11.11.18

Fakt Abstrakcja by Malgorzata Sidor and Wienczyslaw Sporecki - opens Friday 16 November

Fakt Abstrakcja by Malgorzata Sidor and Wienczyslaw Sporecki

Opening Reception: Friday 16 November, 6-8pm

Artists’ Talk: Presentation on fabs by Piotr Szymor - Saturday 17 November, 1 - 3pm 

(NB: artists' Talk changed from time announced earlier.)

Open Hours: 11am - 5pm, Friday - Sunday, 17 November - 2 December 2018


Curated by William Seeto

Fakt Abstrakcja is an exhibition by Malgorzata Sidor, Wienczyslaw Sporecki and Piotr Szymor. They are founding members of the Polish Artists’ Association, fabs. The curator first met Malgorzata Sidor whilst attending an art event at Lodz in 1993.  He connected with Wienczyslaw Sporecki and Piotr Szymor on subsequent visits to Poland when Malgorzata Sidor initiated and organised fabs art projects in Poland, U.K., Wales, India and Ukraine.
            Associations of artists in Poland are prevalent, even after the fall of Communism, with each city having one or more groups. They provide support for artists and are loosely based on workers’ unions. They can be likened to artist-run-spaces in the U.S., which are membership-based that provide studios and venues for performances, events and exhibitions.

            The artworks in the exhibition are informed by Western contemporary art, however they are moderated by connections to the past, as a recurring concept is freedom and self-expression. The exhibition provides a unique viewpoint for the Australian audience on contemporary art in Poland.

            The title of the exhibition is formulated from the acronym of the association’s name, fabs:
fabs (fact-abstraction) - the idea of the site of activity.
A group of artists (an association) who employ various forms, from performance and installation to ephemeral action, going beyond the classifications of art, which constitute fabs - a site of action, work and exhibition.
Fact is something that is known to exist - a thing in itself, abstraction in not identical with the thing in itself. That which happens between fact and abstraction, or between the physical and the abstract, is a field in which we work. We acknowledge that in the most precisely defined axiomatic systems there may appear some true statements that are impossible to prove.

https://factabstraction.blogspot.com/

******
Malgorzata Sidor

Born in 1960. Lives and works in Lodz and Zbludza, Poland. Initiator, co-founder and President of the Artists’ Association fabs.

Artist – Installation and photography. As an artist, she uses installation, photography, sculpture forms and performance. She studied at the University of Lodz, Poland, and Goldsmiths' College, University of London; and received a scholarship from Akademie Schloss Solitude, Stuttgart, Germany in 1998. From 2005 to 2010 she ran the fabs gallery, Brzeska 7, in Warsaw, Poland; in 2010, she set-up and directed the Association fabs’ Centre and Gallery in Zbludza, Poland. She also initiated a project to build the Piotr Kwit Museum at Zalesie, as well as a number of other projects that supported the local community of the Commune of Kamienica, Poland.
She initiated and organised international arts meetings: Siteations, Cardiff, UK, 1994; Nothing New Under the Sun, Glamorgan Heritage Coast, Southdown, U.K., 1996; Golden Seed, Mt Abu, India, 1997; Honey Forest, Bialowieza Primeval Forest, Poland, 1998; Antesound, CSW Inner Spaces, Poznan, Poland, 2000; Atopos, former Poznanski Factory, Lodz, Poland, 2001; Terrestrials, The Old Norblin FactoryWarsaw Poland, 2002; No Volume, Palac Sztuki, Lviv, Ukraine 2003; Phantoms 1, Borne Sulinowo, Poland, 2005; Phantoms 2, Koneser Factory, Warsaw, Poland.

AKQUARIUM 1 and 2. 2008
“I associate freedom with the road, with movement, so with a journey. A real journey with no return. So I thought: when we are very close to/with someone, we can move away a little, but we still remain attached. And, on the whole, we don’t question our intimacy, but, on the contrary, enrich and intensify that attachment. Thus there is some leeway within certainty. This is what I tried to show in the photographic series AQUARIUM 1. I would call it freedom; freedom towards truth. Because it is freedom that leads us to truth. And truths are most often something very simple; only one must know how to notice them. We need to remember that truths almost always are revelations, and that’s what makes them beautiful. This is what I tried to show in AQUARIUM 2. Why Aquarium? I probably thought of two things. For the first time I personally felt the passage of time; I felt that I lived in a time aquarium, and I wanted to realise it more deeply, and on the other hand I thought of Suvorov’s Aquarium, and of an antidote to that evil aquarium of his.
Aquarium is a partly autobiographical description by Viktor Suvorov of the GRU (Soviet military intelligence directorate). The ‘Aquarium’ of the title is the nickname given to GRU headquarters in Moscow by those who worked there.” Malgorzata Sidor.


AKQUARIUM 1 and 2. 2008
******
Wienczyslaw Sporecki

Born in 1964. Lives and works in the United Kingdom.
Artist – Photography and installation. Co-founder of the Artists’ Association fabs.
“After the period of primary and secondary education, 1970–1983, as a result of his upbringing at home, he engaged in activities against the political system effective at that time in Poland. This situation also contributed to the blockage by the authorities of further normal education and his forced enlistment in the army. 1981 saw a breakthrough in the decision to become an artist. Initially, thanks to his alternative education and independent contacts with lecturers of the Visual Arts High School in his hometown, he was educating himself and working in the field of graphic design and painting. His works at that time displayed serious political commitment; were inspired by German expressionism and DADA, and in particular by Kurt Schwitters, who fascinated him. These elements led to the creation of ‘Mobile Gallery MERZ1’ – an author’s gallery in a suitcase, whose space were some places that the artist reached during his artistic journeys, during which he found alternative spaces of contact with audiences (railway stations, private apartments, parks, underground passages, pedestrian streets, etc.), transformed into Mobile Gallery MERZ1’s space for the duration of art activity. After 1984, he gradually moved away from political involvement – as a result, among others, of forced service in the army – which he abandoned after taking up studies at the Faculty of Textile Design of the State Academic School of Visual Arts in Lodz in 1986; which he subsequently abandoned at the turn of 1988/89, disappointed by the lack of authority figures and the rigid framework of the educational programme inhibiting individual development. He defines this period by the sentence: ‘I never studied there, and only walked around this school’s corridors, looking for something intriguing...’. Contacts with independent culture circles, regular artistic travels around the country, outside official institutions of visual arts, and intense creative work resulted in a large number of presentations and his working out his own ways of communicating with the audience, which can be termed ‘physical Internet’ – a very direct, as for those times, relationship with the audience, which consisted not only of the presentation of his own work, but also of placing them in the context of the audience’s familiarity with art, including talks about the circumstances of the making of the work, theory and the artist’s ideas. After the political transformations in Poland and in Eastern European countries in 1989, he joined the mainstream activities. Unfortunately, he soon discovered the superficial nature of those transformations, which also led to the elaboration of the method of ‘anonymous artist’ and ‘fractional existence’. In 1996 he started to function as ‘Rudolf Schwarz – signum fractional existence’. At the same time he resigned from functioning in the official artistic circuit. Having met Malgorzata Sidor in September 1997, he began his involvement in the idea of creating the Artists’ Association fabs, which has become his only official form of functioning in the public space. The shows are extremely intimate. They are documented exceptionally sparingly, and their essence is a direct conversation with the audience, aimed at a thorough description and conveying the intent of the piece. An important stage of the artist's path was the work as documentary photographer in press agencies in 1998–2003, deliberately subordinated to the idea of ‘fractional existence’. Since 10 April 2010 (the day of the tragic plane crash of the Polish presidential delegation in Russia) he has lived in exile in the U.K.” Wienczyslaw Sporecki

ASYMMETRICAL THREAT. 2008
“(Wienczyslaw Sporecki) is interested in the structures of power and the specific methods of influencing this power on people. He is trying to show the impact of public institutions on the functioning of various communities… Several photographs depict soldiers in a military unit. The signatures below are ‘Tal’, ‘Dioxin’, ‘Cortisol’, ‘Ergot’, ‘Bromine salt’. These are the names of toxic chemicals that can be used in foodstuffs, which can not be seen. Tal easily dissolves in water. In this way was poisoned former Russian intelligence agent, Alexander Litvinenko. Dioxins can be smuggled in vegetables. They were used against the current Ukrainian president Viktor Yushchenko. Cortisol can be given in meat. Ergot, the hallucinogen-inducing hallucinogenic parasite can be used in flour, and the brominated salt in salt. With these substances you can eliminate uncomfortable people. These are all new activities that have not been treated so far as military. And yet they use military special forces. It turns out that today a soldier does not have to wear a uniform and his weapon does not have to be a rifle.” Joanna Kiwilszo, 2008


ASYMMETRICAL THREAT. 2008
******
Piotr Szymor

Lives and works in Warsaw, Poland.
Translator and Editor. Co-founder of the Artists’ Association fabs.
Education
1978-1984. University of Lodz
M.A. in English Philology – specialisation: English literature.
1989-1995 University of Oxford (St Hugh’s College)
Postgraduate studies - passed a D. Phil. Qualifying Exam
Doctoral thesis: Shakespeare’s Novella-shaped World
Residencies as Translator
Spring 2007 Europäisches Übersetzer-Kollegium, Straelen, Germany
20/07-20/08. 2007 Das Übersetzerhaus Looren in Zürich, Switzerland
21/09-4/10.2009 The House of Literature at Lefkes, Paros, Greece



https://factabstraction.blogspot.com/

7.11.18

UnpackAssembleAddDiscardCreate - last weekend coming up


A project of William Seeto, showing work by Adrian Hall, Sibylle Hofter & William Seeto.

Artists talks 4.30pm Saturday 10 November

Closing event 6pm Saturday 10 November

Open 11am - 5pm Friday - Sunday until 11 November.






Sybille Hofter



























Adrian Hall

















William Seeto





22.10.18

UnpackAssembleAddDiscardCreate opens Friday 2 November; opening event: 6-8pm


UnpackAssembleAddDiscardCreate by Adrian Hall, Sibylle Hofter & William Seeto

Opening Reception: Friday 2 November 6-8pm
Artists’ Talk: 4.30pm Saturday 10 November
Open Hours: 11am – 5pm, Friday – Sunday,  2 – 11 November 2018
Closing event: 6pm Saturday 10 November

The exhibition examines individual artworks created in diverse locations with works that engage with environments. The concept of location initiates a way of working individually and between artists with established practices and the difficulties encountered are made more prominent by duration and distance.            
            The exhibition is by three artists who deal with location as they merge and intervene through metaphoric gaps, virtualities not easily categorised as one or the other. By extending experience of localised environments, situations are created whereby sites are adapted and changed to challenge perceptual and personal awareness. In analysing diverse areas and environments, new ways of working are discovered.
            By examining differences in work perceived knowledge and experience is extended and heightened, changed and challenged. The bringing together of three established practitioners is significant in that it showcases innovative and exciting new works by artists in the geographical locations of New Zealand, Germany and Australia.



Adrian Hall, ‘yes YOU WILL be’_2016. photo: w.seeto 



Adrian Hall, ‘yes YOU WILL be’_2016. photo: w.seeto


Adrian Hall
Adrian Hall is an artist with five decades of living and working in the United States, New Zealand, United Kingdom, Northern Ireland, Australia and New Zealand. His practice involved and moved from painting to formal structures, photo/ video installations and sound works, and all combinations. Currently, photographic works with textual addenda at gallery scale rival his live practice; objects and structures and drawings too. His work practice includes colleagues and friends in improvised visual/ sonic collaboration. He relishes conjugations of mixed gender, race, and generations. He continues to challenge preconceptions of the world; and eliminates that which seems irrelevant, as he also examines the sanctity of art as it is presumed to be.


Sibylle Hofter, ‘Portrait of the Continent in 4 Weeks. June – July’ & ‘219x132x219cm’_2012. photo: w.seeto


  Sibylle Hofter, ‘219x132x219cm’_2012≥ photo: w.seeto


Sibylle Hofter
Sibylle Hofter has over two decades of multi-media art practice that includes extended research into extra-artistic fields, curatorial and participative approaches. She is driven by a desire to create multi-faceted collaborative photo-portrayals of countries she visits. Her interest is within regional contexts and beyond, which operates outside the schemes of photographic genres. Her work involves the ongoing Agentur Schwimmer photography project, which promotes a simple approach in a complex world by asking what is behind facades? What makes our daily reality work? What are our possibilities to perceive and to show? Her approach is one of unrestrained enthusiasm to get to know more about the inner workings of society and the questions arising out of representing a multiplicity of background and other aspects of art in developing visual languages that are beyond our daily visual experience.

            William Seeto, ‘RmG 3’_2018. photo: w.seeto


    William Seeto, ‘RmG 2 (in deconstruction)’_2016. photo: w.seeto

                  
              
William Seeto
William Seeto is a site-specific constructed installation and photomedia artist with a practice of more than three decades with experience in creating perceptual installations and photomedia works. His practice examines sensory and visual perception and interrogates different ways artworks heighten or displace experience and referential codes in photo-imagery. His constructed installations examine perceptual qualities in built environments and his ephemeral artworks are based on everyday materials that seek to extend the dialogue by blurring the lines in order to expand contextual meaning, and in so doing continue connections generated by reworking ideas formed by deconstruction and reconstruction that is inspired by Arte Povera.

30.9.18

Then and Now: Nuha Saad and Michele Beevors - opens Friday 5 October6-8pm

6 – 21 October 

Open 11am-5pm Friday - Sunday


This exhibition addresses the shifts in working methodologies over many years of encounters between two artists, Nuha Saad and Michele Beevors who met while sharing a studio at art college.

From left Nuha Saad, Untitled 2018 (work in progress-detail), acrylic on wood; 
Michele Beevors, Dustcatchers, 2018 ( work in progress-detail), wool

Nuha Saad works with the formal aspects of the space between painting and sculpture. Saad has been engaged for a long period of time with the decorative and the architectural. The work reinvigorates long overlooked spaces and displays an inherited sensibility which is influenced by both (post)colonial woodwork with its turned ornamentalism and a Lebanese/Australian heritage where counting, patterning, and colour have remained consistent themes These themes undermine the grim, muted and dour colour pallet of our colonial past and reinvigorate, playgrounds, public spaces and home furnishings in unique combinations of colour and shape which confront the viewer in surprising ways and overturn our expectations of the inherently bland urban architecture we expect in cities and in vogue living rooms, negotiating the difference between formalisms strict, this not that formula, and Minimalism's phenomenological encounter with a body in space.

Michele Beevors' practice has been interested in figuration as an encounter between feminism and commodity culture attempting a materialist critique in large scale sculptures in a series’ dedicated to disarm Disney Princesses, the typical Hollywood movie star and particular examples from art history, in which the female forms appear as armoured, abject and rampantly humorous in a riotous array of domestic materials and assorted cleaning products that also examines women’s labour in terms of the clean and tidy home and handcrafted traditions of knitting, and sewing. Informed by a pop sensibility, with a nod to the coming environmental crisis brought on by rampant global capitalism and its stockpiles of waste Beevors' work moves between figurative sculpture and the domestic abyss.

Michele Beevors 2018


About the artists:

Michele Beevors is an Australian artist and a Senior Lecturer at Dunedin School of Art in New Zealand. Beevors holds a Master of Fine Arts degree from Columbia University, a Master of Visual Arts from The Australian National University, School of Art and a Bachelor of Visual Arts from City Art Institute. Beevors has exhibited in the United States, Australia, New Zealand and Europe.


Nuha Saad is a Sydney based sculptor working in the areas of installation, galleries and public art. Saad holds a Master of Visual Arts from Sydney College of the Arts and a Bachelor of Visual Arts from City Art Institute. Saad has exhibited extensively in both solo and group exhibitions in public, commercial and artist run galleries and her public artworks have been featured in public buildings and urban renewal projects, including large scale commissions for City of Sydney and Transport for NSW. http://nuhasaad.com/nuha-saad   https://www.instagram.com/nuhasaad1/

15.9.18

De-interlaced is open - Closing Party Friday 28 September 6-8pm

ROOMSHEET

Open 11am - 5pm Friday-Sunday until Sunday 30 September








The endless circulation of data and e-information that now travels in and around everyday existence, like an unabating convergence of starlings blotting out a Roman sunset, is not a subject one tends to frequently consider. Text, images and code fracture before committing to an imperceptible journey and only at their destination do the fragments rearrange themselves into their original forms. This is referred to as de-interlacing. 

De-interlaced is a response by artist Kenneth Lambert to this series of seemingly simple events, taking the form of a multi-panel installation, that examines the commonality between the artistic process of conceptualisation, scrutiny and final outcome and the way in which data behaves in transit. Lambert has created six containers of technological uncertainty that, while imposing due to their size and solitary, almost detached nature, cannot help but invite curious investigation by the viewer.  

As physical objects the installation embodies the sense of the de-interlaced. The outer layer exposed to the viewer is constructed of Mylar, a material commonly utilised when packaging electronic consumer products, while the interior is never revealed. In this sense the object itself and the viewer experience life in a middle ground of sorts, between conceptualisation and active use, both informed of a soon to be functional existence yet unaware of exactly what that existence may entail. Each seems as if it were simply opened whatever is contained would be immediately put to use. 

Through slight visual cues Lambert dares each individual object to reveal a greater purpose, almost breathing life into dormant sentinels. Distinct colours are used to reference specific areas of research in which new media technologies have had a significant impact on the contemporary human psyche; personal identity, social interaction, cultural identity, environmentalism, political preference and spirituality. The de-interlacing of information suggests that increasingly digital selves made up of these varying aspects are perpetually swirling around the world we know, a tempest of our own and our peers’ personalities supposedly laid bare and immediately reachable yet still invisible, like each reflective techno-monolith Lambert presents.  

In De-interlaced microscopic voyages of fantastic proportions are revealed and through an attentiveness to human relationships with current technologies the artist transmutes this surging swarm of unobserved digital intelligence into tangible reflections of the intricacies of our own modern-day identities. Despite an impenetrable aloofness conveyed by the physical structures Lambert somehow pierces the skin to release a clearer picture of what the contents may become when data adrift reaches a terminus. 


Sotiris Sotiriou 
Gallerist and Curator
www.comagallery.com 

9.9.18

Kenneth Lambert's De-Interlaced opens Friday 14 Sept 6-8pm

Open 11am - 5pm, Fri - Sun,  15-30 September 

opening Friday 14 September 6-8pm

Artists talk 11am Sunday 23 September

Closing Party Friday 28 September 6-8pm


Kenneth Lambert De-Interlaced (detail) 2018



De-interlaced is a technical term borrowed from broadcast media, which in this situation represents the artist’s process of investigation, analysis and final response. The response takes the format of a multi-panel installation work. Each panel represents a specific area of research in which media technologies have had a noted impact on the human psyche. The areas of research represented in the work include personal identity, social interaction, cultural identity, environmental, political and spirituality.

These outcomes have been represented as soft metallic colour fields that intrude over the liquid mirror surfaces. The result is a series of suspended multi-dimensional paintings that are simultaneously translucent, reflective and chromatic in materiality. Further the artist’s intention goes beyond the physical work to include the surrounding space. Light and colour refract onto the gallery’s surfaces as the panels spin on their central axis. This immersive experience can be harmonious, sometimes discordant, and totally dependent on the external environmental forces of light, space and time.

“I strive to create work which is a catalyst for an emotive resonance. A way of beguiling the participant into a seemingly simple but deeply layered experience”.

Kenneth Lambert - Artist

Lambert is a conceptually driven artist whose practice investigates the human psyche through the lens of technology. His practice extends across digital media and installation. Lambert approaches his experimental art practice with the deliberation of a scientist and philosopher combined. His intention is to entice the viewer into a state that is self-reflective.

Lambert’s work has been recently recognized with his inclusion in 2018 the Churchie Emerging Artist Prize, Lismore Portrait Prize, Hidden Sculpture Walk and the Alice Prize. He is also this year’s recipient of the Newington Armory Award: Artist in Residency and has been invited to take part in 2019 Arteles Artist residency program in Finland.

www.kclart.com

30.8.18

Participate in It All Adds Up – Jody Graham

String Along is open 11am-5pm  Friday - Sunday until Sunday 9 September


An elderly woman who I called Mrs Left fascinated me as a child. She was my next-door neighbour and lived with Mr Left. He couldn’t see very well and she used to help him drive, telling him when to stop and where to turn. Mrs Left had wardrobes of extravagant dress ups and a spiral staircase in the middle of her house. She showed me flowers in her garden and told me the fuchsia’s were like beautiful ballerinas. Mrs Left spent time with me, liked showing me things and took the time to sit and teach me to crochet. I was very young and this would have been a challenging task to take on. I never remember Mrs Left getting impatient or having a cross word. Mr and Mrs Left moved away, to a retirement or nursing home I assume. I was young when this happened and never had the opportunity to say how special it was to have an elderly neighbour provide the nurturing gift of time and patience. I felt safe and inspired.

It All Adds Up is a rug I am crocheting out of salvaged fragments of string, rope, twine, shoe laces and other bits of thread like material. I am doing this as a reaction against buying new and sourcing from what would usually be discarded instead. Believing the desire for more and new impoverishes the human spirit rather than enhancing it. Mending and using what is available lends itself to being resourceful, having far deeper satisfaction than the often-short lived joy that comes from spending and discarding the old. The whole concept of striving for new, more and better I believe is the cause of Affluenza. A social condition where individuals strive to be wealthy and success is determined by how much money you have. Seeking connection and esteem through purchases deprives us of the real pleasure that comes from connecting with another through spending time and resources.




/Users/jodygraham/Desktop/jodygraham_it_all_adds_up.jpg  /Users/jodygraham/Desktop/IMG_9769.jpg


It All Adds Up is a work in progress that is being exhibited at Articulate project space until the 9th of September 2018. I will be at Articulate project space Friday the 31st of August
11am - 2pm and Sunday the 9th of September 2 - 5pm if you want to come and contribute string or similar donation to this community collaborative work.


You can also leave donations for this work on allocated pins next to the artwork during Articulate's opening hours 11am- 5pm Friday to Sunday or contact me on enquiries@jodygraham.com.au to participate in this project.