Archives for category: Exhibitions

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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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August Exhibitions

 4 –  19 August 2017

Opening Friday 4 August 6-8pm

Artist Talks Saturday 19 August 3-5pm

10 Junction street Marrickville

6 minutes easy walk aong Schwebel Street from Marrickville Station


GALLERY ONE

Landscaping

Amala Groom

Kim Mahood

Nicole Monks

Katya Petetskaya

Douglas Schofield

Peter Sharp

Kristel Smits

 Landscaping brings together the work of seven artists: Amala Groom, Kim Mahood, Nicole Monks, Katya Petetskaya, Douglas Schofield, Peter Sharp and Kristel Smits. Normally understood as a process whereby land is physically modified according to an aesthetic schema, landscaping, in this exhibition, becomes a way of seeing, being and responding. The aim is to bring a variety of perspectives into a dialogue, whether they are driven by formal considerations and/or political and cultural imperatives.

GALLERY TWO

Marie McMahon

Weathered

Perforated colour-forms and flow formations. Recent paintings.

These experiments with organic form and colour come from interactions with some of the natural phenomena at Cape Banks and Cruwee Cove in Botany Bay, from fungus growing in the bush to the contents of rockpools and the perforations created by the weathering of rocks.

THE CRANNY

Jodi Woodward

Matter(ed) Memory

“Our present is the materiality of our life, it is unique for each moment of duration.” (Bergson, H. 1911)

The physicality and alchemy of this drawing investigation, uses steel and paper to contest the delicate and volatile relationship between the two mediums. Drawn with plasma and molten ash this performative record evidences time, chance and endurance, challenging notions of survival and wholeness.

DEEP SPACE

Rosie Thomas

What am I doing? Why are you here?

Time is problematic. It is a measurement of distance. A non-solid that fills a space. What am I doing? Why are you here? proposes a disorientation of ones self in a non-space. Here the artist intersects the real and the invented and invites her audience to be actively self-reflexive. The artist negotiates the moments of failure associated an unsustainable and only partially accessible poetic time-associated materiality.

Images from top to bottom: Amala Groom, Portrait of a Woman, 2015, Epsom pigment print on Ilford Gallerie gloss 310gsm, ed 1/10 + 1AP. Image: Liz Warning; Marie McMahon, Perforated Polychrome #2, 2017. Photo Warren Mackriss, Hi Res Digital Imaging; Jodi Woodward, Plate 1 (detail), 5mm mild steel and ink, 30 x 60cm, Image by Eliza McInnes; and Rosie Thomas, What am I doing? (detail) Why are you here? 2017, Image courtesy of the artist.

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ARTIST TALKS

Saturday 22 July 3-5pm

Join the artists for talks and afternoon tea this Saturday

Gallery One

Fangled

Sally Clarke, Brenda Factor,

Sean O’Connell, Laura Woodward

Gallery Two

Lorna Grear

WeaveThe Cranny

Marian Abboud

Kiss Them While They’re Sleeping

Deep Space

Claire Field and Bronwyn Treacy


Images top to bottom: Fangled features a composite of details from top: Laura Woodward, The Tolling, 2016, mixed media, courtesy of the artist; Sean O’Connell, Franjipani, 2017, Sean O’Connell, Frangipani, 2017, 30,000 volts AC 800Hz across Fuji Velvia 100 colour slide film, 22 x 22 x 8cm. Image courtesy of the artist; Sally Clarke, Big Cow, plasticine on wall, 2015. Luminere Imaging; and Brenda Factor, After Louise B., spray paint on aluminium, 2008. Luminere Imaging; Lorna Grear, Moonjoybei, 2017, hand drawn ink on paper digitally manipulated, 70 x 42 cm. Image courtesy of the artist; Favoureconomy banner, 2017, courtesy of Claire Field and Bronwyn Treacy.

 

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June Exhibitions

Save the Date

Artist Talks and Arvo Tea

Saturday 17 June 3-5pm

GALLERY ONE

When one of my favourite authors, Siri Hustvedt, wrote an essay, My Louise Bourgeois, about one of my favourite artists, I got a little excited. Emotional, even. Louise Bourgeois has become the poster-grrl for many women artists, embodying and transcending the moniker of Confessional Artist. Woman Artist. Confessional Woman Artist. Mother. Difficult Woman. Hustvedt’s essay is the catalyst for My Emotionalism; an exhibition where the primary mutual endeavour of the artists gathered is to translate emotional states. And more.

Read Ali Noble’s full essay here

GALLERY TWO

Susan Andrews

Off-centre

Susan Andrews, Off-centre, acrylic on ply 2016, 63 x 39 x 5cm. Photo: Marilena Garcia, Blank Canvas Co.

Off-centre in the conventional sense implies that someone or something is not balanced, displaced in space or surface. To reflect some order back into the equation, I chose to work with units of equal measurement but of variable proportion such as the square, rectangle and triangle. By working with these compatible systems of unity, but of varying proportion and scale, I was then able to juxtapose and reconfigure each piece to convey an array of irregular and unfamiliar forms.

THE CRANNY

Tracey Clement

Metropolis Experiment

Tracey Clement, Metropolis Experiment I, 2016-17, rusty steel, salt, laboratory glass, cotton, dimensions variable (max height 200cm). Photo: Tracey Clement

 

A sculptural installation consisting of approximately 20-40 rusty steel structures (40-200cm high each), LOTS of salt crystals, lots of laboratory glass.

It’s the unholy love child of an architectural model and a chemistry experiment: a ruined model city, a metaphor.

Read full description and biography here

DEEP SPACE

Lydia Balbal

Mangala Country

Lydia Balbal, Bin Bin, acrylic on canvas, 122 x 76cm. Image courtesy of the artist and Short Street Gallery, WA.

Lydia Balbal is a Mangala woman. She was married to the Yulparija artist Nabiru Bullen until his death in 2009. Lydia’s country is near Punmu in the Great Sandy Desert of W.A. Her people’s existence was threatened by severe drought so that they had little choice but to leave their traditional country. Her family were some of the last to walk out to the coastal town of Bidyadanga (then La Grange Mission) located two hours south of Broome in the early 70s. Lydia first began painting in 2007 but has already received significant attention from collectors and the media alike.
See more works here

Lydia Balbal is represented by Short Street Gallery, Broome.

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JOIN US

FOR

ARTIST TALKS

Saturday 20 May 3-5pm

10 Junction Street Marrickville

Just 6 minutes walk along Schwebel Street from Marrickville Station

1. Stella Chen, Facade of Memory: Caged, 2015-17, camera-based performance, single channel sound/installation, 150cm x 265cm. Photographer Franz Anthony

Join Eunjoo Jang and Stella Chen on Saturday 20 May 3-5pm for more stimulating talks at AirSpace Projects. AirSpace Projects’ Director, Sally Clarke, will also discuss the exhibition of original paintings by Ajay and Vinita Sharma, Review before the Storm, a preliminary exhibition before Ajay Sharma comes out in September for an exhibition of new works and workshops. The four exhibitions offer a broad range of ideas for discussion ranging from the codification of the artist to the interpretation of dreams through modern technologies.  We will delve into questions such as what makes an Indian miniature painting contemporary and how does one come to terms with generational trauma when there are only fragmented memories to work with.

After the talks we will have informal conversations over tea and home-baked cakes. It’s also your chance to catch another moving painting by wax artist Sarah Eddowes, in a most surprising location.

Misael M., Asemic Writing, 2015-2017, Installation, spray paint, canvas, oil, synthetic leather, basket, eggs. Photography by Isabel Rouch.

IWOST

Bonus Open Day

and last day of the May exhibitions

Sunday 21 May 11-5pm

10 Junction Street Marrickville

Eunjoo Jang, Vitruvian Pink, 2017, paint, ink and scratch hologram on aluminium, 120 x120cm. Image courtesy of the artist.

 

Ajay Sharma, Shiva and Parvati (from original series 1-4), khariya, stone pigment, 31 x 41cm. Image courtesy of the atist

 

 

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AirSpace Projects is currently closed while we install the May Exhibitions

May Exhibitions

5-21 May 2017

10 Junction Street, Marrickville

Just 6 minutes easy walk from Marrickville Station

Opening Event: Friday 5 May, 6-8pm

Artist Talks: Saturday 20 May, 3-5pm

Open Sunday 21 May from 11-5 for the 20/21 May

Inner West Studio Trail

Gallery One

Misael M.
Prolegomena: About filters, codification and domestication

“One must distinguish between what is understood and what is not understood”

–Søren Kierkegaard

Prolegomena: About filters, codification and domestication stems from an attempt to expose the precarious basis of the human communicational/epistemological system. Understood from signic to symbolic systems, including all the complexities associated with the interpretation of meaning (hermeneutics).

Focusing on the treatment of certain semantic and linguistic theories (namely those of Ferdinand de Saussure, Charles S. Pierce, Umberto Eco, Edmund Husserl, Foucault, etc.), the investigation is presented as a triadic system of understanding the world

(filters, codification and domestication), with the possibility of emancipation via a fourth subversive one: The language of poetics; that constant which creates the intertextuality among apparently dissimilar topics, the epiphany after a paroxysm, the slang, the neologism, the mystics of the absurd.

“The irony rises and subverts; humour falls and perverts”, says Foucault in his Theatrum Philosophicum, and the proposal emphasises this; the best way to learn and destroy is through humour & confusion (at least that is what we think for now).

Note to the public:

This exhibition is just an ‘attempt’ and therefore we take full responsibility for the suicidal task. Any complaints will only be received in written form, with the exception of those individuals who may lack hands.

Gallery Two

Eunjoo Jang

The Illusion that is Reality

The Illusion that is Reality explores the phenomenon of virtualisation, which is often referred to as ‘blended reality’. It describes the time and space that allows a person to experience different realities, which in Jang’s case, is explored through virtual layers employing mobile technologies.

Jang’s work encapsulates the process of virtualisation and how it exceeds the limits of our physical world by creating another dimension for individuals to experience. This transition into a new dimension, an unconscious world, opens the possibility to travel into the world of dreams and imagination.

Jang uses her body to map the city area by undertaking a series of walks over a period of several months. Her routes are then reviewed and processed through Google maps and translated into a series of scratch holograms, an analogue technique of drawing on aluminium to make representations through light diffraction, reflection and interference. By allowing the elusive, moving effects of the scratch holograms and the line drawings in aluminium to co-exist, Jang balances the modalities of actual and virtual.

The Cranny

Stella Chen

Facade of Memory

Facade of Memory is an installation presented by artist Stella Chen. This exhibition questions the accuracy of recollection and portrays the present as a state of flux. Chen’s work locates itself in the past and present by delving into the unreliable, fraudulent and fragmented nature of memory.

Chen comes from a traditional family in Taiwan and lives as a migrant in Australia. For Chen, the sense of dislocation created by making a home in a new country holds parallels to the traditional cultural practice of ‘Tongyangxi’, whereby girls are adopted into the family of their future husbands. Chen explores her personal history through the execution of a caged hoop skirt, which signifies her immersion into Western society while simultaneously symbolising female identity within a patriarchal world.

Deep Space

Ajay and Vinita Sharma

Review before the Storm

Ajay and Vinita Sharma have been exhibiting their works at AirSpace Projects since 2014. In September this year, they will be exhibiting new original works and a selection of copy-works in the tradition of Indian miniature painting. Ajay is a master miniature painter from Jaipur and is internationally renown for both his original paintings on paper and copy-work, which is particularly defined by his mastery of natural pigments and subject matter. He has exhibited his work at the Julie Saul Gallery in New York in collaboration with Julie Evans, an exhibition that featured in major journals such as Art in America and Artforum. Vinita exhibited her fine original and copy-works in her first solo exhibition at AirSpace Projects in 2016. Vinita has been involved in Ajay Sharma’s production and teaching studio for at least twenty years and her work is now receiving attention in its own right. This is an exciting opportunity to view their works currently available for sale at AirSpace Projects.

 

Images from top: Misael M., Topologytopologia. Courtesy of the artist; Eunjoo Jang, Vitruvian Ocean Blue. Courtesy of the artist; Stella Chen, Facade of Caged Memory, 2015, photograph, 59.4 x 84.1cm. Courtesy of the artist; Ajay Sharma, Life (Invariable Loss of Parental Guidance), 2014. Stone and natural pigments, 35.5 x 40cm. From the Speed of Life series. Image courtesy of the artist.
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