V1_NAB Revised_Art Month

ANTHROPOCENE

3-18 March 2017

Opening: Friday 3 March 6-8pm

Curated by Grace Partridge

Another Kind of Girl

Nicole Monks

Andy Mullens

Kawita Vatanajyankur

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The first iteration of Antidote is an exploration of the female body and the land on which it survives and thrives. Themed ‘Anthropocene’, the works manifest subversive views of this newly discovered and somewhat contentious geological epoch, in which the earth is defined by its negative interaction with human kind. The four artists chosen investigate unique stories of female bodies through a cross-cultural lens, while eliciting how they engage with their physical land – as well as the socio-political issues and cultural questions that may arise from such an interaction.

Another Kind of Girl

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The Another Kind of Girl’ Multimedia Project sees artist and educator, Laura Doggett, facilitate and present photography and film from Jordan, where she has worked for a number of years with Syrian refugees to help document their stories and lives. Another Kind of Girl, (the short film that became the face of the project) was aired at the Sydney Film Festival in 2016, winning numerous accolades, including previews at Cannes and One World Film festivals.

Nicole Monks

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Nicole Monks’ second iteration of Owning the Moon is a manifestation of her body of work: trans-disciplinary and investigating the paradigms of time, place & space between her Indigenous background and her western one.

Andy Mullens

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Andy Mullens’ Bloodline is an intricate tapestry of history and diaspora. An assemblage of photos from Saigon, part strangers/part family – are re-contextualised through a connection of space, and a delicate red thread. Although all faces presented are affected by the war, the presentation of a chaotic family tree allows the viewer to commiserate the loss as well as revel in the connection to home and family.

Kawita Vatanajyankur

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Kawita Vatanajyankur’s Machinized series is visually stunning – and in its simplicity, interrogates the concept of female labour, and the positioning more broadly of the female body in two worlds – her traditional Thai heritage, and the mechanically driven, consumption fuelled world of the West.

Kawita Vatanajyankur is represented by Stills Gallery.

For more information go to Antidote

Images top to bottom:
1. Kawita Vatanajyankur, The Scale of Justice, 2016, from Machinized, single channel HD video, 2:32 minutes. Courtesy of the artist and Stills Gallery.
2. Another Kind of Girl (film still), by Khaldiya, 9:31. Director & Cinematographer: Khaldiya Jibawi. Editors: Laura Doggett, Khaldiya Jibawi, Tasneem Toghoj. Courtesy of the artist.
3. Nicole Monks, Owning the Moon (still), 2016. Courtesy of the artist.
4. Andy Mullins, Bloodline, 2014, found photographs, cotton, tape, dimensions varied
5. Kawita Vatanajyankur, The Scale of Justice, 2016, from Machinized, single channel HD video, 2:32 minutes (courtesy of the artist and Stills Gallery).

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ARTIST TALKS

Saturday 25 February 3-5pm

I See Queer People

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Three fab exhibitions staged for the

Sydney Gay and Lesbian Mardi Gras Festival 2017

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Boys don’t cry

Kieran Butler

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Disco Infirmo

Curated by Jane Polkinghorne

Trevor Fry, Tina Havelock Stevens, Danica Knesevic, Renny Kodgers, Ladonnarama, Sean Lowry, Daniel Mudie Cunningham, Jane Polkinghorne, Ingrid Stiertzel

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Worse than Animals

Phil Soliman

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ALL WELCOME

10 Junction Street Marrickville

just 6 minutes walk from Marrickville Station

All images courtesy of the artists and AirSpace Projects ©2017

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I See Queer People

Three Exhibitions

10-25 February 2017

All Welcome

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Images (clockwise from top left): Kieran Butler, A self-portrait for you, for me, for yoooo, for M and A and Gee too. 2016, Digital image file. Courtesy of the artist. Danica Knezevic, Constant Reflections, 2013, single channel, HD video. Courtesy of the artist. Tim Hilton/Ladonna Rama. Courtesy of the artist. Phil Soliman, The Vast Interior (View from the cave of St Anthony the Great), digital photograph. Courtesy of the artist.

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AirSpace Projects
10 Junction Street, Marrickville
Just 6 minutes easy walk from Marrickville Station

Opening Event

Friday 10 February 6-8pm

Artist Talks

As part of the

Sydney Gay and Lesbian Mardi Gras Festival 2017

Saturday 25 February 3-5pm

Gallery One

Boys don’t cry

Kieran Butler

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Boys don’t cry is a tragic love story, a casual hook-up and an awkward first time. It’s all the feelings you couldn’t say, the coming out you never always wanted and a person you thought you could fall in love with.

Boys don’t cry is about the materialities of love and relationships, the 21st century’s constant stream of information, and the way their associated power relations aid the breakdown and construction of one’s own identity. This exhibition is one instance of how we might work through the endless experiences of being under construction, the questions we ask, the self-doubt we face, the love we feel and the places, real, imagined, semi-fictional or fluid it may take us to; online or offline.

For myself, as a gay man, this has been a long, enduring and seemingly lonely experience, a slow construction of my own identity full of self-doubt. I ask myself questions about masculinity, femininity, LGBTQI colloquial language and popular culture; things I don’t understand, things I want to reject/accept, things I’ve felt removed from yet so close to at the same time. In the digital age materiality points to a mess of diverse factors where materiality itself can be an effect of “an ongoing performance”.[1] In this work I am referring to my own ongoing unsuccessful and semi-fictional performances of love as a homosexual, the identity politics of my own socio-political context and how I navigate them.

I am not the first to say boys don’t cry and this exhibition is by no means definitive of LGBTQI experiences. It is merely one of the many stories that exist in spaces that are real and tangible, sometimes imagined, semi-fictional and fluid.

[1] Lange Berndt, P. Documents of Contemporary Art: Materiality, MIT Press, London, 2015, pg.12

Gallery Two and The Cranny

Disco Infirmo

Trevor Fry
Tina Havelock Stevens
Danica Knesevic
Renny Kodgers
Ladonnarama
Sean Lowry
Daniel Mudie Cunningham
Jane Polkinghorne
Ingrid Stiertzel

Curated by Jane Polkinghorne

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Disco conjures a nostalgically, shiny, glamorous past while simultaneously suggesting disco’s collapse into a sparkling hole of excess and ridicule.

Disco Infirmo uses disco in the Australian context as its starting point, remote from the high glamour of the disco era at its peak at Studio 54, New York Operating from Australian vernaculars of ‘secondhandism’, the artists incorporate and infect this imported form, corrupting, mutilating and lionising via Australian cultural anti-glamour.

The artists respond to the sensations that Disco Infirmo evokes – nostalgia, sparkles, nausea, dance fails, Blue Light Discos, ridiculous fashion, rhythmic music, those too old for the dance floor, the bad and almost good dancers, Aussie pub rock discos, and mum and dad dancing inappropriately. Out of time and out of place, and yet the disco continues to be a democratic field for creative expression.

Deep Space

Worse than Animals

Phil Soliman

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In Worse than animals, Melbourne-based multidisciplinary artist Phil Soliman takes the worst insult he has ever endured and shapes it into a powerful symbol of identity. A gloriously psychedelic mashup of pop culture, internet ephemera, ancient Egyptian mythology and house music, this video installation challenges toxic homophobia and other types of othering with humour and insight.

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Thank You Artists,

Supporters and Friends!

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We’re disappearing for a bit but look forward to seeing you again at the first opening of 2017

I See Queer People

Something for everyone from

the young, the infirm to the spiritual

Friday 10 February 6-8pm

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WALK AND TALK

WITH

CHRISTINE DEAN

Saturday 17 December from 3pm

Join us for a walk and talk through the galleries with Christine Dean on Saturday 17 December from 3pm. Christine will walk us through the 3 current exhibitions facilitating conversations and, no doubt, offering her own point of view!

It promises to be fun and will be followed by afternoon tea and drinks to see out the last exhibitions for 2016!

All welcome!

Click on exhibition titles below to find out more about the artists and their work!

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Christine Dean participates in the hanging of David Sequiera’s series, What Time Is Grey?, which forms part of Grey Area. Photo: AirSpace Projects.

Grey Area

Sally Clarke, Michelle Collocott, Christine Dean, Brenda Factor, Sarah Newall, Ali Noble + Nuha Saad, Rafaela Pandolfini, Margaret Roberts, Nairn Scott, David Sequeira, Phaptawan Suwannakudt

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Gillian Lavery with her drawing installation, Traverse. Photo: AirSpace Projects.

Traverse

Gillian Lavery

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Marikit Santiago (R) and partner Shawn Pearl with Tabi-Tabi Po. Photo: AirSpace Projects.

Tabi-Tabi Po

Marikit Santiago

mpurse-copyAirSpace Projects will re-open on Friday 10 February


 

December Exhibitions

11am Friday 2 – 5pm Saturday 17 December

Opening Event: Friday 2 December, 6-8pm

Come and join us for the final round of exhibitions for 2016!

10 Junction Street Marrickville

Phaptawan Suwannakudt, Elephant and the Bush, 2003. Image courtesy of the artist.

Phaptawan Suwannakudt, Elephant and the Bush, 2003. Image courtesy of the artist.

Join us for Artist Talks and Final Hurrah for 2016, Saturday 17 December, 3pm

(gallery reopens 10 February 2017)

Gallery One and The Cranny

Grey Area

Sally Clarke, Michelle Collocott, Christine Dean, Brenda Factor, Sarah Newall, Rafaela Pandolfini, Margaret Roberts, Nuha Saad/Ali Noble, Nairn Scott, David Sequeira, Phaptawan Suwannakudt

Christine Dean, Drag Queen, 2015, oil on canvas, 89 x 89cm. Image courtesy of the artist.

Christine Dean, Drag Queen, 2015, oil on canvas, 89 x 89cm. Image courtesy of the artist.

Grey Area denotes confusion or a lack of clarity between two mutually exclusive forms, states, categories or rules. Twelve artists respond to this indeterminate space.

Gallery Two

Traverse

Gillian Lavery

Gillian Lavery, In Progress, Always, 2015, threads and pins, dimensions variable. Image courtesy of the artist.

Gillian Lavery, In Progress, Always, 2015, threads and pins, dimensions variable. Image courtesy of the artist.

Inspired by tapestry weaving and lace making techniques, this exhibition will be comprised of numerous small thread drawings that wander like constellations across the gallery walls.

Deep Space

Tabi-Tabi Po (May I Pass?)

Marikit Santiago

Marikit Santiago, Sampaguita, 2015, toilet tissue, thread, packaging tape and dried banana leaf, dimensions variable. Image: Cassie Bedford.

Marikit Santiago, Sampaguita, 2015, toilet tissue, thread, packaging tape and dried banana leaf, dimensions variable. Image: Cassie Bedford.

Tabi-Tabi Po draws upon personal experiences of Filipino superstitions and voodoo, which then serve as a metaphor for the subsequent sensations of displacement, rejection and acceptance.


A great December line-up that will keep you nourished

until we re-open on Friday 10 February 2017

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November Art Conversations

Saturday 19 November from 3pm

Your last chance to catch four wildly diverse exhibitions!

10 Junction Street Marrickville

An easy 6 minute walk along Schwebel Street from Marrickville Station

Come along to AirSpace Projects this Saturday and join Glenn Locklee, Ellen Dahl, Jacqui Mills and Catherine Polcz in casual and stimulating dialogue about the ideas and methodologies embodied in their current exhibitions.

Followed by afternoon tea!

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Many know Glenn Locklee as one of the most generous contributors to Sydney’s art scene. Glenn regularly visits galleries around Sydney and enthusiastically promotes the work of other artists through social media and blogging. Now it’s his turn! Glenn Locklee’s grandparents migrated to Australia from China and started a furniture-making business in South West Sydney, which his parents continued to manage. This is the environment in which Glenn grew up. His paintings capture a wide range of Sydney urbanscapes, particularly those where light industrial zones are rapidly transforming into high rise apartment blocks. His works have opened up all sorts of conversations from the erasure of memory through Sydney’s rampant development to his work’s relationship to non-objective abstraction. It’s always great talking with Glenn. For more information visit Glenn’s blog: Glenn Locklee

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Ellen Dahl, photographer and video artist, grew up in Norway. Her images, video and objects create a melancholic space informed by the darkness of Northern Hemisphere winters and sparsely inhabited Norwegian landscapes. Here she uses the idea of the island as a metaphor to explore relationships and politics. The spaces she explores offer a poetry of emptiness and isolation, while at the same time being brutally unforgiving. The relationship between the works in this exhibition have been painstakingly calibrated, perhaps not so much to create specific meanings as to evoke a mood that facilitates particular forms of reflection. Read Yvette Hamilton’s essay here

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Jacqui Mills is an award winning video artist and Master of Fine Arts candidate at UNSWAD. Her work, Something In The Room, communicates through a sensitive play of light and shadow cast upon objects in her home. While there is a strong sense of absence, her observations bring a selection of inanimate objects to life, objects that have passed through time and many hands to arrive in this space that surrounds her. It could be that this work addresses the very notion of being.

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Catherine Polcz draws upon her combined education and experience as an artist and scientist to present a fascinating ‘museum’ dedicated to plant consciousness. Conceptually resembling a cabinet of curiosities, her exhibition explores humanity’s relationship to the plant world, our efforts to ascertain the nature of plant intelligence and the culture that has developed around this question. It is both quirky and enlightening. Yet, are we any closer to finding out what a plant knows? Catherine is a recent arrival to Sydney from Toronto and has worked on some great projects including Mmuseumm in New York. Read Alicia Nauta’s exhibition essay here

Images top to bottom:
1. Glenn Locklee, Urban Fragment 13 (detail), 2016, oil on Alupanel, 33 x 35cm
2. Ellen Dahl, New World, 2016, archival pigment print on photo paper 33 x 46cm
3. Jacqui Mills, Something in the Room, 2016, video projection 09:35 min loop, stereo sound
4. Catherine Polcz, cultural artifact on display in Herba morbus
(all images courtesy of the artist)

Upcoming Exhibitions

4-19 November 2016

Opening

Friday 4 November 6-8pm

Gallery One

Glenn Locklee

Con-struct Redux

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Glenn Locklee’s paintings capture his observations of the increasing redundancy of small business and domestic manufacturing; and the proliferation of high-rise, high-density living as house and land ownership become increasingly unattainable.

Gallery Two

Ellen Dahl

This Is Where We Meet

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Dahl’s photographic installation explores the concept of the island to reflect back upon the contemporary self and the political. The ‘island’ as the notion of the definitive edge, with its hard boundaries and fixed limits. The individual versus the collective. Me and you. Us and them. A metaphor for the nation state. Yet the shoreline is corroding and new islands are born.

The Cranny

Jacqui Mills

Something In The Room

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Dwellers of inhabited spaces are often perceived as being the protagonists, or activators, of the spaces in which they live. Something in the Room questions the notion of presence and absence in the context of the home, suggesting that perhaps there are other protagonists activating space without the presence of the dweller.

Catherine Polcz

Herba morbus

airspace-promo-webCatherine Polcz examines the field of plant intelligence to explore the mysterious nature of plants and our relationship to nature; science fact vs science fiction and museums as trusted places that disseminate knowledge.

Images top to bottom:
1.Glenn Locklee, Density. Courtesy of the artist.
2. Ellen Dahl, Untitled, 2015, archival pigment prints. Courtesy of the artist.
3. Jacqui Mills, Something In the Room, 2016 (Video Still). Courtesy of the artist.
4. Catherine Polcz, Herba Morbus promo digital image, 2016. Courtesy of the artist.

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Artist Talks

Laura Woodward

and

Ben Denham

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Saturday 22 October, 3.30pm

10 Junction Street, Marrickville

Just 6 minutes walk along Schwebel Street from Marrickville Station

Come along to AirSpace Projects on Saturday 22 October, 3.30pm to hear Melboune-based artist and researcher Laura Woodward talk about her current exhibition, Resonate, and Sydney-based artist Ben Denham discuss his drawing machine and laser drawings.

Laura Woodward

Laura Woodward’s installation of kinetic sculptures and animations, “focuses upon those subtle, nuanced movements that can be found in organisms, in humans, and in machines, resonating across and between the animate, the inanimate, and the human-made: vibrations, tremors, twitches, pulses, rhythms, and the systems that underlie these movements. Motion, the basis of all life, is present not only in the visible, tangible realm, but right down to the atomic level. It is at the heart of our action and of our inaction, and it is the way in which we understand both time and the world around us. Investigating these movements through the development of new works, Resonate seeks to draw out the ways in which these various forms – organism, animal, non-animal, human, and machine – both resonate with and differ from each other.”

The exhibition is accompanied by a publication in which various contributors – including the exhibiting artist, an artist-curator, an artist-theorist, a poet, an anatomist, and an artist-philosopher – respond to the above conceptual stimulus. Offering texts, drawings, photographs and poetry, the contributions will interweave and overlap, exposing further rhythms, systems and resonances between and across the several practices at play.

Laura Woodward is an artist based in Melbourne. Woodward has been exhibiting sculptural, kinetic installations for over ten years. Her current artistic research involves the creation of looped systems embodied in these sculptural installations. The system’s inherent logic drives its formal and systematic emergences, opening up the opportunity for bodily resonances and experiences forged between artwork and viewer.

Woodward’s work has been nationally recognised through prizes, grants, public commissions, solo exhibitions and significant group exhibitions. She received Australia Council New Work Grants in 2010, 2013 and 2014; won the Agendo Prize for Emerging Artists in 2009; and was awarded the Vulcan Steel Postgraduate Tutorship Award and a Freedman Foundation Travelling Scholarship Award in 2007. In 2015 Woodward received a ‘Highly Commended’ award for the Art Gallery of NSW Studios in Paris Scholarship. Solo exhibitions include Ararat Regional Gallery, 2015; Margaret Lawrence Gallery, Southbank, 2013; and Linden Centre for Contemporary Arts, St Kilda, 2010. Woodward’s practice increasingly involves the creation of large-scale sculptural works for the public realm, including her major upcoming commission Murmur for Marina Tower, Docklands.

Woodward is a lecturer in the School of Art at the Victorian College of the Arts.

Ben Denham

“I grew up in the Blue Mountains and studied visual arts at the University of Western Sydney. I currently live in Croydon Park, near the Cooks River, in Sydney’s inner west. I work with performance video and make machines that engage different parts of the body in the process drawing and writing. In 2002–03 I spent a year and a half in Mexico with the assistance of the Helen Lempriere Travelling Art Scholarship. I maintain strong connections to Mexican art and activist culture. I completed my doctorate in 2009; my thesis considered the relationship between art and neuroscience, with a particular focus on gesture and linguistic embodiment. I work part time in web and media production for the Writing and Society Research Centre at the University of Western Sydney where I’ve had the opportunity to shoot and edit a new production of one of Samuel Beckett’s films and to work on a documentary about the Sweatshop Western Sydney Literacy Movement. I also teach one day per week in the drawing department at the National Art School, Sydney.” Ben Denham

In Motion Festival 2016

1-22 October at Airspace Projects

10 Junction Street Marrickville

SOUND IN MOTION

Wednesday 12 October, 6-8pm. All Welcome!

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Featuring Splinter Orchestra and Nicole Morton

Curated by Maeve Parker and Katie Winten

In Motion Festival 2016 will amplify the relationship between sound and motion, utilising audio to provoke action or, in opposition, introduce stillness.

Splinter Orchestra
The Splinter Orchestra is a large-scale electro-acoustic improvising ensemble based in Sydney, Australia. For 13 years they have provided a forum for musicians to improvise and experiment in a large group setting. Playing together is the fundamental activity, and the group meets regularly to do just that.

Splinter strives to replace the almost military-like regimentation of most orchestral tropes to provide a communal structure in which individual musicians are free to experiment with sound. Creating an environment where players can create, despite differing layers of experience, is a complex socio/political, perhaps even idealistic exercise. However, the sounds produced by the orchestra result in unique and powerful experiences for both audiences and performers. Space and context play a key part in shaping the music of the Splinter Orchestra. As improvising musicians, the group aims to maintain an awareness of their environment, spatial and acoustic, together with their own individual sonic contributions and those of their fellow players. There is a clear relationship between sound and space.

During Sound In Motion, the Splinter Orchestra will perform an extended work that traverses the unique structure of AirSpace Projects in Marrickville.

Nicola Morton
Nicola Morton is an electronic music artist that uses DIY experimental processes in composition and performance. Among her diverse approaches to music-making is her recent experiments with smart phones, Wi-Fi and psychic ability during the full moon. National Film and Sound Archive has collected a set of her solo experimental electronic recordings. She has released on Australian DIY labels: Breakdance the Dawn; Alberts Basement and European labels: Musica Dispersa and LF Records.

Nicola Morton will be improvising with synthesizers and an antenna tuned to respond to the Wi-Fi in 2 android phones and then perform: WIRELESSPSYCHICS EXPERIMENT #10: SWITCH ON/FULL MOON Share the crazy energy of the full moon with someone in your home.

Give them 2-3 Wi-Fi capable devices, whilst you shut your eyes, ask them to switch the Wi-fi ON in only one of the devices. Then you can open your eyes (or keep them shut) and pick the device with the Wi-Fi turned on. Can be done IRL or over Skype etc

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