PETER DAVERINGTON has completed a large-scale mural at South Melbourne Primary School, the first public vertical school in Victoria.
Featuring an Australian landscape of banksias and verdant growth interrupted by geometric, hard-edge line work continued from the building's facade, the mural will be enjoyed by students for years to come.
Watch Peter at work in the footage captured by Danny Ronin here.
Peter Daverington, Coxsakie mural, 2019, South Melbourne Primary School, Victoria.
Catherine Woo has created a facade for the newly developed Ritz-Carlton hotel in Perth. Her work titled Cascade was designed to evoke shimmering water, referencing the nearby Swan River and the falling water of the famous Kimberley Gorges of Western Australia.
Woo's original work was scanned into a 3D model and developed at monumental scale using virtual reality technology. Cast in recycled aluminium, the rippling surface comes to life under the changing light of day and creates a powerful physical presence through scale and reflection.
Built by UAP in collaboration with the artist and the construction team at ProBuild.
Photos by Robert Frith - Acorn Photo.
Anne Zahalka, installation view of Wild Life, Australia at ARC ONE Gallery, 2019 featuring Sea Bird Colony, Admiralty Rocks with turbulent seas, Lord Howe Island, 2019, pigment ink on adhesive paper, 275 x 375 cm (Source: Australian Museum)
ANNE ZAHALKA is featured in the exhibition Sublime Sea: Rapture & Reality at the Mornington Peninsula Gallery, opening this Saturday 14th December.
The exhibition is a spectacular immersive exhibition about the power of the sea in human imagination. It combines art and the natural sciences to chart the evolution of a ‘sublime’ perception of nature and the sea’s benevolence as a primal source of life. Contemporary works reflect new realities and insights into human interaction with the sea, the tragic voyages of refugees, threat of plastic pollution and alienation from natural forces.
The exhibition continues until 23 February.
CYRUS TANG's solo exhibition Golden Hour, previously shown at ARC ONE in 2018, is being exhibited at Galerie Oasis in Bangkok.
Opening today, this exhibition comprises a suite of photographic works that continue Tang's project of paradoxically reconstructing and recording ephemeral mental images and sensations in permanent materials. The title is inspired by the multiple meanings of the term 'Golden Hour' - sometimes referring to the narrow margin of time for treating casualty patients in trauma yet also used by photographers to refer to a brief moment of time just before sunset or just after sunrise.
The exhibition continues until 12 January.
Cyrus Tang, still from Remote Nation, 2008, standard definition video loop, 13.56 min
CYRUS TANG’s work Remote Nation is currently showing at MS.SUE as part of the exhibition EVERYTHING THAT EXISTS IN THE CURRENT.
The exhibition, part of the Due West Festival program, explores the emotional and social implications of moving between different states of being. When the flow of our existence is interrupted and relocated, the context shifts, and everything we knew then is no longer.
Tang’s video work Remote Nation shows a city made of clay gradually disintegrating underwater, thereby alluding to a fading sense of 'home'. The water, however, transforms the city into another state of existence. Tang says she is particularly moved by the residue left from the melted clay.
Curated by Nikki Lam, EVERYTHING THAT EXISTS IN THE CURRENT is installed at multiple sites in central Footscray.
Janet Laurence’s installation at Continuous Regeneration
JANET LAURENCE is exhibiting a version of 'Desire, Elixir Lab' at Columbia Circle in Shanghai. Continuous Regeneration, an exhibition on sustainability, sees 30 world-renowned artists and designers address the issue of environmental protection.
Columbia Circle is a historical compound built in the 1920s during Shanghai's grand epoch. It used to house, among other things, the Columbia Country Club, a popular hangout for the American elite society in the ‘30s & ‘40s including a clubhouse, gym and outdoor pool. Having sat vacant for years, the site is now being renewed by OMA Architecture and is fast becoming a prominent public space in Shanghai again, full of commercial and cultural activities, restaurants and creative business.
Continuous Regeneration is an exhibition committed to creating an organic and interactive space to deeply explore the environmental and ecological issues facing the world today, with the hope of triggering public concern and action.
The exhibition will run until 16 February.
Charles Green & Lyndell Brown with one of their works on display in Civilization: The Way We Live Now at NGV Australia.
LYNDELL BROWN & CHARLES GREEN are featured in the latest edition of NGV magazine. In an edited transcript of a conversation that took place in April this year, Charles & Lyndell discuss the role of artists on war missions and their experiences in wartime.
LB: Our works are what you could call ‘slow art’. They are often finely worked, detailed realist paintings, and they take us a long time to do in the studio. We weren’t keen on the idea of working like that in difficult situations. We were in the desert conditions of Iraq and Afghanistan.
CG: We were possibly the first Australian official war artists to resist the idea of painting and drawing on the spot. It’s an immensely complicated process to get artists into those zones and a place where they can work. We. told them we could go in with cameras
John Davis, Kōan 64, 1994, twigs, calico, bituminous paint, cotton thread, 2378 x 150 x 7 cm.
JOHN DAVIS' work Kōan 64 has been acquired by the Geelong Gallery and will be on display among other recent acquisitions in their show Turmoil & Tranquility - recent acquisitions 2018-19, opening this weekend.
Davis' mature works are a distillation of many of his earlier explorations. While still characterised by the use of inexpensive or found materials and low-technology processes, and reflecting his affinity with the Australian bush, works such as this one present a philosophical perspective and a deeper concern for the state of the world.
The title of the work draws upon the Zen Buddhist concept of Kōan. Eluding a precise definition, the term loosely identities that which cannot be understood through rational thought but might be accessible through intuition. Arguably, for Davis, it articulated that indeterminate space between absence and presence.
Turmoil & Tranquility will run until 16 February.
Regenerative farmer Rebecca Gorman & Janet Laurence at Yabtree West.
JANET LAURENCE is participating in a 'Farm & Art Open Day' at Yabtree West this Saturday 30 November.
Through the auspices of Earth Canvas, this unique project has invited 6 leading Australian landscape artists to devise a body of work that reflects their experience of working on a Regenerative Farm.
Janet undertook a residency in April with regenerative farmer Rebecca Gorman, at her property 'Yabtree West' in Gundagai NSW, which hosts a beautiful community of trees. On Saturday, guests will be able to see the resulting artwork and experience a day of tree immersion, discussions of regenerative agriculture, guided walks, artists talks and lunch from local producers.
This is a terrific reason to spend a day in the country, suitable for the whole family. Camping on the property, or local accommodation can also be arranged.
Pat Brassington, The Permissions #4, 2013, pigment print, 21 x 18 cm
PAT BRASSINGTON's work is on show in the exhibition 'Contemporising the Modern: Australian Modern & Contemporary Photography', now showing at Town Hall Gallery, Hawthorn.
Showcasing photographic works that speak of 20th- and 21st-century Australia, this exhibition explores the development of Australian photography and its coming of age in a period when photographers were still pushing for their work to be accepted as a pure art form. The works are drawn from the Russell Mills Collection and are touring from MAMA (Murray Art Museum Albury).
The exhibition runs until 15 December.
John Young, Lambing Flat Riots installation view within The Lives of Celestials exhibition at Boroondarra Arts Centre, 2019.
JOHN YOUNG is an exhibiting artist in the travelling show Don't Ask Me Where I'm From. The exhibition will open at the Imago Mundi's Gallerie delle Prigioni in Treviso, Italy, and will tour to the Aga Khan Museum in Toronto in March, before multiple venues across Canada, the US, Europe & the Middle East.
The exhibition is born out of a new partnership between the Aga Khan Museum & the Luciano Benetton Foundation's Imago Mundi, dedicated to fostering dialogue and understanding between cultures and communities. Don't Ask Me Where I'm From channels the immigrant experience in a series of diverse artistic commissions exploring cross-cultural artistic realities.
John Young will present a version of the Lambing Flat Riots project. Between November 1860 and September 1861 the New South Wales goldfields of Burrangong, near the present day township of Young, was the site of Australia’s largest racially motivated riot. Rising antagonism over gold mining disparities and cultural habits saw trivial misunderstandings intensify into racial tensions that erupted into violence across the goldfields. Over 10 months, Chinese miners were subjected to threats, robbery and sustained acts of violence. This anti-Chinese sentiment had swept through the goldfields of Victoria in the 1850s and by the early 1860s had reached a flashpoint in New South Wales, provoking public opinion and debate. In Sydney, the NSW Parliament responded to the contention by passing legislation to restrict Chinese immigration and began, alongside Victoria and South Australia, to write the prelude to the White Australia Policy.
JULIE RRAP has put forward a proposal for the AGNSW facade commission. Julie was one of six women artists invited to create a concept for the empty space above the Gallery’s grand entrance, once intended for a decorative bronze panel that was never realised.
In 1913, the Gallery trustees commissioned the expatriate Australian artist Dora Ohlfsen (1869-1948) to sculpt a classical Greek chariot race in low relief for it. Though Ohlfsen worked on the piece for many years and her designs were approved, in 1919 the commission was abruptly cancelled. One hundred years later, the AGNSW is examining the original commission and some exciting contemporary proposals for the space.
In her concept, Rrap uses her own body to engage with issues of representation, gender and power.
Titled Walk out, Rrap’s panel appropriates the legs of five favourite sculptures in the AGNSW collection: those by Ugo Rondinone, Patricia Piccinini, Hans Bellmer, Louise Bourgeois & Michael Parekowhai. If developed further, Rrap would perform these figures, acting them out and casting her own legs in bronze.
In Walk out, Rrap uses surreal humour to destabilise. She refers to the relentless imaging of the body - especially the female body - within Western art history. These disembodied legs walk out in protest from the bastion of culture; or do they join our own to reenter the museum confidently, through the front door?
An exhibition of the proposed concepts runs until 8 March 2020.
Not one, but four ARC ONE artists are included in the exhibition Between Two Worlds at Newcastle Art Gallery. GUO JIAN, CYRUS TANG, GUAN WEI & JOHN YOUNG are featured.
Between Two Worlds aims to promote the diversity of works of art being produced by Australian artists of Chinese heritage. The exhibition acknowledges the artists who have lived, worked and are connected to China and Australia through migration, major historical events and Australia’s agricultural and industrial developments.
On the opening Saturday, GUO JIAN will join a panel discussion that introduces the exhibition’s themes, along with curator Catherine Croll and fellow exhibiting artists Rowena Foong & Peter Gardiner.
This talk will run from 2 -3 pm on Saturday 16 November.
Array #1, 2019, type C photograph, 92 x 230 cm.
ARC ONE is thrilled to present, Array, the final ‘cycle’ in award-winning Australian artist Murray Fredericks’ 16-year SALT Project. These visually arresting abstract landscapes continue the artist’s emotional engagement with Kati Thanda (Lake Eyre), South Australia.
“Stay there long enough, and the landscape forces you to a place beyond the rational mind, beyond your sense of self. It’s a part of the human condition we experience when confronted by concepts of infinity, absorbed in meditation, or when confronted by our own mortality. The images are responses to that experience”. - Murray Fredericks, 2019
Murray Fredericks has been drawn again and again to the extraordinary location of Lake Eyre in his pursuit to understand the overwhelming emptiness and powerful emotional resonance of remote land and sky. Camping alone for weeks at a time, Fredericks’ spiritual and mental experience of this environment is encapsulated in his immersive abstract landscapes that bear witness to the transcendent capacity of the natural world.
Array #15, 2019, digital pigment print on cotton rag, 120 x 160 cm.
Array is the final cycle in Murray Fredericks’ acclaimed SALT Project. In these new works the artist intersects endless space through the ethereal reflective quality of mirrors. Rather than employing the mirror as a symbol of self-reflection, Fredericks redirects our gaze away from ourselves and into the immense environment. His translations of the language of landscape verge on otherworldly; reflections hover together as geometric forms, apertures or portals, offering a dual experience of looking both into another realm and out, as the lake’s glass-like surface mirrors an infinite space above. In one moment, an ensemble of sky and surface meld into a symphony of stars under Fredericks’ powerful control. These works plunge the viewer into a mesmerising spatial gestalt as Fredericks dissolves the contours of the landscape into a limitless optical deception. Place is defined by boundless empty space, as his own reflections on landscape mediate and expand what we see. Offering the viewer an emotional engagement with the environment, we see evidence of greater forces at work. There is a sense of release as the self dissolves into the light and infinity. The residue is a signature of an artist who finds the deep layers of his work by revealing the inexhaustible depth of what is already there.
Murray Fredericks is an internationally acclaimed and multi-award-winning photographer and filmmaker. Fredericks has exhibited widely, including Fotográfica Bogotá, Museum of Photography, Bogota, Colombia, 2017; Inside the Dome (DYE2) (with Tom Schutzinger), Geelong Gallery, 2015-16; SALT, Perc Tucker Regional Gallery, Townsville, 2016; a major Australian landscape survey exhibition at the National Gallery of Victoria, 2012; and two solo shows at the Australian Centre for Photography, 2010 and 2015 respectively. His work has been acquired by prestigious public and private collections internationally, including the National Gallery of Victoria; Australian Parliament House; Australian National Portrait Gallery; Artbank; The Sir Elton John Collection; Macquarie Bank; Commonwealth Bank; The Myer Collection; The Valentino Collection; and a number of regional galleries across Australia. Fredericks has been the recipient of numerous awards and is a regular finalist in Australia’s top photography prizes. In 2015, he received the People’s Choice Award for the Bowness Photography Prize, was runner up in the Head-On Festival Landscape Prize and a finalist in the JUWS Photography Award. His first documentary film, Salt, for which he was cinematographer and co-director, won twelve major international awards, played over 50 festivals and was screened on the ABC and PBS in the USA.
The Far Country, installation view ARC ONE Gallery, 2019. Photo: Andrew Curtis.
ARC ONE Gallery is delighted to present The Far Country, a major exhibition by Australia’s foremost artist collaboration, Lyndell Brown & Charles Green. An opening reception will be held on Wednesday 9 October, 6-8pm.
Lyndell Brown and Charles Green’s extensive practice has long been informed by the nature of memory and an investigation of how events intersect with the legacy of the past and with art history to inform our experience of identity, place and landscape. In their latest exhibition at ARC ONE, The Far Country, the artists speak to the contemporary condition of turbulence by mapping images across continents and centuries. Drawing on psychedelic anthropologist Carlos Castaneda’s book, The Eagle’s Gift (1981), which turned the depiction of a shaman’s mentorship into the superimposed juxtaposition of networked times, spaces and narratives, this exhibition explores the ways in which memory attracts pathos and how single images derive from the virtual recollection of a panorama of events unfolding in time. Narrative is a decoy.
The Far Country, 2019, Oil on Transparent Digital Print on Duraclear Film on Perspex, 200 x 143 cm. Photo: Andrew Curtis.
In these fifteen new works, images from different contexts and timeframes—sourced from the artists’ encounters with museums and research centres, from books, journals, postcards, electronic media, as well as their own personal travel photographs and family archives—are exquisitely re-created, layered, and collaged to form new, woven realities that trigger new memories and old meanings. References ranging from Gerhard Richter’s painting of 9/11, a pair of now vanishing Gouldian Finches, a ship carrying young Australian soldiers to war in 1941, a snapshot taken by Green’s father during the bombing of Darwin in 1941, refugees fleeing across high Kurdish mountains, and a photograph taken by the artists in 2014 at Santa Cruz cemetery in Dili, Timor-Leste, recording the site of a massacre, all float in meticulously painted, superimposed trompe l’oeil. Deliberately difficult to read as narrative, this flow of information and images presents us with the beauty of the physical world and human forces that collide against it. The artists’ personal memories are juxtaposed with contemporary and historical images of conscience and humanitarianism, exploring the way in which our experience frays alongside collective memory. In The Far Country, Brown and Green, create new resonances between spaces, times, histories and memory. They note that to move forward, we must constantly concentrate on peripheral vision, but then we may turn into phantoms, become invisible and fly across shimmering spaces and times.
The Black Range, 2019, Oil on linen, 155 x 155 cm.
Lyndell Brown and Charles Green have worked as a collaborative team since 1989. Since then, all their art has always been made together. Working across mixed media on paper, oils, photography and overpainted photographs, they have held more than 40 solo exhibitions and have been included in more than 50 curated exhibitions. In 2007, they were Australia’s Official War Artists, deployed to Afghanistan and Iraq, and between 2011 and 2019 worked on a follow-up project in collaboration with artist Jon Cattapan (assisted by two Australian Research Council Discovery Grants) about the aftermath of Australia’s wars since Vietnam, which the three artists exhibited in Melbourne across two galleries in late 2014, accompanied by a book (Framing Conflict: Contemporary War and Aftermath, Macmillan, 2014). In 2017 Brown and Green were commissioned to design a major tapestry, Morning Star, woven by the Australian Tapestry Workshop, to celebrate the opening of the Sir John Monash Centre at Villers-Bretonneaux, France. Brown’s and Green’s art has been extensively written on. Their works have been included in a number of museum surveys and are in the collections of most of Australia’s public art collections and institutions, including the National Gallery of Australia, the National Gallery of Victoria, the Art Gallery of New South Wales, the Australian War Memorial, as well as in many major private collections in Australia and overseas. Charles Green is Professor of Contemporary Art at the University of Melbourne and Lyndell Green is a Research Fellow at the University of Melbourne. They are based in regional Victoria and walk that country every day. This exhibition is supported by the University of Melbourne and the Australian Research Council. The artists acknowledge their masterprinter, Chris Pennings, at Fini Frames.
Twisted Logic, Installation view, ARC ONE Gallery, 2019. Photo: John Gollings.
ARC ONE Gallery is delighted to present Twisted Logic, an exhibition of new sculptures by leading Australian contemporary artist Julie Rrap.
Taking as its central theme the historical fact that bronze artworks were often melted down to create weapons and armour with this process potentially reversed in times of peace, Twisted Logic articulates the ambiguous relationship that can exist between culture and politics. Art can be created or destroyed depending on political regimes.
Using cast sections from the artist’s body, Rrap’s bronze Arti-facts suggest an originary sculptural pose now transformed into objects that exist in an uncertain space between weaponry and armament. The artist’s body becomes the ‘material’ for these sculptural works through direct silicon moulding and casting in bronze; the effect creates an amalgam of vulnerability and strength that highlights the body ‘within’ conflict.
![“Beating your Breast” Plate [detail], 2019, bronze and steel, 106 x 40 x 28.5 cm.](https://images.squarespace-cdn.com/content/v1/54012345e4b0f72d40b6c44e/1573787034609-29W2E130WIUBSUA732QM/Rrap_%2522Beating+your+Breast%2522+Plate_2019_courtesy+the+artist+and+ARC+ONE_Photo+by+John+Gollings.jpg)
“Beating your Breast” Plate [detail], 2019, bronze and steel, 106 x 40 x 28.5 cm.
Existing in a suspended performative state between forming and un-forming, these sculptures embody a transformative process evocative of both destructive and creative forces. By focusing on the proposition that artworks can both manipulate and be manipulated by political persuasion, Twisted Logic foregrounds the impact that real-world situations can have on artistic outputs. These works explore the ways in which art can be a ‘tool’ both for culture’s potential complicity with, and resistance to, real-world issues.
This exhibition brings visual expression to the ongoing struggle in which the radical possibilities of art, to question and to challenge, can be silenced and possibly destroyed; it also suggests that art can re-form from the ashes of conflict.
Julie Rrap has been a central figure in Australian contemporary art for over four decades. Since the mid-1970s, she has worked with photography, painting, sculpture, performance and video in an ongoing project concerned with representations of the body.
In 1995, a survey of her work, Julie Rrap Works 1991–1995, was held at the Australian Centre for Contemporary Art (ACCA), Melbourne, and in 2007, the Museum of Contemporary Art held a major retrospective, Julie Rrap: Body Double, curated by Victoria Lynn. Other solo exhibitions include Remaking the World, Ian Potter Museum of Art, Melbourne (2015); Rrapture, Newcastle Art Gallery (2014) and Julie Rrap: Off Balance, Lismore Regional Gallery (2011).
Selected group exhibitions include Bodies of Art: Human Form from the National Collection, National Gallery of Australia, Canberra (2019); Dark Rooms: Women Directing the Lens 1978-98, Griffith University Art Museum, Brisbane (2018); Every Brilliant Eye: Australian Art of the 1990s, National Gallery of Victoria, Melbourne (2017); Lurid Beauty: Australian Surrealism and its Echoes, National Gallery of Victoria (2015); Biometrics, New Media Gallery, Anvil Centre, Vancouver (2014); Theatre of the World, Museum of Old and New Art, Tasmania; and La Maison Rouge, Paris (2013–2014); Volume One: MCA Collection, Museum of Contemporary Art Australia (2012); 14th Jakarta Biennale (2011); The Naked Face: Self-Portraits, The Ian Potter Centre, National Gallery of Victoria, Melbourne (2011); The Trickster, Gyeonggi Museum of Modern Art, Korea (2010); Reframing Darwin: evolution and art in Australia, Ian Potter Museum of Art, The University of Melbourne, Melbourne (2010); Turbulence: 3rd Auckland Triennial, Auckland, New Zealand (2008); Revolutions – Forms that Turn, 16th Biennale of Sydney (2008); Fieldwork: Australian Art 1968–2002, National Gallery of Victoria, Federation Square, Melbourne (2003); Body, Art Gallery of New South Wales, Sydney (1998); Systems End: Contemporary Art in Australia, The Dong Ah Gallery, Seoul, Korea, Hakone Open Air Gallery, Tokyo, Japan and Oxy Gallery, Osaka, Japan (1996); and Photography is Dead! Long Live Photography, Museum of Contemporary Art, Sydney (1995).
Monograph publications include Julie Rrap: Body Double, Victoria Lynn’s book to coincide with the MCA exhibition (co-published by Piper Press and the MCA) and Julie Rrap, also a Piper Press publication, 1998.
Julie Rrap’s work is held in every major public collection in Australia as well as many corporate and private collections in Australia, New Zealand, Belgium, Netherlands, Switzerland, Italy, France, and the U.S.A.
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
PETER DAVERINGTON has put the finishing touches on these incredible private commissions. In these works Daverington has engaged with the legacies of Western art history from a contemporary context, seamlessly integrating a vast array of disparate images, styles and references in an aesthetic maximalism relevant to our time.
Imants Tillers, On the Pathos of the Truth, 2015, acrylic, gouache on 24 canvas boards, No 96513 - 96536, 150 x 142.5 cm
IMANTS TILLERS is featured in the current issue of Vault Art Magazine.
In the article Louise Martin-Chew writes about the artist's cumulative project, the Book of Power, and ARC ONE co-director, Fran Clark, notes that, “Every painting is like a page, all paintings are numbered and part of certain chapters. He goes in and out of these chapters. Everything is connected."
Cyrus Tang, I wish..., 2019, 2 channel video projection.
CYRUS TANG is part of the group show The End/Future of History, open now at The Substation.
In this exhibition curated by Phuong Ngo, contemporary artists examine how rights are simultaneously upheld and violated by government. In an international system that has been dominated by Western ideology, a fundamental flaw exists with the administering of rights. It is a system where the guarantor of rights is almost always the key violator.
This exhibition explores Francis Fukuyama’s ideas on liberal democracies, their flaws and contradictions. It shows until 14 December. .
Guan Wei, Return to the Origin, 2014, ceramic, 41 x 30 cm.
GUAN WEI is currently exhibiting a collection of works from his own personal collection at ACIAC Gallery, in a show called Essence, Energy, Spirit.
The Australia-China Institute for Arts and Culture (ACIAC) is committed to enhancing cultural exchange between Australia, China, and the Sinosphere. This exhibition interlaces imagery from Guan Wei’s Chinese heritage, his life experience in Australia and his personal iconography. It reminds us of the consequences of a fast-paced, technology-driven, western lifestyle, which can be transcended if we remember our essence, energy and spirit and how to nurture them.
The exhibition continues until 21 February.
