27.5.18

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

12.5.18

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

6.5.18

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