Open 11am - 5pm Fri-Sun 19 June- 11 July 2021
Opening Saturday 26 June 2-5pm (Cancelled and postponed till 10/11 July subject to lockdown)
Saturday 26 June 2pm: Dell Walker, Aude Parichot, Alan Schacher, Lesley Giovanelli, William Seeto, Terry Hayes. (Cancelled and postponed till 10/11 July subject to lockdown)
Closing and artists talks: Saturday 3 July 2-5pm: Dell Walker, Sue Callanan, Toni Warburton, Aude Parichot, Alan Schacher, Lesley Giovanelli, William Seeto, Terry Hayes. (Cancelled and postponed till 10/11 July subject to lockdown)
psp.doc shows the work of artists Sue Callanan, Lesley Giovanelli, Terry Hayes, The Hypothetical World, Aude Parichot, Kathryn Ryan, Alan Schacher, William Seeto and Toni Warburton that documents the project space project they undertook at Articulate during the last decade.
Articulate beg: an the project space project in 2011 by inviting artists to work in Articulate's 27m long ground floor project space for pre-determined periods of 1-3 weeks, in whatever way a project space serves their art practice at the time. The broad aim is to show what a project space is through the accumulation of the various ways that artists employ it in their art practice.
All the project space projects (psp) are recorded on Articulate's public archive with images and text.
The psp.doc exhibition provides physical artspace (but different from and smaller than the project space) and a catalogue space for writing, for artists to reduce their project space project to whatever material continuation, summary, analysis or other form of documentation that they think appropriate.
Psp.doc will be accompanied by a new project space project on the ground floor project space and back room: Holding Back the Tide by Dell Walker.
|Toni Warburton idea for a conic frustum basin form, 2021, watercolour on rag paper.210mmx310mm|
Toni Warburton Template Panorama 2012 (day 8 of project) photo: William Seeto
Toni Warburton, Conical frustum basin forms: cumulative retrieval series.2021. Various media, including bookbinders’ muslin, paper, hessian, canvas, chicken wire, fabric, thread, paint, glue. H 140mm, W 540mm
draw notation space encryption base imprint writing map code decipher grain pixel texture Fold roll compress shape conic section trace edge circle cone oval ellipse rim moment clay paper canvas object sew outline contour stitch profile template elevation shape plan top pattern MA* base copy side scissors repeat brush duplicate foot pot void calligraphy pleat void join door action point container codicil seam decryption plane illustrate opening replica compose variation form line empty translate tear expanse evidence grid arrange sunlight study calibrate interval inaction dart striation marginal window join repeat sketch duration drape italic illumination expanse pause mold crenellate shadow prototype assemble edition air serpentine reflection artifice morphology cut absence cursive bend decipher unwind scratch blend
*Japanese aesthetic concept of time and space
Boxed Corner2021Cardboard 30x30x300cm approx., photocopySeminal to this work is the exhibition The Question Consortium, which was held at Articulate project space in 2015. Both works together query our worlds within worlds. In this appeal of what we may consider as cosmic dance, corners play a fundamental part. Corners organise the worlds' coexisting realms. Boxed Corner refers in that sense to our utmost experience of corners' status, which unites and divides worlds, both subjectively and normatively. In space time is life, and are we and I, with and through corners, which concomitantly allow and limit our individual and shared experiences. To corners' universality stick things and non-things alike, from materialist grapple to epic discontent about origin, causality, and fake criticism. Attached to them are also our utterly romantic encounters with chance and speculative embracement of the future. Corners' physical and metaphysical omniscience comes to light equally in the plethora of phantasms including our most hidden and wildest dreams. The corner is one of worlds' great commons, a world glory hole, from which, relentlessly, we attempt to become liberated or struggle to separate. The corner reminds us also of our remarkable impetus when it comes to our hideous desire and instinct to govern or even just to be in or with the world.
|Sue Callanan FENCING: Repairs and maintenance (2017, 2021) |
The idea for Fencing: repairs and maintenance arose when the opportunity of doing a project space project coincided with my having completed construction of a fence around my home. The leftover pile of palings and sticks became source material for translating the notion of fence to Articulate.
The sticks and palings became tools for defining, marking and also dividing the space. They also became a form of large scale notation. I moved them from one end of the space to the other in an evolving series of installations, where one idea flowed on from the one preceding it.
Whilst appearing functional, the arrangement of the sticks, over time, began to take on metaphoric meanings in relation to the marking dividing and barricading. For each progression, I found a new title: 1. Landing 2. River of Styx, 3. Opposite sides of the fence, and so on.
The overriding title, Fencing: repairs and maintenance held a clue to the functional aspect of addressing the everyday management of life and its material substance within the architectural or urban framework within which one finds oneself. However, the open-ended site of the project space (compared to that of home and actual fence) becomes a container for expanding the notion of the mundane through the lens of the poetic. It allows that moment where the real (mundane) and the poetic hyphenate, see sawing from one to the other.
For the documentation, the presence of some of the fencing material, with its physicality, colour, texture and solidity seemed crucial, but for it to have any meaning, I needed to find a spot where the idea of ‘fence’ was relevant. I located a small pocket of space which allowed me to create an enclosure, contiguous with the stair rail, itself a fence.
It’s challenging, in retrospect, to identify the core elements of the work, as ideas evolved quite rapidly over the course of the week, morphing from one idea and form into another. Again I came back to the title, Fencing: repairs and maintenance, and decided to use it as the header for a log book with a list of entries of ‘works’ undertaken. My aim was to present this in a condensed form, and in doing so, to draw out not just the physical connotations of fence, but also the metaphorical ones.
It occurred to me that one could also record the different configurations in the form of diagramatic notation. Both of these last two representations, log book entries and diagramatic notations, in effect become part of a new work with reference to the original. They served to encompass an element implied rather than spelt out. It becomes clear to me that in any work, the act of documenting (reviewing and reflecting) becomes a new creative act triggered by, but independent of its original counterpart.
Kathryn Ryan Drawings of Pieces of Practice 2011
When I got to Articulate in 2011 I didn’t have much with me. I had two carry bags of small things that were easily moved on public transport. It was always very hard for me to identify the materials of my practice but with time and absence I see now that they were objects of proximity and convenience, there were so many practical considerations that defined what I chose: Money, opportunity, portability, and a certain material flexibility to sympathise with the spaces I worked in - which for most of my practice happened to be non contemporary with natural elements.
All these restrictions were freeing in a way, whatever I chose had to be chosen and that’s what I had to work with. All these objects, discarded from old houses, living in op shops, and littered along streets, form a line along a network of busses and trains that encompass a space that was entirely personal and yet also shared.
I never tried to make these objects make sense or to find out what they meant, I just enjoyed the challenge they presented to surprise me, and hopefully others. It was very much like working with words and finding their poetry. Anyway, I remember that Articulate as a space had a lot of rough edges. There were cracks and bricks and wood and natural things left undone. And without these I don’t know that I could have made anything without becoming lost. I needed these areas as points of departure - and as an end point to the tether the journey of these objects.
At the end of my time I drew each miniature installation as a way of keeping it and making something I could own.
Conditions of entry:Please do not come if you are unwell or a contact of a COVID-19 case.Use the hand sanitisers provided at the entrance to Articulate.Complete your contact tracing information on entry to Articulate.Keep 1.5 metres distance from others or wear a face mask