Honey Long & Prue Stent, Sub Soil, 2018, archival pigment print, 106 x 159cm.
HONEY LONG & PRUE STENT's exhibition Phanta Firma has been reviewed in The Age today.
John McDonald writes: 'The anonymous figures are intended to be both alluring and unsettling. In conjoining the female body with the landscape, the artists say that they are liberating energies and celebrating "dualities of desire".'
HONEY LONG & PRUE STENT are taking over Vault's Instagram account for the next three days.
Honey Long & Prue Stent, on location, 2018
Phaptawan Suwannakudt, sketches for work Knowledge in your Hands, Eyes and Mind for Bangkok Art Biennale, 2018.
PHAPTAWAN SUWANNAKUDT has been invited to participate in the Inaugural Bangkok Art Biennale happening between 19 October 2018 - 2 February 2019.
The theme of the Biennale is Beyond Bliss. It is an open-ended question that invites everyone to contemplate their own notion of happiness and the way they find happiness, posing inquiry as to what the ultimate happiness is.
SBS shares the untold story from ANNE ZAHALKA in Nobody Loves You More Than Me: Finding Margarete.
Nobody Loves You More Than Me: Finding Margarete is a new interactive text based documentary produced by SBS Australia, which explores the story of Anne Zahalka's grandmother, Margarete Back, who disappeared during World War Two.
As next year marks the 80th anniversary of the start of WWII, this new interactive text based documentary offers a unique perspective on those who lived and those who lost loved ones during Hitler’s reign.
ANNE ZAHALKA, Nobody Loves You More Than Me: Finding Margarete, 2018.
JULIE RRAP and DANI MARTI are in the exhibition Hunter Red: Corpus, at the Newcastle Art Gallery.
The overarching exhibition theme of red is loaded with symbolism and tactile metaphors. The colour also provides audiences with an exploratory experience in the exhibition space with works of art that evoke life, death, blood, reproduction and mortality.
The exhibition opened on 26 May and will continue until 22 July, 2018.
Julie Rrap, Persona and Shadows: Christ, 1984, cibachrome print, 194 x 105cm.
Phaptawan Suwannakudt, Studio, 2018
PHAPTAWAN SUWANNAKUDT was one of seven artists selected for the 2017/2018 studio awarded residency at The Clothing Store, North Eveleigh, located within the Carriageworks multi-arts precinct.
The Clothing Studio Carriageworks is celebrating its one year anniversary on 6th June with friends and patrons.
EUGENIA RASKOPOULOS has been included in the video exhibition A Visibility Matrix at The Douglas Hyde Gallery in Dublin. Initiated by Dublin-based artists and long-term collaborators, Sven Anderson and Gerard Byrne, the exhibition unfolds as a response to the ambitions of abandoned art and technology projects from the 1960s–1980s that prioritised multiscreen video projection, monitor arrays, communications networks and algorithmic composition principles. These projects explored visual excess and hyperstimulation prior to the development of the Internet, and before multi-screen video displays expanded into the vernacular backdrop of everyday public and private life.
The exhibition opens Wednesday 6 June and continues until 25 August.
Eugenia Raskopoulos, Rootreroot, 2016, HD digital video, single channel, colour, stereo, 8.45mins.
If you missed GUAN WEI's lecture at the Australian Tapestry Workshop last February, you can now watch it entirely here! As part of the 'Friends of the ATW' lecture series, GUAN WEI delved into his practice from the late 1970's to more recent works.
Honey Long & Prue Stent, Banana Slug, 2018, archival pigment print, 72 x 108cm.
Honey Long & Prue Stent, Salt Pool, 2018, archival pigment print, 72 x 108cm.
ARC ONE is delighted to present Phanta Firma, the first solo exhibition in Australia for talented collaborative duo HONEY LONG & PRUE STENT.
Multidisciplinary artists Honey Long and Prue Stent have worked together since 2010. Their spontaneous and playful art centres on a fascination with gender and the body, and seeks to undermine notions of the passive female. They employ the body and unconventional materials to distort and fragment the bodily form, often with unexpected outcomes. Dreamy, fluid, saccharine, gritty and fleshy, Long & Stent challenge and captivate audiences with powerful imagery that crosses the subversive and the surreal.
In Phanta Firma, Long & Stent have quoted and appropriated signs, tropes, and motifs of woman from contemporary culture and the canon of art history as an erotic lure that guides the viewer into unfamiliar territory. In these works the artists have carefully composed their own bodies, and those of friends, according to the traditions of Classical aesthetics. Embodying Botticelliean nymphs and Venuses, Classical sculptures, and sirens draped in material that clings to the female form or billows in a seductive Monroesque fashion, their gaze never confronts the viewer.
However, rather than passive, still and compliant, these young figures are in control, self-assured, and enjoying their own agency as they completely immerse themselves in their hyper real earthly landscapes. For Long & Stent, ‘in dissolving the body within these spaces there is a sense of energy being liberated through the clash and mingling of matter’. This incorporation of the landscape with the female form forces the male gaze to blink and poses questions to the viewer regarding the cultural construction and representation of female sexuality and desire.
Long & Stent’s sculptures, made from blown glass slumped and deflated onto rocks collected while on location shooting their images, and containing water samples from these sites, continue this project. They act as physical conduits to these photographic works, furthering the connection between the viewer, the landscape and the figure’s experience.
Phanta Firma is a playful fantasy that seeks to embed itself in solid ground.
Working across photography, performance, installation and sculpture, Honey Long and Prue Stent (both b. 1993, Sydney, Australia) have been making art together since they were teenagers. Long completed her Bachelor of Fine Arts at Sydney College of the Arts, Sydney, in 2015 and Stent completed her Bachelor of Arts (Photography) at RMIT, Melbourne, in 2014. Their work has been shown across Australia and in various counties internationally, including Zurich, Madrid, the United Kingdom and the United States. Recent exhibitions include London Photo, The Female Lens: 9 Contemporary Female Photographers, Huxley-Parlour Gallery, London (2018); Future Feminin, Fahey/ Klein Gallery, Los Angeles (2018); Long and Stent, Nicola Von Senger Gallery, Zurich (2018); Players, curated by Cristina De Middle Puch, Photo Espanña Festival, Madrid (2017); and Sites of the Imagination, ARC ONE Gallery, Melbourne (2017). They have participated in a number of projects, including This _ _ _ _ _ _ _ may not protect you but at times it’s enough to know it’s there, collaboration with Amrita Hepi, Underbelly Arts Festival, Sydney (2017); Sound and Vision, Sydney Opera House, Sydney (2016); and Gucci #24 Hour Ace, LA. Long & Stent currently live and work between Melbourne and Sydney, Australia.
MARIA FERNANDA CARDOSO has an amazing new public artwork in Green Square, the City of Sydney’s new community and cultural precinct. MARIA FERNANDA's work, While I Live I Will Grow' sits at the entrance of the precinct and is made of sandstone and Queensland bottle trees.
The precinct will be launched officially on Saturday 26 May and MARIA FERNANDA will be in conversation with Green Square curatorial advisor Amanda Sharrad between 1.30pm – 2pm.
Maria Fernanda Cardoso, Where I Live I Grow, sandstone, queensland bottle trees, 2018.
Image: Robert Owen, Endings - Kodachrome 64, No. 00, 22/07/1992, 2009, archival print on 310gsm, 104 x 72.5cm.
ROBERT OWEN has two of his 'Endings' prints at CCP's Fundraiser The Art of Collecting. This is a fantastic opportunity to support the Centre for Contemporary Photography, with works available from leading contemporary Australian artists.
The opening is Thursday 17 May, 6-8pm.
PRUE STENT & HONEY LONG have a fantastic work in CCP's Fundraiser The Art of Collecting. This is a fantastic opportunity to support the Centre for Contemporary Photography and all the wonderful work they do.
The opening is at CCP, Thursday 17 May, 6–8pm at 404 George Street, Fitzroy!
Honey Long & Prue Stent, Suckle, 2017, archival pigment print, 87 x 58cm.
DANI MARTI and JULIE RRAP are in the exhibition Hunter Red: Corpus, at the Newcastle Art Gallery.
The overarching exhibition theme of red is loaded with symbolism and tactile metaphors. The colour also provides audiences with an exploratory experience in the exhibition space with works of art that evoke life, death, blood, reproduction and mortality.
The exhibition will open on 26 May and continue until 22 July, 2018.
Image Caption: Dani Marti, 'Looking for Felix', 2000, plastic beads, curtains, 300 x 300 x 300cm.
Lyndell Brown & Charles Green, Installation view of Morning Star, on display at The Sir John Monash Centre in Villers-Bretonneux, France
LYNDELL BROWN & CHARLES GREEN's tapestry Morning Star is on permanent display at The Sir John Monash Centre in Villers–Bretonneux, France.
The tapestry will provide a lasting legacy in perpetuity commemorating the 46,000 Australian lives lost in battles of the Western Front in the First World War and commemorate the centenary of ANZAC.
The magnificent tapestry is hand-woven at the Australian Tapestry Workshop by Pamela Joyce, Leonie Bessant, Chris Cochius, Jennifer Sharpe and Cheryl Thornton.
Lyndell Brown & Charles Green's exhibition Morning Star: An Exhibition is currently on view at the Australian Embassy in Paris, France.
The exhibition continues until June1, 2018.
Lyndell Brown & Charles Green, Installation view Morning Star: An Exhibition, Australian Embassy in Paris, France
Vault Magazine, Issue 22
PRUE STENT & HONEY LONG have been featured in the current VAULT magazine, Issue 22. The feature article talks about the power of their collaborative process and their upcoming exhibition at ARC ONE, opening 24 May, 6-8pm.
NIKE SAVVAS has curated the Redlands Konica Minolta Art Prize 2018.
Covering two floors at the National Art School in Darlinghurst, the exhibition features nineteen artists and favours what Savvas calls “artist’s artists”. The exhibition, Extreme Prejudice has been reviewed by Arts Hub: "There are too many wonderful paintings and artists to mention here – being a painter herself it is not surprising that Savvas puts a lot of paintings in this show; it makes the experience very meaty and soothing".
If you are in Sydney, visit the National Art School in Darlinghurst.
The exhibition is on until 12 May, 2018.
Nike Savvas, 'Sliding Ladder - Black with White Pentagon 1', 2012, wool, wood, steel, 155 x 260 x 250cm.
Cyrus Tang, Golden Hour, Installation view, ARC ONE Gallery, 2018.
CYRUS TANG's exhibition at ARC ONE Gallery has been featured in the May Issue of Art Monthly Australasia.
An article on HONEY LONG & PRUE STENT has been published in The Good Life italia magazine #13.
Honey Long & Prue Stent, Fis-Net, 2017, archival pigment print, 58 x 87cm.
Cyrus Tang, 14.14.16.004, 2018, archival pigment print, 90 x 150cm; Cyrus Tang, Golden Hour, archival pigment print, 90 x 90cm
With a unique capacity to explore nostalgia, memory, and absence, Cyrus Tang’s arresting new body of work is a powerful elegy on damage and loss, existence and presence.
For her second solo exhibition at ARC ONE Gallery, Tang continues her project of paradoxically reconstructing and recording ephemeral mental images and sensations in permanent materials. In this latest suite of photographic work, she employs the concept of the ‘Golden Hour’ to further her meditations on humanity.
The term first came to prominence during World War One where it was used by medics to describe the critical liminality between life and death experienced by battlefield trauma patients; that narrow window of time when medical intervention can still have a successful outcome.
The term is also used by landscape photographers to articulate the transition of light between night and day. Here the ‘Golden Hour’ refers to a brief period just before sunset, or just after sunrise, when the harsher contrast of daytime is reduced and light has a gentle glow and appears rounded and mellow, with long and soft shadows.
These two meanings inform this exhibition as Tang considers the balance of life and death associated with trauma and the transition between light and dark in her juxtaposition of two aesthetically disparate series of photographs which explore experiences of damage and loss.
In her haunting cityscapes, Tang has used high speed still photography to chronicle the destruction of a model city as it is repeatedly bombarded. Brutalist inspired high fired porcelain architectural structures erupt into dust evoking all too familiar contemporary media images of humanity at crisis point.
While in her portraits of friends, acquaintances, and strangers with Chinese cultural backgrounds, Tang has used overlaid long exposure times to record her sitters’ reactions to films related
to Hong Kong, Chinese cultural issues or history. The overlaid exposure times trace the facial expressions, shifts in movement, comfort and discomfort, absorption and impatience of her sitters as they watch these films for up to three hours. This extended period of reflection exposes private memories and emotions to Tang’s lens, producing images that are a powerful confluence of past and present.
Born in Hong Kong, Cyrus Tang moved to Australia in 2003. She completed her Bachelor of Fine Arts (Honours) at the Victoria College of the Arts, Melbourne, in 2004, and her Master of Fine Arts (Research) at Monash University, Melbourne, in 2009. Cyrus has participated in a number of residency programmes, including Helsinki International Artist Program (2013); The National Art Studio in South Korea (2012); Cité Internationale des Arts, Paris (2009); and the Banff Centre, Canada (2008). She was the recipient of the Asialink Grant (2012); the Australian Council for
the Arts Skills and Arts Development Grant (2011) and New Work (Emerging) Grant (2009);
the Georges Mora Fellowship (2008); Theodor Urback Encouragement Award (2004); and The National Gallery of Victoria-Trustee Award (2003). Her works have been shown across Australia and in various countries internationally, including Finland, South Korea, Singapore, Japan, France, China and Sweden. She currently lives and works in Melbourne, Australia.
This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
Special thanks to John Young, Theodore Wohng, Pei Pei He, Sung Ling, Nikki Lam, Sophia Cai, Charles Lai, Zhong Chen, Yifeng Tan, Chonggang Du for their participation in this project.