper scroll, he listened to the radio, read the papers and scrawled through online news, gleaning headlines and images that fed into his unfiltered drawings. The disjuncture between the sites of conflict that are the source of news and the safety of our homes where we consume the news stands at the heart of Jones’ work.
drop is a major minimalist rope intervention of kinetic sensitivity by Gary Deirmendjian, now installed at the Sydney Olympic Park Railway Station. It draws its form and meaning directly from the architecture of the site, connecting to the canopy fringe at the Western main entry. drop consists of nineteen suspended ropes of graduated height that mirror the spatial arc scribed by this canopy fringe. The artist asks us to “just watch the buildings breathe in the slightest breeze, or even heave against a howling wind…”
Deirmendjian’s intervention joins three other public art installations at Sydney Olympic Park from July to October this year.
curator and artist Armin Hartenstein will be holding a guided tour of ‘BOVE-EXPAT’, a group show in Düsseldorf featuring the visceral, scrolling work of Locust Jones. The tour will begin at 8PM on Thursday July 5 and conclude with a discussion panel, where Hartenstein will be in conversation with Emmanuel Me and Mark Lepper. There will also be a performance at 9PM by Swen Buckner titled ‘Soundstudy’, where synthesisers, guitars and other instruments will be intuitively merged into sound alloys. If you are in Germany this week, spend your evening at the Kunstraum Düsseldorf.
As part of the Griffith University Art Collection, Anne Zahalka’s arresting image ‘The Artist (self portrait)’ will feature in an upcoming group show entitled ‘Dark Rooms: Women Directing the Lens 1978-98’. This exhibition will celebrate iconic women artists in the Museum’s photomedia collection, including Destiny Deacon, Fiona Hall, Julie Rrap, Lindy Lee and Tracey Moffatt. In a 2016 interview with Anne Rosenfield, Zahalka discusses these formative decades and her practice, saying “I’m constantly looking at images from the past and always interested in how we see ourselves through this lens today and the differences that exist between the two.”
‘Dark Rooms’ will open on Saturday 14 July at 2PM with Artist Talks led by curator Naomi Evans beginning at 3PM.
Writer Andrew Stephens is drawn to the “darkly magical” aspect of Liam Garstang’s solo show ‘The Shepherd’s Crook’. For the July / August issue of Art Guide Australia, Stephens discusses how the show’s “images, spectral and evocative, emerge. [Garstang] talks of eerie old houses, water divining, the suspenseful sounds used in sci-fi and horror cinema, creaking noises, a post-apocalyptic aesthetic, and the powerful image of the twin hanging trees that he relates to the high suicide rates experienced in regional communities.”
The Shepherd’s Crook will be on display until 21.07.18.
Janet Laurence’s work ‘Shades of the Sacred’ has been selected as a finalist in Hadley’s Australian Landscape Prize. Laurence’s practice has for decades explored the intersection between art, culture and the natural landscape, often recording sites of human intervention and natural reclamation through vivid, layered works. Presented at the Hadley’s Orient Hotel in Hobart, the prize is annual and acquisitive, seeking to contribute to the Tasmanian and Australian art scene. The finalists’ exhibition will be held from 21 July – 25 August this year and the winner announced on Friday 20 July. Stay tuned to see her Hadley Prize work installed at the iconic hotel.
Experience some of the most immersive and expansive artworks in the Art Gallery of NSW collection. Opening 14 July, ‘Spackemakers and roomshakers’ will feature large-scale room installations by Nike Savvas as well as Kathy Temin and Ernesto Neto.
Savvas’ ‘Atomic: full of love, full of wonder’ is comprised of a shimmering haze of vibrating coloured balls, suggesting the very atoms that are the fundamental structural units of all things. Through carefully calibrated design, Savvas transforms the gallery exhibition space into a horizon line of coloured particles and a mesmerising optical field.
Employing light, sound, fabric, air, and spices, the artworks in ‘Spacemakers and roomshakers’ use the space of the gallery as a medium to be filled, tested, stretched, altered and above all energised by viewers. The exhibition opens on Saturday 14 July and will continue until October in the contemporary galleries at the Art Gallery of NSW.
‘Playback’ will open on 7 July at the Art Gallery of NSW, featuring Vernon Ah Kee, Sharon Goodwin, Laura Hindmarsh, Dorota Mytych, Jason Phu, Lucienne Rickard and Nick Strike alongside Locust Jones. These artists present new works that find a connection between drawing and the moving image. This exhibition of works for the Dobell Drawing Biennial will continue until October 2018.
In the first of a three-part exhibition series at the Wien Museum, Hubert Scheibl’s vibrant painting ‘Aktuell’ will be on display until 1 July in ‘Die 90er Jahre’. Curated by Brigitte Borchhardt-Birbaumer and Berthold Ecker, ‘The 90s’ offers a panoramic view of Vienna’s art scene during that decade. It is an exhibition of unprecedented breadth, featuring 255 works by 245 artists displayed in three consecutive acts at the iconic museum.
“It was a time of upheaval in Europe: the Iron Curtain had fallen and the Cold War was over. As globalisation gained momentum, Vienna moved closer to the heart of international developments. The situation was perfectly illustrated by art itself, and Vienna became the focal point of a European cultural scene that was opening up to the East. Diversity in all artistic media was the defining characteristic of the decade.”