11.11.19

GOING GONE opens on Friday 15 November 6-8pm

Opening 15 November 6-8pm 2019


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.


Juliet Fowler Smith Sunflight, 2018-2019. Photograph










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.


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)

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

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.

*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.

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.
Virginia Hilyard/FionaKemp   PARE2019
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/
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

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

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.


Skylight shell left over from repairs turned into a lit object sitting on silver sarking material, aligns with actual skylight above

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
ARCHITECTURAL AMENDMENTS: BUILDING PERMITS
project space project #21

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
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
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.
Virginia Hilyard/FionaKemp   PARE2019
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/

20.8.19

Samuel James' INTERMINABLE PRESENT opens Friday 30th August 6-8pm


Open 11-5pm Thurs-Sun, Sat 31 Aug - Sun 8 Sept

INTERMINABLE PRESENT - Video drawings
project space project #20

Sam James is a video artist and projection designer based in Sydney, working with performance and live art. He is interested in the phenomenology of media, the relationship to body and its translation of phenomenal experience. He has made video light drawings on residencies in Iceland, Finland and Czech Republic as a response to site and local phenomena. This can take the form of idiosyncratic encounters with people, the in-betweenness of engagement with the unfamiliar and the senses provided by architectural and natural space.  The artist is often visible in the recorded videos, facing the camera and drawing blind. This project gradually integrates video drawings in response to the site of Articulate’s space.  Videos from other locations in the past will be phased gradually into the present.

www.shimmerpixel.blogspot.com

Samuel James  “Friends of Oneself” HD video still

Samuel James "Practicing Liberty to then be Jailed” HD video still

19.8.19

Margaret Roberts' Wall-Drawing in Articulate Backroom opens Friday 30 August 6-8pm


Open 11am - 5pm Friday - Sunday, 31 August - 8 September

On one wall, I am drawing the temporary wall in Articulate's backroom at the same scale, but vertical instead of horizontal, thinking that the wall and its drawing have the potential to hook onto each other in a sort of hug where the short length of each provides support to the long part of the other. I was thinking partly of Blinky Pallermo's 1971 mural painting on two walls facing each other, in which the walls strain to stay separate and not collapse into one painting as they seem to want to do. It is also a continuation of an interest in making gallery walls more visible by converting them into sculptures. Later on I also marked out the ceiling's inset lights onto the floor, and renamed the work Room-Drawing.


Temporary Backroom wall. Photo: Jessica Maurer









www.margaretroberts.org




3.8.19

Writhe is open - Ciaran Begley's artist's talk today at 3pm


Open 11am-5pm Fri-Sun 3-18 August











 Ph Peter Murphy

Ph Peter Murphy

Veronique Delauney operating Writhe. Ph Peter Murphy

Bhupen Thakker operating Writhe. Ph Peter Murphy

James Koh operating Writhe, Ph Peter Murphy


ROOMSHEET

This project is supported by funding from the Inner West Council

28.7.19

Ciaran Begley's Writhe opens Friday 2 August at 6-8pm

Writhe

Opening Friday 2 August 6-8pm

Open Fri-Sat 11am-5pm  3 - 18 August

Artist's talk: Saturday 3 August 3pm


Ciaran Begley Writhe 2019 (diagram)















Writhe involves a series of structures that confront the public with contortions of space itself.  Four hanging sculptures arranged throughout Articulate’s long project space hang from the exposed wooden struts of the building.  These heavy works Installed along the middle of the space set up the architectural space as a stage for spatial contortion.  These room dividers delineate new internal spaces and when moving expanding in a rectangular form containing a complex contorting form enveloping the gallery space with danger and intrigue.

The work is a complex reinterpretation of previous work engaging those who know my work with an impossible reconfiguration of known forms with new movements and a departure from the safety of the wall.  For new viewers this work is  a step into the zone.  A landscape of new possibilities and new dangers where the laws of physics and assumptions about gravity give way to a world where space is governed by action, movement and form.  A space where the choices we make become environments for others and comprehension an elusive concept.

In this work I have challenged the limits of my own capacities of engineering and installation to present a work that challenges my own capacities of expectation and experience.  Please join me in this new world.


Ciaran Begley












This project is supported by funding from the Inner West Council

There Can Be Only Chaos opens Friday 2 August 6-8pm

Open 11am - 5pm Fri-Sat 3-18 August


There Can Be Only Chaos shows the work of Liam Garstang, Matthew James, Simon Lawrence, James Nguyen and Hannah Riley


Let's face it; art making is messy process.  Be it a blurred image from a moved camera, a wet shoe or a solid puddle on a shelf when opening a kiln. Working with materials is complicated. This show melds the work of practitioners marinated in the materials they use.  Mathew James’s open shutter film rolls; Hannah Riley’s cobweb drawings, James Nguyen’s humidified river, Liam Garstang’s shotgunned ceramics and Simon Lawrence’s kiln activated objects. Each of these artists has delved down the material rabbit hole and come up with works that infuse the gallery with physical objects that challenge the very fabric of reality. 
Simon Lawrence  'In-kiln kinetic study' 2019 ceramic and glass





Archeological Surveys opened last night