A Response to Chaos is open from Friday 29 June

open 11am - 5pm, Friday - Sunday, 29 June – 8 July

Opening: Saturday 30 June 3-5pm

Genevieve Carroll

Steven Cavanagh

Parris Dewhurst

Bill Moseley

CHAOS: 
• Complete disorder and confusion. 

• The property of a complex system whose behaviour is so unpredictable as to appear random, owing to great sensitivity to small changes in conditions.

• The formless matter supposed to have existed before the creation of the universe.

A Response To Chaos brings together 4 artists as they explore and evaluate current and artificial realities that reside here in the world and in the cosmos.

Bill Moseley

Chaos

In an imaginative look at the origins of the universe, and the cosmic fingerprints left on earth by distant events, I have used the antiquarian process of wet plate collodion photography.

Tintype photography, which renders an image in deposits of silver nitrate, is also an artifact of distant stellar events. By this I mean that recent studies have determined that silver, along with other heavy metals, has it's origin in exploding supernovas long ago in deep space.

The location of Lake Mungo NSW responds to both human and cosmological events that leave indelible and sometimes mystifying artifacts that reward the informed and circumspect observer to the significance in Aboriginal cosmology that finds order in apparent chaos.

Genevieve Carroll

The Wattle Room - Chapter 10 - The Anatomy of Still life 

Genevieve Carroll's art is a visual autobiographical memoir of her observation of the world. Her artwork has an intuitive immediacy to it, an urgency that reacts as an internal discourse to mapping the personal and universal themes of existence through the subjects of still life and the human condition.

This series of drawings, plywood poems and sculpture respond to the chaotic world that we live in, a mapping of the ever growing lost connections, realities and artificial realities that we navigate. 

Inspired by the 15th century Vanitas Still Lifes, which historically showed symbolic meaning through the transience of life, the futility of pleasure, and the certainty of death, often running parallel with the ideas of wealth, pointlessness and pursuits of earthly aspirations. These tangled muscular drawings are edgily humorous and poetic, conveying internal and external worlds colliding together, demanding to find a resting place.

The artwork acts as a subconsciousness of the interior self and the consciousness of the moral social self where emphasis is on desire and despair.

Parris Dewhurst

#unemployment

This bright and playful work upon closer inspection holds darker undertones about the prickly experience of unemployment. It echoes ideas from the Greek Mythology Sisyphus who was condemned to roll an immense boulder up a hill, only to watch it roll back down again, repeating this action for eternity.

Steven Cavanagh

This moment in time when the past is asking something of the present and future…

There is a strange humming noise emanating from the earth. 

People in states of psychological crisis and personal transformation are grappling with the deepest existential questions of the human condition.

Perhaps to be human is to forget? To exist in a state of selective amnesia, creating simple truths that render experience a rewritable and negotiable fiction.

DE QUINCEY CO presents PLATFORM 2018

a collection of short performances, artworks and extraordinary music by DE QUINCEY CO

Saturday & Sunday 23 & 24 JUNE 3.30pm

ARTISTS:  Karen Cummings, Stella Chen, Tess de Quincey, Suzan Doumit, Jacques Emery, Martin Fox, Peter Fraser, Ryuichi Fujimura, Raghav Handa, Linda Luke, Audrey McAllister, James McAllister, Farangis Nawroozi, Raynen O’Keefe, Georgie Read, Vsevolod Vlaskine, Toni Warburton, Gary Warner, Digby Webster and Marcus Whale.

Curated by Linda Luke, Marcus Whale  and Tess de Quincey

Photos: Margaret Roberts

This project is supported by funding from the Inner West Council

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DE QUINCEY CO presents PLATFORM 2018

a collection of short performances, artworks and extraordinary music by DE QUINCEY CO

Saturday & Sunday 23 & 24 JUNE 3.30pm

ARTISTS:  Karen Cummings, Stella Chen, Tess de Quincey, Suzan Doumit, Jacques Emery, Martin Fox, Peter Fraser, Ryuichi Fujimura, Raghav Handa, Linda Luke, Audrey McAllister, James McAllister, Farangis Nawroozi, Raynen O’Keefe, Georgie Read, Vsevolod Vlaskine, Toni Warburton, Gary Warner, Digby Webster and Marcus Whale.

Join us for the next instalment of short works forged in the interdisciplinary meetings of established and emergent artists, the fresh blood of Sydney and Melbourne...

PLATFORM 2018 uses all levels of Articulate, and each day presents the same program.

Places are limited so BOOKINGS ESSENTIAL
Tickets $15 book HERE

Curated by Linda Luke, Marcus Whale  and Tess de Quincey

Photo:  Vsevolod Vlaskine

The project is supported by funding from the Inner West Council




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Final Weekend of Hangover: Summer of '68 coming up

open 11am-5pm Friday to Sunday until Sunday 17 June

 
This project is supported by funding from the Inner West Council

Opening Beer sponsored by Grifter Brewing Company

HANGOVER: SUMMER OF '68 OPENED TONIGHT

SUNDAY 3 JUNE 3PM Artists' Talks: Joe Wilson, Chanelle Collier, Annelies Jahn, Oliver Wagner

Above photos: Margaret Roberts

Above photos: William Seeto

Artists' talks on Sunday

This project is supported by funding from the Inner West Council

Beer sponsored by Grifter Brewing Company

Joe Wilson and Chanelle Collier's Hangover: Summer of '68 opens Friday 1 June at 6-8pm

Open  11am – 5pm, Friday – Sunday 2 – 17 June.

Artists' talks: Sunday 3 June, 3pm

Hangover: Summer of '68 is a site-specific response to the layout and infrastructure of Articulate's ground floor project space, where a single work of planar forms combines approaches to drawing and painting.

Using a tent for its canvas panelling as a dynamic physical form; shapes, colours, and the interstices of windows and doors, yield a variety of surfaces as an experiment in formal play with height, compression, and light, utilising the material accoutrements to the tent: the canvas, rope lines, fittings, pegs, and poles.

As a cultural form, the tent carries varied associations with urban escape and political resistance, it denotes the polarities of camping and protest, freedom and hardship, nostalgia and destitution. Here it has been breached, opened up, and reconstructed where latent energy is held in the tension of fabric as effort that is stored in a battery-like capture of the kinetic energy used in the labour of its stretching and manipulation.

Hangover: Summer of '68 is the first of Articulate's Changing Place program, which focuses on whole-space installation to emphasise relationships between a work and its location. Changing Place  expects that these relationships will be most apparent when only one work is constructed in one architectural space. Articulate uses its funding for this program to encourage experimental spatial practices.

joewilson.space

Joe Wilson and Chanelle Collier, Hangover: Summer of '68 

Joe Wilson and Chanelle Collier, Hangover: Summer of '68

Joe Wilson and Chanelle Collier, work-in-progress, 2018

Joe Wilson and Chanelle Collier, work in progress, Stacks courtyard, 2017

This project is supported by funding from the Inner West Council 




Beer sponsored by Grifter Brewing Company

Witnessing Cultural Identities opened last night

Artists talks today at 2pm.

Curator Sandy Edwards opening Witnessing Cultural Identities

Artist Liz Thompson talking about her project under the guidance of Yingiya Guyula

Jeff Amatto talking about his collaboration with Asher Milgate

Vice-chair of Congolese Association discussing the work of Pam Kleemann

Witnessing Cultural Identities opens Friday 11 May 6-8pm

 

Michael Jalaru Torres,  Liz Thompson  / Yingiya Guyula,  Asher Milgate / Jeff Amatto,  Pam Kleemann

Curated by Sandy Edwards and Arthere

To be opened with a special presentation by the artists

Saturday 12 May 2pm: Artists talks by Asher Milgate/Jeff Amatto and Pam Kleemann
Saturday 12 May 3.30: visit to Boomalli to see Black Fellas Dreaming guided by Joe Hurst

OPEN 11am - 5pm 12 - 27 May  2018

Michael Jalaru Torres  Katina Coffin

This is an exhibition presenting six perspectives on storytelling from contemporary Australia through photography and voice. Each artist (Indigenous or non-Indigenous) is connected to a community, which celebrates its unique identity and then shares this with us. Each is passionate about communicating cultural and intercultural experiences and viewpoints through photography, sound and education. 

What are the responsibilities and issues as a non-Indigenous photographic artist with a burning desire to create social change and work that matters? It is definitely time for non Indigenous Australians to develop the art of consulting and listening to Indigenous Australians in order to truly hear what they have to say. Part of this is to humbly admit to a lack of knowledge and understanding both of history and of our current role in colonial dominance.

The intention of this exhibition is to stir up conversations about these matters while also exploring these different collaborative approaches to art and witnessing.

Artists Liz Thompson (Sydney) in collaboration with senior cultural custodian Yingiya Guyula (North East Arnhemland) and Asher Milgate working in his home town of Wellington, NSW, are portraying communities they have relationship to and because of that relationship, are committed to bringing stories from those communities into the wider world.

Michael Jalaru Torres is a Yawuru and Djugan man from Broome. His vibrant photographic imagery depicts a positive portrayal of the people and issues of his local community. In Jalaru’s case he is perfectly positioned as a photographer to express the Indigenous stories of his own community, for example young women dressed for the annual debutante ball. It is essential that Indigenous community stories are increasingly told through their own voice.

Melbourne photographic artist Pam Kleemann celebrates the Congolese culture of her late husband, the musician Passi Jo, a direct descendent of the Balari Troubadours of Bacongo, Republic of Congo. Passi Jo migrated to Australia in the 1990s and was known globally for his joyful, uplifting music and dance as well as his colourful style. He is proudly dressed in pyjamas 'La Sape' style, in the hospital setting while he was living with cancer. Kleemann had adopted his culture through marriage, and in this tender and humorous portrayal, she endorses his culture as she honours his life and their relationship.

As a photographer and a curator I was exposed early and indelibly to the politics of being Aboriginal in Australia by being asked by AIATSIS in Canberra as a young photographer in 1986 to document the Aboriginal community in Brewarrina, NSW, for The After 200 Years Project and the 1988 Bicentennial.

This exhibition and others have been driven by my desire to explore and get right the power politics of ones birth and place.

Sandy Edwards, Curator of Witness Cultural Identity

Arthere
HEAD ON

COMMON FATE open from Thursday 19 April

Common Fate – Sonja Karl and Liz O’Reilly – Artists-in-residence

Common Fate is an open residency of project work culminating in a series of installations and performances. It is a changing reflection on our personal collections of death and memory objects. It explores the multiple narratives of our inherited possessions and intimacies.

Sonja Karl and Liz O’Reilly, Installation, ‘memento-mori – Narratives of Inheritance’

Articulate will be open 11am-5pm, Thursday to Sunday until Saturday May 5^th during which time there will be opportunities for discussion and interaction with the artists in the evolution of the project.

Saturday 21st April 1 – 4pm

1.00pm Screening of award winning documentary – TENDER

The heartwarming story of a community coming together to challenge mainstream attitudes to dying, death and the business of funerals. 

2.30pm Memento Mori Talking Circle: all are invited to bring a memory object of hand-held size to share in a group discussion

Sunday 22nd April: 2:00 – 4pm

2pm Performance

2.30pm Memento Mori Talking Circle: all are invited to bring a memory object of hand-held size to share in a group discussion

Saturday 28th April: 2.00 – 4pm

2pm Artist’s Talk:  Invited artist Sylvia Griffin presents her contemporary practice of working with memory and trauma.

2.30pm Memento Mori Talking Circle: all are invited to bring a memory object of hand-held size to share in a group discussion

Sunday 29th April: 2.00 – 4pm

2pm Performance

2.30pm Memento Mori Talking Circle: all are invited to bring a memory object of hand-held size to share in a group discussion

Friday 4th May 6pm

Finissage: Performance and closing drinks

Due to the sensitive nature of discussing death and loss, we ask that there be no recordings of performances or talking circles out of respect for the participants and observers.  Please arrive 10 minutes prior to performances thank you.

Sonja Karl and Liz O’Reilly, Installation, ‘memento mori – Narratives of Inheritance.’(detail)

After someone dies there are objects left. We call them possessions, and understand them not just in the sense of literal ownership, but in the complex way an object reflects a person back to themselves. However fleeting or lasting, the intimate connection to an object is something we all have, and when death severs that relationship between person and possession, what becomes of it?

This liminal space of loss is where the project Common Fate resides, as an exploration of collections of objects left behind after death and an extrapolation of their resonance as possessed or known objects or lost intimacies. After death some possessions are highly visible, all over a person's house: next to their bed, in their bathroom cabinet, in the kitchen or in the drawers of their desks. However a great numbers of possessions are hidden, sometimes never seen by loved ones until after death.

Who possesses these visible and hidden objects now? When we see the material things in someone's possessions as a collection of intangible and intimate connections between them and the actual object, we can also see narratives around the transferral, dispersal or disposal of these possessions as layered and intricate relationships, family history and cultural inheritance.

Common Fate aims to reach out to the community; to initiate conversations, to provoke memories and stories, opening up expressions around diverse cultural concepts of death in order to bring to the fore what closure really signifies. 

Sonja Karl and Liz O'Reilly will be artists in residence in Articulate project space from 20 April 2018, using their personal collections of 'death objects' as the basis for Common Fate, from experimentation to installation, incorporating a dialogue with the community, finishing with a closing on the third weekend. 

Sonja Karl and Liz O’Reilly, Installation, ‘memento mori – Narratives of Inheritance.’(detail)