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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

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.

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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Fiona Hooton

Site Seeing: Exhibition and Residency

17 May – 16 June 2016

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Canberra artist Fiona Hooton will be taking up a one month residency at Ashfield Council’s Thirning Villa from 17 May to 16 June to coincide with her exhibition Site Seeing at AirSpace Projects. During the residency Fiona will be undertaking projects in the Ashfield Council Area.

Read on  to find out more about Fiona Hooton’s events and activities:

Site Seeing

Exhibition, 3-18 June

Opening Friday 3 June, 6-8pm. All Welcome!

AirSpace Projects, 10 Junction Street, Marrickville

New works by Fiona Hooton, Site Seeing includes models and maps of cities assembled from found, building blocks and sampled fragments of film. These assemblages investigate our conflicted relationship with cities, their public sites and private spaces.

www.fionahooton.com.au

Ashfield Stories of Place (digital project)

Stories about place not only enhance local community belonging but also give outsiders insights into the values and connections within the local community. Stories put us in touch with others, our surroundings and with ourselves.

Fiona is seeking volunteers to assist with telling digital stories about Ashfield, people, places and events. If you are interested email:

catfi@netspeed.com.au

Ashfield Lightning Talks

7.15pm, Wednesday 15 June

Thirning Villa, 40 Arthur Street, Ashfield

Come along to hear speakers, channel stories (5 mins each) about spirited people, places and events linked to Ashfield’s past and present.

Held in association with Ashfield locals and community groups.

Suitable for all ages

Free, bookings recommended

https://register.eventarc.com/34390/ashfield-lightning-talks

Shapeshifting – Sculpture Workshop

1012.30am, Sunday 12 June

Thirning Villa, 40 Arthur Street, Ashfield

Explore what’s extraordinary about the spaces and places you live, in this hands on workshop. Re-shape your neighbourhood by tearing up past and present maps and combining them with your imagination. Investigate ideas of what a ‘model’ city might be and build your own version using recycled materials.
Suitable for ages eight and up.
Free, booking recommended

https://register.eventarc.com/34066/sculpture-workshop-shapeshifting-ashfield

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Have a wonderful break everyone!

AirSpace Projects reopens 11am Friday 5 February 2016

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Thank you to all the artists, curators, writers, neighbours and visitors who have made the second year of AirSpace Projects so possible and worthwhile

We love our arts community

We look forward to seeing you all again at our first opening on Friday 5 February 2016 and throughout the year

Sally and Brenda

So what’s up first?

Opening Friday 5 February 2016 6-8pm


GALLERY ONE

I’m OK, You’re OK

Merryn Hull

AirSpace MHull 12Nov 15.psd B

The title of the exhibition explores the idea of ‘being’ and references Eric Berne’s Transactional Analysis concept of 4 levels of OK-ness. It does this by creating the opportunity to look into our lives from the outside and builds on the idea that ordinary things can become quite special if viewed in particular ways. Ordinary objects are transformed into art objects so that aluminium, plastic sheet, foil, coloured wrap and tape expand elements of daily life into a broader narrative. Hull’s work is composed of a series of framed views and reflective surfaces which locate and also distort the viewer’s sense of contemporary realism. It does this through the use of the ‘window’, the mirror and the digitised image which act as framing mechanisms for a momentary, found connection to a different though recognisable reality.

Image: Merryn Hull, I’m OK, You’re OK, 2015. Installation view. Image credit: Merryn Hull

GALLERY TWO, THE CRANNY AND DEEP SPACE

Her Moving Presence

Her_Moving_Presence_Suffragist walk hi res copy

Ella Condon, Fiona Davies, Kath Fries, Sylvia Griffin, Melissa Howe, Yvette Hamilton, Danica Knezevic, Vivienne Linsley, Sarah Breen Lovett, Sara Morawetz, Katy B Plummer, Tamara Voninski

An exhibition of moving image work by twelve women artists that navigates implied and actual presence through video, projection, interactivity and screen-based performance.

This project has been supported by

mclogostandardc

Image: Katy B Plummer, Zombie Suffragist (We Retain Hope That Cooler heads May Yet Prevail), single channel video.

EXHIBITIONS CONTINUE UNTIL

SATURDAY 20 FEBRUARY 2016


 

Two exhibitions opening at AirSpace Projects on Friday 1 May 6.00-8.00pm

Ajay Sharma

Past Continuous

Ajay Sharma coat copy

 To be opened by Dr Diane Losche, UNSW | Art and Design,
after the Puja ceremony at 6.30pm.
Performance of Indian classical music by
Manbir Singh (vocal), Inderpreet Singh (vocal and harmonium) and Ranbir Singh (tabla).

We are thrilled to announce that Ajay Sharma is returning to Sydney from Jaipur for his second solo exhibition, Past Continuous, at AirSpace Projects. He will be exhibiting a unique series of works as well as paintings in the Indian miniature painting tradition.

In the series Past Continuous, Ajay Sharma expresses his love and respect for the wonderful legacy of traditions handed down by his ancestors: ‘It is still very much part of us, part of our culture and of our identity.’ Yet all around him Ajay Sharma is witness to the decay of these traditions and the destruction of the exquisite remnants of the past as India undergoes rapid modernisation and social change. His work provides a profound commentary on the collision of old and new and poses the question as to whether or not anything can be done to save this legacy.


Screen Memories

Photographs by Kendal Heyes

 

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This series takes its title from Freud’s term ‘screen memory’, used to describe a vivid but banal memory that functions to hide another, more traumatic one. The series also plays with other ideas related to screens and memory-images, and how one image can give rise to another through association. Screen Memories uses contemporary and historical photographs in a series in which images from different times and places interact, creating an interplay of narratives within the gallery space.

 

Top Image: Ajay Sharma, 2015. Image courtesy of the Artist.

Bottom Image: Kendal heyes, 2015. Image Coutesy of the Artist.


 

 

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