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2015 Exhibitions & Events

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2012

Antipodes

Curated by Almundena Caso, Jessica Donelan & Elina Gault 

 

an•tip•o•des

n.pl.

1. places diametrically opposite each other on the globe.

 

Antipodes was a collaborative project that conceptually and physically explored the notion of location. Sixteen contemporary artists at opposite sides of the world, Spain and Australia, were paired with each other. Through open dialogue, the paired artists discussed ideas such as the effects of location on his or her practice and feeling emotionally at antipodes with society. This resulted in actions such as the exchange of abstract video correspondence, a live simultaneous city walk and public exhibition of artworks in the antipodal country. These action developed into artworks from each artist’s perspective, each linked through medium, concept, content or depiction of site.

 

Participating Artists:

Angus Baird - Lisa Birch - Erin Carew - Michael Carolan - Jessica Donelan - ESPAIMGR - Pearl Fearn-Wannan - Luana Fischer - Elina Gault - Samantha J Heriz - Kathy Holowko - Dani Pujalte - Laura Salguero - Estela Sanchis - Ruben Sanz - Mario Santamaria

Katie Daniels & Clara Bradley

LILACS

 

Floriography posits that lilacs symbolize the emotions felt at the first blossoming of new love.

 

LILACS studied eroticism through the lens of the feminine. Deploying tactility, sinewy lines and a ‘female’ palette, Daniels and Bradley explored the artists’ personal struggle within intimacy. Their works aim to challenge the influence gender can exert within eroticism.

 

The pair utilised autobiographical moments of intimacy to produce works portraying the often simultaneous tenderness and violence of sex, their brush and needlework accentuating the layered clashing and concurrent intertwining of selves played out between lovers.

 

For LILACS Katie Daniels explores the physicality of intimacy, its effects on tender bodily connection/fragmentation and sometimes-fraught psychological distance.

 

Endeavouring to find the truth of the self within shared moments, Clara Bradley examines the limitations and the self-purging of feelings and memories that can compose the struggle for autonomy within intimacy.

A space comes into being

Julia White

 

White's studio based works are constructed from observational drawings and photographs of major pilgrimage sites in Japan. They explore the relationship between people, community and the constructed environment, while considering the way in which place works as a provocation and mirror.
 
Figures embedded in complex spatial arrangements form a procession of individual worlds autonomous and continuous with public space.

White has a life long interest in the effect of the constructed world on us, on cultural and internal space and our relationship to natural and built place.

Brief performances in response to the paintings will take place at the opening by Peter Fraser and Rebecca Harris. A performance afternoon event on Saturday 25th at 3pm will include reveries on walking, space and place by Aviva Endean, Rebecca Harris, Peter Fraser, Shaun Mcleod and Olivia Millard.

The Land of Make-believe

Sue Beyer

 

Sue Beyer’s ongoing interest is in place and space. Michelle Eskola has described Beyer’s visual arts practice as one that, ‘investigates place as a fluid and shifting set of experiences.’ Sue uses, ‘the comfortable, familiar and simple vocabulary of cartography to construct sensitive allegorical reflections on navigation, location and subjectivity within contemporary urban spaces.’

 

The series of work presented in ‘The Land of Make-believe’ is a physical representation of ambiguous memories, dreams and imaginary landscapes, combined with official mapping, which provides a metaphor of a link to the tangible world.

HEARSE

Philippe Vranjes

 

Week 1 (20 Oct – 24 Oct): Philippe working on his Study for a Portrait of Lloyd Honeybrook. Based on an accumulation of engagements with the sonic enfant-terrible and current curator of the Make It Up Club, this large printed textile manifestation behooves the hand-stitching of copious impure patches. Willing contributors one and all were invited to aid in the manual manufacture of this work. On Saturday 24 Oct Philippe Vranjes and Lloyd Honeybrook engaged in mutual verbal discourse. Both artists were at the cultivated behest of Carolyn Connors, embodying conversational conduit and conceptual curator.

 

Week 2 (27 Oct – 31 Oct): Philippe collaborated with David Palliser. The starting point was the End. HEARSE. Sludgy colours, monochromatose and the swampospherical. On Thursday 29 Oct at 8pm David Palliser proffered a performative outcome thereof: REHEARSE. David accumulated auditory vibrations alongside spectral projections, fusing sound and vision. In a first time duo meeting, Carmen Chan shreded on Found Percussion while bringing forth love and terror on Viol Cello while Stevie Richards knelt to the Boss of Electroacoustic Sub Artistry on Mic in Plastic Bag, Mixer and PVC Tube Bass Sax. At Conduit Arts between 4-6pm on the 31st of Oct the HEARSE was closed.    

"Wait, Koala."

David Palliser

 

David Palliser is an artist working mainly with painting and works on paper. He also performs regularly as an improvising musician with,among others, The Charles Ives Singers, The Donkey's Tail and as a solo instigator. His visual work possesses a disjointed dynamic between objective and subjective sensations and is informed by his experience of improvised and pre-rendered musics. For this exhibition at Conduit he presents work on paper made during a 3 month residency at the Leipzig International Studio program in Germany.
 

David has performed in various venues in Melbourne, Seoul, Berlin and Leipzig. He has had many solo exhibitions including at Anna Pappas Gallery,Boutwell Draper,Chapman and Bailey, Crossley and Scott, Kaliman Gallery, Michael Wardell Gallery and ARIs. He has participated in group exhibitions including at the ANG, NGV, Heide MOMA,Melb Art Fair, Korean International Art Fair,the Spinnerei Rundgang-Leipzig, Neon Parc and Daine Singer. His work is held in private and public collections inluding the ANG, NGV,Artbank, ATO, MacQuarie Bank,Mornington Peninsula Regional Gallery.
 

davidpalliser.com

Amateur/Professional 

Vanessa White 

 

White’s project Amateur/Professional explored the humour of labelling and categorising within the ever expanding context of interdisciplinary art. The expectations is to invite the audience to ask questions; What do these labels amateur and professional give us? The Amateur/Professional series of paintings and performance work was developed out of concepts created through collaborative performance work with Physical Theatre director and performer Carolyn Hanna.

 

Amateur/Professional - the magazine is not a catalogue, not an artist's book but an artist's magazine. This first issue is inspired by the Amateur/Professional body of work, and lets you into the works from several different authors’ point of view. Each writer reveals their unique perspective not on the paintings themselves but rather on the terms Amateur/Professional. I’ve been lucky to find my friends happy to contribute their time and thoughts to their understanding of Amateur/Professional. They include: Chris Caines, Emilie Collyer, Anthony White. Photographs by Paul Dunn and the concept was developed with Carolyn Hanna while creating performance work Plasticus. 

 

vanessawhite.me

TOGETHER//APART

Lauren Simmonds & Myfanwy Alderson 

 

Together//Apart was an exploration of rupture and repair, proximity and distance between visual/performanceartist Lauren Simmonds and sound/visual artist Myfanwy Alderson. The cumulative 4-day residency exhibition explored our capacity as artists to be fully awake and responsive to the increasing multitudes of local and global issues affecting us. The core material for Together//Apart was a large stack of A1 white paper from which the artists cut, fold or suture repetitive forms in response to current affairs affecting them. Topics were extracted from events of the day.

 

On a deeper level, the work cracked open humanity’s capacity for empathy and connection. The issues themselves mirrored effects of desensitisation and dislocation. The paper forms represent, or stand in place of, the events. In the process of re-sensitising and attuning to the core of each event with attention and intent, the forms become talismanic catalysts of reflection, repose and repair. Transformation of the paper forms creates a subtle yet potent generative force towards local and global resolution in relation to the issues. They are gestures of unity in a systemically crumbling anthropocentric world.

 

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