Archives for category: Exhibitions

New Monthly Programs

Video and Performance

Starting

Saturday 24 and Sunday 25

February 2018

Fly In Fly Out Video

FIFO

11-5pm

Curator: Max Presneill – Los Angeles

Artists: Tom Dunn/Los Angeles + Durden and Ray

Image: Tom Dunn
 ‘Barbra Streisand Portrait Bender, Las Vegas: Fear and Loathing Returns to the Flamingo’
Duration 13:30
2014

Durden and Ray 
’Atomic’
 Collaborators include: Emily Counts, Roni Feldman, Claudia Parducci, Grant Vetta and Yoshi Sakai, 2010

In Between Performance

IBP

12-5pm

Image courtesy of Tom Isaacs

A base-metal collective artists’ initiative. base-metal is a platform for research dialogue exchange performance founded by Julie Vulcan in 2014.

Saturday 24 February 12-5pm

base-metal performance

Julie Vulcan, WeiZen Ho and alan Schacher

A day of exchange, research and critical dialogue in performance art

Sunday 25 February 12-5pm

base-metal performance and discussion

Tom Isaacs, Katya Petetskaya, Stella Chen, Yiorgos Zafiriou

This February sees the start of the monthly In-Between Performance program initiated by the performance art platform base-metal and supported by AIRspace Projects . To kick off the first event, core artists from the collective will inhabit the space in a series of short and durational performances.

The weekend concludes with a led discussion on Sunday 3-5pm

Artist Talks

Saturday 17 February 3-5pm

Join us for artist talks this Saturday 17 February, 3-5pm. Followed by casual conversation over a sumptuous afternoon tea. Catherine Parker and David Usher had to return to Toowoomba but we will discuss their work in their absence.

Imaged here is Emma Gardner’s Ambiguous Materiality, 2016, a shadowy investigation into the self.

In the meantime check out this article by Connor Pearce of Backyard Opera. It provides a glimpse of what’s to come at the newly incorporated AIRspace Projects.

February Exhibitions

2-17 February

Preview: from 11am Friday 2 February

Opening: Friday 2 February 6-8pm

Artist Talks: Saturday 17 February, 3-5pm

GALLERY ONE

Introducing the new committee members

Uri Auerbach, Janine Bailey, Matina Bourmas,
Stella Chen, Sally Clarke, Marty Cordoba,
Paula do Prado, Brenda Factor, Vedna Jivan,
Bailee Lobb, Sarah Newall, Anie Nheu,
Rafaela Pandolfini, Upasana Papadopoulos,
Grace Partridge, Catherine Polcz, Helen Wyatt

exhibiting committee members 

After running for four years as an independent art space directed by Sally Clarke and Brenda Factor, AIRspace Projects has entered a new exciting phase by incorporating into a not-for-profit association. While Sally and Brenda will still be involved, the refresh button has been pressed and we look forward to new ideas, new structures, new looks and new energy. This is a chance to meet and chat with the new committee members and become acquainted with their work. Find out what we have in store for 2018 and beyond.

GALLERY TWO

Portals + Parables

Catherine Parker + David Usher

Queensland-based artists Catherine Parker + David Usher both have an inherent and inescapable attachment to nature and the vastness of the internal and external landscape.

Parker continues her exploration of time and place and human relationships within nature. She believes that all these elements can co-exist freely and fluidly at once.

Through the depiction of ancient landforms the works meld the familiar with the ethereal, while vibrant colour schemes from neon pinks to deep indigos rein us into the present.

Parker invites us to traverse the landscapes within the canvas, navigating the different territories whether they are physical, spiritual, psychological, metaphorical, historical or mythological.

The viewer is invited into a nuanced space that has multiple entry points. Using landscapes as diverse as Magnetic Island, her home in Toowoomba, Queensland and the Himalayas as a starting point, Parker’s paintings present us with portals to multidimensional spaces and times, should we choose to enter.

Usher’s current series of landscape paintings and ceramic vessels further explore memories of travelling through the Australian landscape as a child and viewing this landscape from the backseat of a moving car.

These road trips form a parable in which the blurring endless panorama can be reinterpreted through mark making, evoking a sense of the sublime.

The car window becomes a portal to mythological spaces and serves to frame the trance-like state the viewer/passenger enters as they gaze out at the seemingly limitless plains, valleys and hills.

This rushing view is broken only by the skipping dance of fences, gates, crossroads and occasional signs of life. The images that are remembered haze together into an endless landscape. Back in his studio, he recalls moments, places and encounters that can be reconstructed as art works invested with personal significance and coding.

THE CRANNY

Ambiguous Materiality

Emma Gardner

Photograph © Thomas Oliver

Using the self as a site for exploration, Material Ambiguity explores the subtleties of contemporary femininity: where vulnerability and strength are synonymous with each other.

DEEP SPACE

A little better

Rodrigo Azaola

‘A little better’ is the result of six month’s research of cryptocurrency trading in instant messaging platforms. For millennia, currencies were backed by physical assets until 1971, when Richard Nixon announced the end of the U.S. dollar backed by gold reserves. Since then, the value of all world currencies is entrusted to promises made by state authorities and central banks.

For first time in history, cryptocurrency allows the creation and transfer of wealth within decentralized trustless systems. Nevertheless, the value of cryptocurrencies is still arbitrary, ephemeral, irrational, and yet, it establishes a common belief in which trust and value is now legitimized by cryptographical algorithms and global microcommunities instead of governments or banks.

Weeks before Nixon terminated the gold standard, he was secretly recorded talking about the economy. In a moment of brutal honesty or perhaps self-delusion he admitted: “We are just running the chaos a little better”. Almost half a century later, the rise of cryptocurrencies may be fueled by delusional thinking and hope. It makes sense to ask if it’s sustainable, even rational. Perhaps not. But, still today, neither is world economy.

Come and talk with Rodrigo before he takes his work to the Manila Biennale 2018: Open Cities

 

We are  open for the first three weeks of each month and the fourth weekend excluding January. Keep an eye out for extra events.

 

Join Us For Our

Special Summer Exhibitions

18-27 January 2018

Thursday, Friday, Saturday 11am – 5pm

Opening

Wednesday 17 January 6-8pm

GALLERY ONE

Nostradamus: a January offering

curated by

Sebastian Henry-Jones and Nanette Orly

Suu-Mei Chew
Kalanjay Dhir
Szymon Dorabialski
Mimi Kind
Mashara Wachjudy
Justine Youssef

Opening Wednesday 17 January 6-8pm

The past year has delivered a tumultuous series of events that has affected people on a global scale. In uncertain times, there is a tendency to interpret and respond to change, to feel connected and in control once more. Nostradamus: a January offering will explore notions and practices of ritual as a way of connecting with a new understanding of ‘the future’. How do rituals, objects of power and faith allow us to gain new perspectives of a fragmented present?

Opening at the start of a new year, the exhibition then, is itself a ritual, an attempt at forecasting and influencing the course of 2018. The show wishes to consider the exhibition format itself as ritual, and would like to exaggerate these aspects of exhibition-making and artistic practice. Nostradamus: a January offering brings together the work of six emerging artists that offer a range of alternative futures, different attitudes towards the future and ways ahead, or simply offer instruction as to how to make do in our current time.

Image above: Justine Youssef, Ashes to ashes or palm ash to your wrist (film still), 2017, single channel video (1:02min on loop), text on a4 paper, dimensions variable.

GALLERY TWO

Emerging artists Belle Blau, Paula McCambridge and Cameron Stead present new works with curatorial assistance provided by Upasana Papadopoulos. FLEX  explores, challenges and disrupts the power structures that frame their personal, professional and political lives through use of various mediums including painting, installation and digital media.

THE CRANNY

Pamela Leung

Pamela Leung’s works often draw on the migratory experience with relationships, connections, displacement and diaspora being the dominant themes. She uses red or white in her works to refer to cultural, spiritual and traditional memories as well as meditation, Zen, emotion and the ordinariness of everyday life. She frequently brings together found materials or everyday objects to create symbolic sculptures or installations. Through the process of mark making, her drawings are careful compositions of lines that strongly suggest meditations on the everyday.

DEEP SPACE

Marlene Sarroff

Indeterminate Structures

“What is unknown can only be imagined”

The intervention into the Deep Space consists of a complex system. Created out of many small parts, the building of the whole is considered from the point of view of the whole rather than the single parts. Arising from the unplanned assembling, transitory structures of an indeterminate nature, are created with an emphasis on modes of organisation and interrelated arrangements. Throughout the duration of the exhibition, further possibilities will be explored in reorganising the structures, shifting, disseminating and altering the shapes and re-arranging them into new formations with ongoing consideration of the space they are situated in.

Silly Season  Drinks

To mark the last day of AIRfair

Saturday 16 December 3-5pm

Artist Information Forms HERE

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Opening Soon

November Exhibitions

3-18 November 2017

Opening Event: Friday 3 November 6-8pm

Artist Talks: Saturday 18 November 3-5pm

GALLERY ONE

Susan Buret
Mainly Martha

The idea of house and home for ourselves, and for the work we make, has occupied artists since Miriam Shapiro and Judy Chicago’s ground breaking exhibition Woman House in Los Angeles in 1972.

Working somewhere between art, life and decoration across painting, textiles and installation this body of works mediates my tangle of ideas and memories of house, home and agency in domestic space and its relationship to my experiences when installing exhibitions. Placing the work in the gallery space to suggest a domestic interior I hope to implicate the viewer and their own immediate context in my work. As it teeters on the edge of prettiness, with tongue in cheek, I have named the exhibition after the fallen happy homemaker Martha Stewart. In this body of work, I seek to interrogate my place as an aging female artist/compulsive decorator.

Susan Buret
October 2017

GALLERY TWO AND THE CRANNY

Place of all return
T-E-A-R Collective

Artists: Ben Adams, Carlos Agamaz Garcia, Chi Chi Menendez, Clara Chung, Danny Giles, Erin Schloeffel, Gabbi Lancaster, Giorgia De Biasi, Karolina Partyka, Marlaina Read, Michael Lai, Mija Healey, Moonhee Kim, Paula S Y Ngu, Patrick Smith, Rosanna Goslett-King

Facilitated by Hayden Fowler

A new group exhibition by T-E-A-R Collective at AirSpace Projects invites audiences to consider the environment of Smith’s Lake through the collaborative works of sixteen emerging and early career multidisciplinary artists.

Place of all return is the collective’s first exhibition, and examines the shifting contemporary relationship between humanity and the natural world, and historical and cultural influences shaping his engagement. The collective came together following an intensive experimental contemporary art lab and residency at Smith’s Lake on the NSW mid-north coast, facilitated by artist Hayden Fowler.

DEEP SPACE

Catherine Polcz
Corpus: Part 3

If you have never taken the time to consider how odd our relationships are with our bodies, the final phase of this unconventional display of body-oriented artifacts will facilitate your thoughts.

 

November Banner Image details (top): 1. Susan Buret, Primal Instinct, 2017, mixed media on linen, 180 x 120cm. Image: Brett East. 2. Carlos Agamez Garcia, Ladder to Nowhere, 2017. Image courtesy of the artist 3. Catherine Polcz, Dental Impression. Photo: AirSpace Projects.
Top to Bottom 1: Susan Buret, Primal Instinct, 2017, pencil, flashe cotton canvas and wool on linen, 180 x 120cm. Image: Brett East. 2: Carlos Agamaz Garcia, Ladder To Nowhere, 2017. Courtesy of the artist. 3: Catherine Polcz, Teratoma, 2017, mixed media. Courtesy of the artist.

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Current Exhibitions

6-21 October 2017

Artist Talks: Saturday 21 October 3-5pm

GALLERY ONE

Kendal Heyes

Pilgrims and Strangers

This series is about voyagers on the sea, those who arrive at their intended destination and those who don’t make it, and especially those who are kept on the outside of borders that ideally should be open to them.

Freedom of movement is a basic human right; therefore there should be open borders between states. The principle is that simple. I like to think at some point in the future people will look back and see restrictive national borders as the greatest injustice of this era, equivalent to the restriction of opportunities for peasants in the Middle Ages.*

In the meantime countries like Germany and Canada are at least working humanely in ways that gesture toward a future of open borders, while Australia persists with its harsh treatment of refugees under its secretive offshore detention regime.

These drawings are partly in response to the wilful cruelty of the Australian government in its treatment of refugees. The making of these images one dot at a time is literally an extended meditation on the issue of asylum seekers trying to reach Australia by sea. The dot-image format also highlights the media’s often problematic role in representing refugees.

KH 2017

*For discussion of open borders, see Joseph Carens, The Case for Open Borders, in The Ethics of Immigration, Oxford, 2013, p225, and Rutger Bregman, Beyond the Gates of the Land of Plenty, in Utopia for Realists, Bloomsbury, 2016, p214.

GALLERY TWO

Carolyn Craig

Katelyn Dunn

Caity Reynolds

The Human Version of a Used Car

The failure of subjective conformance is ritualised in the practices of three contemporary female artists who each fear mail with official stamps, corner views, unkempt desire and gambling ratios.

THE CRANNY

Annee Miron

Candy Royalle

Even The Young

Wordsmith, Candy Royalle and visual artist, Annee Miron met as artists-in-residence on Wodi Wodi land of the Yuin nation at Bundanon. Australian red cedar (Toona Ciliata) once extended through rainforests from Southern NSW to Far North Queensland. After 1778 the felling or “getting” of those cedars played a significant part in colonisation. By 1970 it was harvested almost to extinction.

As they waiver, reach, and seek to acknowledge the Australian red cedar tree, Royalle and Miron invite you to participate in their collaboration. Even The Young requires its audience to gather and activate both the words and installation, and our relationship to that past and our future.

DEEP SPACE

Catherine Polcz

Corpus: Part 2

Catherine Polcz, artist, scientist and museologist, presents Corpus: a guide to the human body, a pop-up museum that explores the body, medicine and materiality through the display of historical artifacts, scientific tools and art.

This exhibition examines the body as a concept that merges science, pseudo-science, design and art. The simultaneous exploration of these themes allows us to creatively consider our relationship to our bodies throughout history and in different disciplines within distinct theoretical frameworks. The exhibition presents a multifaceted concept of the human body through the display of sixty unique objects. This  is Part 2 of an exhibition that is  expanding over a three-month period from September to November.

Images top to bottom: 1. Kendal Heyes, Untitled, 2017, ink on paper, 100 x 150cm. Image courtesy of the artist.  2. Carolyn Craig, Angles of Incidence Panel #3, 2016, etching on folded aluminium, 254.5 x 34cm. Image courtesy of the artist.  3. (LHS) Caity Reynolds, Self Preservation Dental Plan, 2015-16, unfired clay, variable  (RHS) Katelyn Jane Dunn, Sponge photograph, 2016,  variable. Image courtesy of the artists. 3. Even The Young (detail),  2017, found cardboard, charcoal, and a little PVA glue. Image by Annee Miron 4. Catherine Polcz, Corpus, 2017, digital banner. Courtesy of the artist.

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The August exhibitions have now concluded and we are now preparing the galleries for the installation of the September exhibitions

1-16 September 2017

Opening: Friday 1 September, 6-8pm

Talks: Saturday 16 September, 3-5pm

GALLERY ONE

Red Herring II: Construct

Anthony Cahill and Pollyxenia Joannou

This collaboration explores what Cahill and Joannou surmised to be the similarities of each other’s work when exhibited side by side having been sight unseen by the other. It was decided that a theme could be used to give connection, a starting point for the exhibition. This connection was to be based on the subject of ‘construct’ (a complex image or idea constructed, piled or put together).
 
Joannou and Cahill settled on a format, proceeded to their studios and over the past 12 months, have produced this body of work.

GALLERY TWO AND THE CRANNY

Wood Is Part Of Life

Ajay Sharma

Master miniature painter Ajay Sharma and partner Vinita Sharma, will be presenting new paintings and works in the tradition of Indian miniature painting from their studio in Jaipur. Ajay Sharma’s series, Wood Is Part Of Life, is about the cycle of life. It is a reflection on how trees are part of this cycle and how wood accompanies us from birth to death.

Ajay Sharma’s exhibition will be accompanied by two 5-day miniature painting workshops. There are still places left in Workshop 2 from 11-15 September. Go to SquarePeg Studios for more information and bookings.

GALLERY TWO AND THE CRANNY

Recent Paintings

Vinita Sharma

AirSpace Projects presents new paintings by Vinita Sharma as well as works in the tradition of miniature painting. Vinita Sharma has taken elements from different aspects of ancient Indian culture such as paintings, books, clothing, everyday implements, motifs and symbols and combined those elements to create her own unique compositions.

DEEP SPACE

Catherine Polcz

Corpus: a guide to the human body

Catherine Polcz, artist, scientist and museologist, this year presents Corpus: a guide to the human body, a pop-up museum that explores the body, medicine and materiality through the display of historical artifacts, scientific tools and art. This will be an expanding project at AirSpace projects over a three-month period, from September to November.

This exhibition will examine the body as a concept that merges science, pseudoscience, design and art. The simultaneous exploration of these themes allows us to creatively consider our relationship to our bodies throughout history and in different disciplines with distinct theoretical frameworks. The exhibition presents a multifaceted concept of the human body through the display of sixty unique objects.

Catherine Polcz is an artist, scientist and museologist. She holds a Bachelors of Science in Environmental Science and Biology and a Masters in Plant Science and has studied documentary media and photography at universities and artist-run centres in Canada. She creates interdisciplinary projects that inspire critical thinking about science. Her recent project, Herba Morbus: Museum of Plant Intelligence, was a researched and playful exhibition about historical and contemporary ideas around plant sentience and behaviour. In addition to curating her own museum exhibitions, Catherine is a curatorial researcher with the unconventional and critically renown design centre, Mmuseumm, in New York.

To view expansions of this exhibition please note the dates below

October 6-21
Opening: Friday 6 October, 6-8pm
November 3-18
Opening: Friday 3 November, 6-8pm

This project has been supported by


Images top to bottom: 1. September exhibitions composite image 2. (left) Anthony Cahill, Monument, 2017, oil on canvas, 140 x 140cm. Image courtesy of the artist and (right) Pollyxenia Joannou, Construct, 2017, oil on canvas, 140 x 140cm. Photo credit: John McRae 3. Ajay Sharma, Youth, 2017, stone pigments, khariya on wasli paper, 29.5 x 40cm. Image courtesy of the artist. 4. Vinita Sharma, Untitled, 2017, stone and natural pigments with khariya, gum arabic on wasli paper, 25.5 cm x 35.5cm. Image courtesy of the artist. 5. Catherine Polcz, banner for corpus: a guide to the human body. Courtesy of the artist.

 

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