Archives for category: Exhibitions

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

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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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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.

April Exhibitions

7 – 22 April 2017

Opening: Friday 7 April 6-8pm

Artist Talks: Saturday 22 April 3-5pm

All Welcome!

Gallery One
Paula do Prado
Bomba

The Bomba artworks are made from a mix of humble materials: fabric samples, cloth remnants, paint and paper. The use of collage on fabric and paper relates to the traditions of ‘making do’ and the bringing together of seemingly disparate, unrelated and disjointed elements assembled together to create something new and cohesive. In Afro-Uruguayan culture there are still strong links to superstition and the merging of Christian and West African religious beliefs. Lines become blurred and slippages occur between religion, magic, art, music, dance, ritual and ceremony. Bomba or blast becomes a visual metaphor for cultural collisions and explosions, resistance and survival.

Paula do Prado is running a Fabric Collage Workshop, Bomba: Offcuts, and has organised two Afro-Latin Dance Workshops run by Mariu Meneses Betervide. Go to Paula’s page on the AirSpace Projects blog for booking links here

Gallery Two
Vilma Bader
Northern Encounters

Northern Encounters consists of two bodies of work – Käsintehtyjä Suomessa (Handmade in Finland) conceived and made in situ during a residency in Finland and Geometry and Colour System in the Doors of Tallinn researched in Estonia and completed in Australia. The works explore the mnemonic function of linguistics, semiotics and space in the construction of identity.

Käsintehtyjä Suomessa (Handmade in Finland) 2016 is an installation-based work that functions as a collection of visual poems. Made entirely from Finnish birch and spruce, the integrity of the wood is preserved. Paint is used sparingly and expressive gesture and concern for surface textures are retained, juxtaposing the hand of the artist with that of nature.

In Geometry and Colour System in the Doors of Tallinn 2017 the flattening of perspective and focus on geometric shapes and colours collide with the many linguistic metaphors and aphorisms associated with the door.

The Cranny
Sarah Eddowes
Imprints

Sarah Eddowes’ work explores the object as a static imprint of a process of transformation. Coming from a background in animation, she is interested in showing direct movement in her animated work and the extension of this to the implication of change in the static object. Despite the abstract nature of the imagery, it alludes to certain universal processes of change, notably those of the geological and the bodily. The translucency of the wax recalls bodily textures, the organic shapes resemble cells, organs or bruises, and the pervading colours of pinks and cool turquoise are rooted in the tones of the body. Elements of geology such as structural shifts and faults, layering and compression of sediment are also recurring visual features.

The process of slicing is a prominent theme, both as a method of transformation and as a means of revealing a specific view of an object’s interior, much like a geological cross section or a magnetic resonance image (MRI). This process is similarly employed in animation and cinema where an illusion of motion is created by revealing one image at a time. In this way, her static work may be seen as cinematic objects.

Deep Space
Rebecca Shanahan
Home Security

Home Security uses performed actions and self-surveillance to synthesise ideas about temporality, gendered labour and contemporary conditions of existence. Filming herself with security cameras, the artist unravels adult jumpers and uses the yarn to knit children’s hats. Home Security models and reveals the invisible volunteer labour (usually women’s) that underpins capitalist economies yet is unaccounted for. The history of women knitting for others is often political, and this work operates in the current context of global family trauma and displacement. Unfolding in real time, the activities and video meditate on transience and the multiple networked presences of performed and documented everyday life.

2018 Callout

Images top to bottom:
Paula do Prado, Bewitched/Embrujada 2016, fabric collage, 71 x 67cm. Image: Alex Wisser.
Paula do Prado, Rebel/Rebelde 2016, fabric collage, 73 x73cm. Image: Alex Wisser.
Vilma Bader, Geometry and Colour System in the Doors of Tallinn, 2017, acrylic on plywood on 48 panels, each 19 x 11cm. Image courtesy of the artist.
Sarah Eddowes, Cells II, 2016, wax and wood, 25 x 33cm. Image courtesy of the artist.
Rebecca Shanahan, Home Security, 2017. Image: Rebecca Shanahan.
Callout, airspace Projects.

 

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Anthropocene

Special Screening and Talks

Saturday 18 March 2-5pm

Video Screening

Another Kind of Girl Collective

Followed by

Curator and Artist Talks

Grace Partridge and Nicole Monks

Join us on Saturday 18 March for an hour of short videos created by Another Kind of Girl Collective. The video project has been facilitated by US community artist Laura Doggett who 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.

The screening will be followed by refreshments and talks by curator and founder of Antidote, Grace Partridge, and Western Australian artist Nicole Monks who has created the beautiful video and sand installation each and every morn at AirSpace Projects.

This is also your last chance to catch exhibitions by Kawita Vatanajyankar, Another Kind of Girl Collective, Andy Mullens and Nicole Monks before they close at 5pm Saturday 18 March.

ALL WELCOME!

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

kawitavatanajyankurscaleofjustice

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

SAMSUNG CAMERA PICTURES

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

moving-moon_exhibition-still460

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

thescale_final1-copy

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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I See Queer People

Three Exhibitions

10-25 February 2017

All Welcome

queerfeb2017

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.

mardi-gras-festival-2017

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

170105_kb_a-self-portrait-for-you-for-me-for-yoooo-for-m-and-a-and-gee-too-copy-2

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

4-dknezevic-constantr

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

still-from-worse-than-animals-hd-video-loop-with-sound-2016

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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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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Upcoming Exhibitions

4-19 November 2016

Opening

Friday 4 November 6-8pm

Gallery One

Glenn Locklee

Con-struct Redux

density-1-copy

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

ellen-dahl-tiwwm-i-copy

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

somethingintheroommillsj2016-copy

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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Marrickville Garage

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