ROOMSHEET
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| Lisa Sharp, Lesley Giovanelli, Michelle LeDain |
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| Virginia Hilyard |
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| Lesley Giovanelli |
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| Sarah Woodward, Margaret Roberts, Jennifer O'Brien |
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| Nola Farman |
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| Emma Wise |
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| Emma Wise (performed by Ella Dreyfus) |
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| Adrian Hall |
photos: Margaret Roberts
6.12.19
Articulate Turns Nine opened tonight
Open 11am-5pm 7 - 22 December
ROOMSHEET
photos: Margaret Roberts
ROOMSHEET
photos: Margaret Roberts
1.12.19
Articulate Turns Nine opens Friday 6 December 6-8pm
Opening Friday 6 December 6-8pm
Open 11am - 5pm Friday - Sunday 7-22 December
ROOMSHEET
Articulate Turns Nine shows the work of artists who have exhibited at Articulate in the past to celebrate Articulate’s birthday exhibition, as we have done every year since 2010. Articulate’s birthday exhibitions celebrate Articulate and the artists, audiences and communities it serves. Artists participating in AT9 are:
Elizabeth Ashburn, Vilma Bader, Karen Banks, Ciaran Begley, Linden Braye, Corrinne Brittain, Bettina Bruder, Jane Burton, Sue Callanan, Angus Callander, Alison Clouston & Boyd, Elizabeth Day, Jacquelene Drinkall, Mireille Eid, Nola Farman, Steven Fasan, Gina Fenton, Clancy Gibson, Chantal Grech, Adrian Hall, Barbara Halnan, Virginia Hilyard, Laine Hogarty, Merryn Hull, Isobel Johnston, Sonja Karl, Michelle Ledain, Jennifer O’Brien, Anya Pesce, Elizabeth Rankin, Margaret Roberts, Lisa Sharp, Anke Stäcker, Paul Sutton and Steve Simpson, Anna Tierney, Molly Wagner, Emma Wise, Elke Wohlfahrt, Jeff Wood and Sarah Woodward.
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| design: Madeline Callanan |
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Ciaran Begley Bulb#9 2019 |
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| Jacquelene Drinkall_Branching Mind Postures 2019 (detail) |
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| Karen Banks Flax 2019 |
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| Gina Fenton LACUNA 2019 |
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| Sarah Woodward Corners - Articulate 2019 |
22.11.19
Saturday November 30: 3-5pm: International Remembrance Day for Lost Species:
Join us for a salon of readings, discourse, performance, music & soundscapes at Articulate project space with Anne Casey, Simon Champ, Ross Gibson, Virginia Hilyard, Kraig Grady & Terumi Narushima, Reject Theatre Group, Uncle Bruce Shillingsworth, Amanda Stewart, Gary Warner and the artists of GOING GONE.
Organised by Juliet Fowler Smith, Noelene Lucas & Gary Warner.
Presented in association with the exhibition GOING GONE.
Presented in association with the exhibition GOING GONE.
3-5pm 30 November 2019
ALL WELCOME
ALL WELCOME
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| image: vexatious extinction equation [detail] Gary Warner 2019 |
16.11.19
GOING GONE opened last night
Saturday November 30: 3-5pm: International Remembrance Day for Lost Species
Open 11am - 5pm 16 Nov – 1 December
GOING GONE is is organised by Noelene Lucas and Juliet Fowler Smith as an exhibition that explores creative responses to human-induced species extinctions, ecological devastation and the climate emergency. It will show the work of Suzanne Bartos, Barbara Campbell, Josie Cavallaro, Simon Champ, Juliet Fowler Smith, Joan Grounds, Virginia Hilyard, Noelene Lucas and Gary Warner.
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| Photo: Chris Tay |
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| Photo Chris Tay |
11.11.19
GOING GONE opens on Friday 15 November 6-8pm
Opening 15 November 6-8pm 2019
International Remembrance Day for Lost Species: Saturday November 30: 3-5pm:
Open 11am - 5pm 16 Nov – 1 December
GOING GONE is is organised by Noelene Lucas and Juliet Fowler Smith as an exhibition that explores creative responses to human-induced species extinctions, ecological devastation and the climate emergency. It will show the work of Suzanne Bartos, Barbara Campbell, Josie Cavallaro, Simon Champ, Juliet Fowler Smith, Joan Grounds, Virginia Hilyard, Noelene Lucas and Gary Warner.
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| Juliet Fowler Smith Sunflight, 2018-2019. Photograph |
26.10.19
20.10.19
A resistance to flow opens Friday 25 October 6-8pm
Scarlett Steven
Open Fri - Sun 11am - 5pm 26 Oct - 10 Nov
Stickiness describes a material in transition. It is neither solid nor fluid, but exists at the viscous midpoint. It is fluidity in slow motion. It flows, but not so fast that it washes itself away. It oozes slowly, it resists ‘total material annihilation’. Despite its sluggishness, this material is impossible to pin down for long. It cannot be held to a particular material state, or to a particular place. It is perpetually moving towards, or away from something, or somewhere. It distends in a widening pool, or creeps towards the floor. It yields, in that it moves to accommodate the things it encounters. But these same things cannot emerge unscathed. They become stained, or oily—they get dissolved, or broken down. While stickiness can change the things it touches, it too is affected by these encounters, as it separates from itself and leeches into other objects. It can leave itself behind, in fact, it insists on leaving itself behind, but it does not transfer itself. Its particular tackiness is only ever present in the material itself, not in its absence. Its trace becomes an oily slick that is difficult to remove. It can be masked, but never fully erased, and always threatens to leech through. Its tackiness gathers up the things it touches, and creates randomised archives, which are accumulated and lost. Stickiness draws things together before breaking them apart again, but always carries with it the traces of where it has been before. Stickiness may be human or non-human, organic or synthetic; it is a property, a material, and a process simultaneously.
Open Fri - Sun 11am - 5pm 26 Oct - 10 Nov
Stickiness describes a material in transition. It is neither solid nor fluid, but exists at the viscous midpoint. It is fluidity in slow motion. It flows, but not so fast that it washes itself away. It oozes slowly, it resists ‘total material annihilation’. Despite its sluggishness, this material is impossible to pin down for long. It cannot be held to a particular material state, or to a particular place. It is perpetually moving towards, or away from something, or somewhere. It distends in a widening pool, or creeps towards the floor. It yields, in that it moves to accommodate the things it encounters. But these same things cannot emerge unscathed. They become stained, or oily—they get dissolved, or broken down. While stickiness can change the things it touches, it too is affected by these encounters, as it separates from itself and leeches into other objects. It can leave itself behind, in fact, it insists on leaving itself behind, but it does not transfer itself. Its particular tackiness is only ever present in the material itself, not in its absence. Its trace becomes an oily slick that is difficult to remove. It can be masked, but never fully erased, and always threatens to leech through. Its tackiness gathers up the things it touches, and creates randomised archives, which are accumulated and lost. Stickiness draws things together before breaking them apart again, but always carries with it the traces of where it has been before. Stickiness may be human or non-human, organic or synthetic; it is a property, a material, and a process simultaneously.
This exhibition features a sticky goo created in studio especially for this project. It engages in a material exploration of stickiness and asks, what is the political significance of goo? In a world that values, monetizes, and is characterised by both speed and fluidity, what would it mean to move slowly, or to coagulate? What would it mean to clump, to stick together, to stick around? To stay behind, to stain? To be difficult to remove? Stickiness speaks to the things that are impossible to move beyond, to let go of; those things that cannot be forgotten. It speaks to a politics, a method, a strategy that lingers—a politics that, like an oily residue on a gallery wall, can never be entirely erased.
5.10.19
Elizabeth Day's WORKING IN THE TROUBLE opened last night
Open 11am - 5pm till Sunday 20 October
Artists' talks and finissage 3-5 pm Sunday 20 October, in conjunction with Beata Geyer who is showing work in ArticulateUpstairs
(NB this is changed from earlier advertised talk on Saturday)
Artists' talks and finissage 3-5 pm Sunday 20 October, in conjunction with Beata Geyer who is showing work in ArticulateUpstairs
(NB this is changed from earlier advertised talk on Saturday)
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| Elizabeth Day Working in the Trouble 2019 (detail) |
1.10.19
ELIZABETH DAY'S WORKING IN THE TROUBLE opens Friday 4 October 6-8pm
Open Fri - Sun 11am - 5pm, 5 - 20 October
Artist's talk 3pm Saturday 19 October
Artist's talk 3pm Saturday 19 October
WORKING IN THE TROUBLE, is a series of work based in Day's work over 25 years working in marginal spaces. In 2011 she began developing work along the Parramatta River where there are the remains of colonial prisons and institutions, that continue into the 20th century (and 21st) to be a focus for mental health services. Much of her work has considered the image of 'the prison on the landscape' as a way to focus the damage on the Australian landscape wrought by colonisation.
This exhibition also includes some of the work done since 2012 for sites in Tasmania including some documentation The Longford Project* and Abstraction, Abjection and Activism shown in 2018 at the Moonah Arts Centre. Invisible Words/Invisible Worlds incorporates imagery developed during a residency at the University of Newcastle's Centre for Solar Voltaics incorporating images of carbon nano tubes under an electron microscope making a poetic association with the invisible worlds of the incarcerated since the beginning of Australia's white history.
Myco Logic develops an image of the networked mycelial root systems of fungi as she worked with mental health groups to produce handcrafted fungi.
Working in the Trouble is a new Doctoral Project through Deakin University developing a theoretical structure for projects developed over the last five years.
With thanks to curator Claire Taylor from greyspace who collaborated with the production and realisation of these projects.
With thanks to curator Claire Taylor from greyspace who collaborated with the production and realisation of these projects.
*The Longford Project and most recently The Crime Scene Tent is an ongoing research group with Anna Gibbs, Noelene Lucas and Julie Gough. The Crime Scene Tent had films made by each artist that was produced as a result of investigation into colonial crimes that occurred around the town of Longford in Tasmania.
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| Elizabeth Day, Porous/Transgenerational Trauma, 5.1 X 2.1 m varied re-cycled white yarns knitted on felt backing |
22.9.19
FIONA KEMP & VIRGINIA HILYARD: TO RUSSIA opening discussion Sunday 29 September 2-5pm
project space project #23: 24 - 29 September:
Open Sunday 29 September 2-5pm with discussion with the artists.
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| Virginia Hilyard/FionaKemp PARE, 2019 |
Fiona Kemp and Virginia Hilyard
http://fionakemp.com/
http://www.virginiahilyard.com
19.9.19
Elia Bosshard's BINARY FIELD (THE MEETING BETWEEN TWO SPACES) opens Friday 20 September 6-8pm
open 11am-5pm Sat-Sun till 22 Sept
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| Elia Bosshard BINARY FIELD in development, Studio One 2019. Still from video by Hospital Hill |
A long path cuts through diagonally, dividing the room into two parts. Essentially one line, it is an active object that functions to vertically distinguish between high and low space. Where is high and low? There is no one point when the space transitions from being above to below you. That meeting point depends on one's relationship to height. The walk from one end to another is slow paced, through which our experience shifts. At what point do we perceive that our relationship with the path has changed or are aware of it changing? BINARY FIELD explores the immediacy of physical environments and how we inhabit and feel the presence of structures as we move by them.
Elia Bosshard https://www.eliabosshard.com/ |
15.9.19
Architectural Amendments: Building Permits
Sue Callanan
project space project #21
open 11am-5pm 13-15 September
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| Chantal’s Ladder and painting paraphernalia found in the space, with accompanying set of instructions for preparation of smooth walls. I extracted a line of text from the instructions and stencilled it on to the adjacent wall. |
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| Skylight shell left over from repairs turned into a lit object sitting on silver sarking material, aligns with actual skylight above |
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Sample bottles containing brick powder from holes drilled through wall for installation of IT and NBN equipment -reminders of engineering site tests that accompany building construction. |
Photos: Chantal Grech
9.9.19
Three project space projects: Sue Callanan, Elia Bosshard and Fiona Kemp/Virginia Hilyard
10 -15 September
SUE CALLANAN
SUE CALLANAN
I intend to occupy the ground floor space of Articulate and investigate ways of adapting or altering its architectural features so as to displace the familiar elements and structure, giving them a new reading. I have, at intervals over the life of Articulate, undertaken interventions in different parts of the space. In this instance, I would like to treat the downstairs space as a whole, using industrial materials that I’ve gathered over time, turning them into a new configuration that takes account of the whole of the downstairs space as a single, but multifarious form.
I’m curious about the slippage between art and its architectural surrounds, and how one can be seamed into the other, such that figure and ground oscillate between each other, creating uncertainty about what was meant to be there in the first place.
There will be no official opening for ARCHITECTURAL AMENDMENTS, but the artist will be available for discussion during the opening of Time and the Ocean at ArticulateUpstairs, on Friday 13th Sept 6-8pm, and on Sunday 16th Sept 2-5pm.
Sue Callanan
There will be no official opening for ARCHITECTURAL AMENDMENTS, but the artist will be available for discussion during the opening of Time and the Ocean at ArticulateUpstairs, on Friday 13th Sept 6-8pm, and on Sunday 16th Sept 2-5pm.
Sue Callanan
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| Sue Callanan, Remnants: repairs and maintenance undertaken November 2016 |
17 - 22 September:
ELIA BOSSHARD
BINARY FIELD (THE MEETING BETEEN TWO SPACES)
project space project #22
Opening event: Friday 20 September 6-8pm; open 11am- 5pm Sat-Sun 21-22 September
A long path cuts through diagonally, dividing the room into two parts. Essentially one line, it is an active object that functions to vertically distinguish between high and low space. Where is high and low? There is no one point when the space transitions from being above to below you. That meeting point
24 - 29 September:
FIONA KEMP & VIRGINIA HILYARD
TO RUSSIA
project space project #23
Open Sunday 29 September 2-5pm with discussion with the artists.
During a residency on Kotlin Island in Russia last year we gathered together a visual and sound treasure trove. We intend to let this archive loose into the space of articulate to see how it responds with the space and to work on its development.
Fiona Kemp and Virginia Hilyard
http://fionakemp.com/
ELIA BOSSHARD
BINARY FIELD (THE MEETING BETEEN TWO SPACES)
project space project #22
Opening event: Friday 20 September 6-8pm; open 11am- 5pm Sat-Sun 21-22 September
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| Elia Bosshard BINARY FIELD in development, Studio One 2019. Still from video by Hospital Hill |
A long path cuts through diagonally, dividing the room into two parts. Essentially one line, it is an active object that functions to vertically distinguish between high and low space. Where is high and low? There is no one point when the space transitions from being above to below you. That meeting point
depends on one's relationship to height. The walk from one end to another is slow paced, through which our experience shifts. At what point do we perceive that our relationship with the path has changed or are aware of it changing? BINARY FIELD explores the immediacy of physical environments and how we inhabit and feel the presence of structures as we move by them.
Elia Bosshard
24 - 29 September:
FIONA KEMP & VIRGINIA HILYARD
TO RUSSIA
project space project #23
Open Sunday 29 September 2-5pm with discussion with the artists.
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| Virginia Hilyard/FionaKemp PARE, 2019 |
Fiona Kemp and Virginia Hilyard
http://fionakemp.com/
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