Articulate turns seven opens Friday 8 December 6-8pm

Articulate turns seven celebrates the end of our seventh year with an exhibition of works by 40 of the artists who have exhibited at Articulate since 2010.

It will show new work by Alan Schacher, Alison Clouston and Boyd, Allen Viguier, Anke Stäcker, Annelies Jahn, Barbara Halnan, Bettina Bruder, Bianca Opie, Brigitta Gallaher, Chantal Grech, Elizabeth Ashburn, Elizabeth Day, Elizabeth Hogan, Elizabeth Rankin, Elke Wohlfahrt, Ella Dreyfus, Fiona Kemp, Helen Grace, Jacek Przybyszewski, Jeff Wood, Jennifer O’Brien, Katya Petetskaya, Kevin Sheehan, Laine Hogarty, Lesley Giovanelli, Linden Braye, Lisa Tolcher, Liz Coats Margaret Roberts, Mireille Eid, Pam Leung, Paul Sutton, Renay Pepita, Ro Murray, Rox de Luca, Steven Fasan, Sue Callanan, Tim Corne and Wendy Howard.

See previous Articulate birthday shows here: 2016 2015 2014 2013 2012 2011 2010


Be Afraid, Be Very Very Afraid - a project space project opening Friday 1 December at 6-8pm

Be Afraid, Be Very Very Afraid is an exhibition by Suzanne Bartos and Choi Ik gyu, timed to mark the completion of the Royal Commission into the Institutional Responses to Child Sexual Abuse.  The exhibition includes Choi Ik gyu's work, The Journey.

Opening 1st December 2017, 6 - 8pm
Then open the weekend of 2nd and 3rd December 11am to 5pm
Artist talk 2.30 Saturday 2 December.


On the long crush through the Vatican museum my sculptor friend tells me a story.  It was about taking her young nephew through a similar gallery years ago.  She explained to him that in art historical times the catholic church, offended by penises on nude statues, had chiseled them off and replaced them with fig leaves.   He quickly reasoned, that that must mean that there’s a store room full of all the offending organs.  And where was it?

I’ve been attending or listening live to the Royal Commission and have been working on images that have arisen for me over the five years it had been sitting.  Hearing my friends story I think perhaps that’s just what I’ve made:   A room where the things that the Catholic Church have not wanted to look at, are stored.

The Journey
- Ik-gyu Choi

제목 : 여행

                                                          최 익규

이 작품은 나를 지배하는 모든 생각들에 대한 날것의 솔직한 기록이다.
이런 과정을 통하여 가장 지금 나와 가까운 자화상이 그려지길 기대하며 작업을 했다.
이를 바탕으로 조금은 의미있는 나만의 인생철학을 가지고
나의 남은 인생길을 걸어가는데 도움이 되길 바란다.
내 안에는 빛나는 행복한 모습도 있지만 
또 다른 깊은 곳에 자리 잡은 어두운 모습도 있다.
그것은 내가 몸담고 있는 이 세상의 모습도 그렇다.
문득 어두운 밤 소란스런 도시에 밝게 빛나는 교회의 십자가를 바라본다.
수없이 많은 욕망이 난무하는 술 취한 듯 방황하는 세상에서
밝게 빛나는 십자가의 의미를 생각해 본다.
이런 세상에 몸담고 살아가는 종교인이거나 아니거나,
모든 사람들은 자신의 길을 비추어 줄 희망의 십자가를 하나씩 가슴에 품고 있으리라.
방황하는 솔직한 나의 자화상과 내안의 길 위에 흔들리는 십자가와 
나의 위태로운 인생 여행과 나의 삶의 가치관에 대해 생각해 본다.
 (English translation coming)

This is project space project #14, a way of working in which Articulate is used as a project space for the development of artwork on-site, in the expectation that the work produced will develop 
    unplanned relationships with the location.


Coming in December - Articulate Turns Seven

Articulate turns seven 

Articulate invites artists who have shown in either the downstairs project space or the upstairs gallery since we began in 2010, to exhibit recently made or un-shown work in Articulate Turns Seven.


a performative soundscape to conclude 'somnauralisms : sonic sketchbooks' - 6pm Sunday 12 November 2017

an aleatoric ensemble
[and other sonic miscellany]

Gary Warner
Sunday 12 November 2017

In a performative conclusion to the exhibition somnauralisms : sonic sketchbooks
Gary Warner will activate Articulate project space with an evolving hybrid analogue/digital acoustic/amplified soundscape generated by an assembly of
kinetic constructions, electronics, field recordings and live actions.

Virginia Hilyard - Gary Warner
somnauralisms : sonic sketchbooks
Fri-Sun 11-5pm until 12 November 2017

#experimental  #soundart  #soundscape  #sonicenvironment  #chamberofquietude  #auralpoetics  #aleatoryaudio  #improvisation  #fieldrecording  #deeplistening  #soundjourney  #modifiedturntables  #everydayobects  #randomised #audioart  #foundobjects  #experimentalart  #abstractart  #nonobjectiveear  #contemporaryart  #notmusic  #newmusicality  #dadaesque  #onenightonly  #timesmear  #innerear  #irregularsingularity  #outsidersound  #generativesound #...


somnauralisms : sonic sketchbooks opened last night

somnauralisms : sonic sketchbooks is a sound installation by Virginia Hilyard and Gary Warner that is experienced in situations that de-emphasise the visual by mainly using natural light. The only artificial lighting seems to be reflected onto the ground by the sound equipment and draws attention to the listening seats and benches located throughout the project space. Visitors sit or lie to listen to new compositions by the artists that they describe as abstract experimental immaterial sculptures of time, sound and conjured space. read more

somnauralisms : sonic sketchbooks is open Friday-Sunday, 28 October–12 November 2017.

somnauralisms - virginia hilyard

sonic sketchbooks - gary warner

photos above: gary warner

ArticulateUpstairs: Hidden by Elizabeth Rankin and Kirsten Drewes

photos: w.seeto


Virginia Hilyard & Gary Warner - opening Friday 27 Oct 6-8pm


sonic sketchbooks

Open 28 October– 12 November 2017

Virginia Hilyard and Gary Warner each has a long history of engagement with audio, in filmmaking, field recording and sound art. For this outing at Articulate project space, they comingle evidence and invention in new sound works for headphone listening.

 sound collecting - left, Virginia Hilyard (Bingleburra), right, Gary Warner (Higashiyama)
somnauralisms explores the affect of intimate chthonic sounds made by sleeping bodies entwined with sonic happenstance, unheard by the unconscious sleeper, though perhaps sensed into a distorted dream soundtrack.  The vigilant recording device listens in the sleeper’s stead, hearing and capturing what they do not in their vulnerable repose.

sonic sketchbooks explores some experiential correlates of aurality and drawing. The space of attentive presence is shared by the performative activities of listening through field recording and drawing, both of which are subjective, internalised, reductive, requiring a commitment of time and an openness to process. 

Constructed from the artists’ field recordings in Australia, Europe and Japan, and sounds made in studio, forest or street recorded with binaural, shotgun, contact and vintage microphones and hydrophones, these new compositions are abstract experimental immaterial sculptures of time, sound and conjured space.


Closing drinks 3-5pm Sunday 23 October - TRAFFIC & Notebooks 1969-2016

TRAFFIC is organised by Lisa Andrew and Rachel Buckeridge, and shows the work of artists Poklong Anading, Lisa Andrew, Nicole Barakat, Rachel Buckeridge, Maria Cruz, Gaston Damag, Stephen Eastaugh, Kat Medina, Elizabeth Pulie, Tobias Richardson and Jeona Zoleta.

Open 11am - 5pm Friday - Sunday till 23 October


 This project is supported by funding from Inner West Council


TRAFFIC Opened last night

TRAFFIC is now open 11am - 5pm Friday -Sunday till 23 October

TRAFFIC artists' talks Sunday 15 October 3pm


 This project is supported by funding from Inner West Council



Open 11am – 5pm Fri-Sun 7 -22 October

TRAFFIC artists' talks: Sunday 15 October  3pm

TRAFFIC is organised by Lisa Andrew and Rachel Buckeridge, and will show the work of artists Poklong Anading, Lisa Andrew, Nicole Barakat, Rachel Buckeridge, Maria Cruz, Gaston Damag, Stephen Eastaugh, Kat Medina, Elizabeth Pulie, Tobias Richardson and Jeona Zoleta.

Tobias Richardson Once I thought I saw you Saint Louis, Senegal 2014/15 Inverted soccer balls Various dimension Image credit: Fiona Morrison

Clothes destined for Vinnies in Sydney often end up travelling a quite remarkable other journey, split along several different trajectories, as their destinations are dependent on how they are sorted and organized, and may even embark on an International course which can lead them to places such as the night markets in Baguio City, in The Philippines.

This exhibition situates this type of traffic in culture (with an emphasis on expanded ideas about textiles, but not limited to textiles) in Articulate project space, which is located on one of the biggest routes into the city of Sydney. Marked by its destination and arrivals - and all the phases in between- Cloth (objects) is one such example of material that does not remain static, rather, it is reshaped “en route” and its value and meaning changed based on its social life along the way.
Some ideas and words: traffic (of all kinds), road traffic- Paramatta vs EDSA in the Philippines (two main arteries into cities) routes, social life of things, travel -movement, alien, exile, displacement, from elsewhere, un-fixed, parallel identity, second-hand night markets (picture: Baguio, the Philippines). Periphery, walking with the devil-appropriation, we are all Caribbean now in our urban archipelago, hoarding mending and up-cycling.

Lisa Andrew

The project is supported by funding from the Inner West Council



Artist's talk by John Gillies at 2pm on Sunday 1 October

Artists' talks begin on Sunday 1 October at 2pm with John Gillies speaking in the downstairs project space, followed by Sally Clarke and Annelies Jahn at 3pm upstairs.

Open 11am- 5pm Friday - Sunday until Sunday 1 October.

videos by Karen Brown

This project is supported by funding from the Inner West Council

Witkacy in the Mirror - Stella Rosa McDonald

You have lost the capacity to live. You are all of one piece.[i]

As I write, I keep a photograph of Stanisław Ignacy Witkiewicz, (nickname Witkacy) to the right of my page. It is there to remind me of the space between experience and account. In Fright (1931), the Polish playwright—add to this painter, novelist, philosopher, photographer, historiographer, art and cultural critic—appears unsettled. Witkacy embodies Fright with wide eyes; bottom lip gently curled downward, hands framing cheeks, fingers slightly blurred to imply the physical rigidity in attendance. He depicts the titular emotion with an air of exaggeration that was common to all of his representational forms. [If we can, for a moment, view Witkacy’s work with double vision, we might see a sight line that extends from Julia Margaret Cameron’s objective treatment of her subjects via calamitous allegorical tableaux, to the photographs of Annie Leibovitz, who houses her obsession with the archetype in the stretchy celebrity body.[1] This sight line comprehends those artists who pursue the nature of being as subject, only because it pays the greatest returns]. And so it is that Fright’s naivety, the way in which it privileges the emotional over the figurative in pursuit of representation, is central to its affect.  As a seized portrait of indignity and humiliation it is—necessarily—too much.

As a man, Witkacy was taut, intense, always on. Thus uneasy, we can understand Witkacy as forever working in the mirror, persistently re-arranging/deranging himself in front of whatever landscape happened to be returned by the glass. There are many biographical details, too convenient to overlook here, that point to Witkacy’s pursuit of the ontological and define his technique as one of assemblage: his portraits and self-portraits depict the subject in motion or in multiple, his nickname is a portmanteau of his middle and last names, he had an unsteady style and took to dressing in varied costumes, lurid jumpers, robes, and berets and–finally–when the Polish Ministry of Culture exhumed his remains and moved his grave to a new site in 1994, genetic testing on the bones concluded that they belonged not to Witkacy, but to an unidentified young woman.[ii]  If it were not for the corroboration of witnesses and the indelible proof he left of his existence via his archive, we might have cast Witkacy as a harmless, yet grotesque, chimera.

For John Gillies, assemblage is also a critical method. As an artist, his propensity to move between things—video, performance, sound, music, film, theatre, photography and installation—in order to embrace the contradictions of life and representation, might be the reason he was drawn to take on the scattered Witkacy as a subject [Witkacy & Malinowski: a cinematic séance in 23 scenes (2015 - 2017)]. If Witkacy could be proposed as a model for Gillies’ practice—as I am attempting to do here—then we might find some measure of the necessary distance Gillies has traveled between subjects, mediums and disciplines over his more than thirty year career.
John Gillies Witkacy and Malinowski in 296 shots 
In Gillies’ work, the difference between experience and account is mended by the act of citation—literary, theatrical, artistic and historical quotation are invoked to produce speculative narratives in which subjects speak into the gaps of their pasts. In the multi-channel video installation Parsifals (1987), the 12th Century tale of Parsifal’s quest for the Holy Grail fuses with Wagner’s 19th Century opera of the same name, via a number of surplus TVs on the floor. Wagner’s opera is audible, but only through a recording of it taken from a radio, in the midst of a thunderstorm. This aspect of the work feels particularly located in the rural—as the Australian bush is a place where other worlds arrive through bad reception and crackling static, or they don’t arrive at all. The Holy Grail offered those who unearthed it, complete self-realisation. In Gillies’ telling of it, The Holy Grail is found and the self is illuminated, albeit by the buzzing 4:3 of the CRT monitors; here commodities fatefully offer purchasable transcendence.
Actors are tasked with the incredible directive of “being present”. Witkacy wrote that, "people are ghosts pretending to be people." Like Witkacy, Gillies notices artifice and adopts it as a formal language in an attempt to faithfully render the discontinuities of the self and consider the nature of a fractured reality.[2] In Techno/Dumb/Show (1991), made in collaboration with The Sydney Front, Gillies began to pit melodrama against authentic representation. Sweaty, euphoric and pained faces fill the frame. Through spasmodic editing, bodies contort, repeat, contort and release; choreography and improvisation collide. The work eschews narrative in favour of “a festive catalogue of histrionic gestures”. Gillies’ Mise-en-scène, music and direction contribute to a spectacle in which performance - read presence - is compromised by ecstatic and ordinary emotional states, by “dislocation, pleasure, reverie and vertigo” [iii], by the act of losing, rather than finding, oneself.
 [Witkacy’s] photographs from the 1920s and 1930s fall into two categories: metaphysical portraits and “Life Theatre”. The metaphysical portraits are psychological interpretations of the subject revealing the fragile sense of identity of self and consequently a heightened awareness of the mystery and horror of existence...On the other hand, the Life Theatre photographs are comical poses revealing life as adventure, play, a game, and infinite possibilities.[iv]
Video, film and performance, mediums to which Gillies most consistently returns, are premised on deception. Via illusion, they colonise inhabited realities, at the same time as they call into question themselves. Video, in particular, has the capacity to loop and repeat, making it a recursive and well suited to critiques of identity and histories—two thematic strains in Gillies’ own bodies of work. In Divide (2004/2016), a nation emerges from the collective memory of its introduced inhabitants. Incongruous things—an ant mound, a Chinese opera singer, men and animals—are cut to fit. The work is punctuated with these unlikely, yet familiar, amalgams. But if you have watched the Australian landscape from the window of a moving train [as you can so wonderfully in Witkacy & Malinowski...] or walked for absent miles through dense indifferent bush to find a beach at the end with a barbeque cemented on it or admired a purple shroud of Paterson’s Curse or looked past an outcrop of granite and serrated tussock to notice teams of sheep stepping their desire lines across deforested earth, then you already know that invasion here is not the exception, but the rule.  
We are assembled through desire, accident, chance and mistake. If the future, as Gillies’ has stated, is in the act of being made from fragments of the past, then it is possible that the present doesn’t maintain a stratified position between these two positions but is, rather, a shifting state of infinite, dizzying progress and regression. Selfhood, like the Nation or the Landscape or the World, is best navigated when we understand it as a preliminary concept.

The image of Witkacy’s Fright has been replaced on my screen by pages of nascent notes, abandoned sentences, rich quotes and endless open tabs. The one has been splintered by the many. Experience, as Gillies’ work in the mirror demonstrates, is clouded by too faithful an account.

[1] “Cameron’s oscillation between aspiring to faithfully represent the external look of the subject and the treatment of a model as representation of symbolic form most certainly had an impact on Witkacy, who, like Cameron years earlier, connected the objective value of photography and the imagination of the photographer.” Lynn Warren, Encyclopedia of Twentieth-Century Photography, Routledge; 1 edition (November 15, 2005), 2005, 1695.
[2] “... editing expresses the contradiction of a seemingly unstable system that can be perceived as stable and ‘real.' It is not unsurprising that film montage appeared around the time Witkacy was writing in Einstein’s new theories. We accept it as a continuous reality even though it is made of discontinuities, similar to how our experience of reality is created.” John Gillies in Keith Gallasch, “Love, Materialism and Metaphysics”, RealTime, issue #136 Dec-Jan 2016.

[i]  Witkacy to Malinowski, in John Gillies, Witkacy & Malinowski: a cinematic séance in 23 scenes, (2015 - 2017), 40 min film, 5.1 or stereo sound/installation 300 x 500mm with video projection, 5.1 sound. Quoting 622 Falls of Bungo, or the Demonic Woman (622 Upadki Bunga, cyzli demoniczna kobieta, Stanisław Ignacy Witkiewicz, 1910 -11)
[ii] Paulina Schlosser, “An Alternative Biography of Witkacy”, http://culture.pl/en/article/an-alternative-biography-of-witkacy, Sep 16, 2013.
[iii] John Conomos, “A Video that Questions the Primacy of Narrative”, Strangers in Paradise, catalogue, National Museum of Contemporary  Art, Korea, Seoul, 1992, 34.
[iv] L Warren, Encyclopedia of Twentieth-Century Photography, Routledge; 1 edition (November 15, 2005), 2005, 1696.