For video documentation of past exhibitions and recordings of floortalks please visit our multimedia page.
The John Curtin Gallery in partnership with Curtin’s School of Design and Art (SoDA) is proud to present the work of graduates from the School’s Postgraduate Program. This is an annual project that has been ongoing since the Gallery’s inception in 1998.
This year the exhibition will feature artists Jan Andruszkiewicz, Sheridan Coleman, Ben Crappsley, Kelsey Giambazi and Shayne O’Donnell presenting work in various mediums including textiles, digital media, works on paper and paintings.
Jan Andruszkiewicz, Here to There = There to Here: Commutative Dynamism, 2011,
HDVideo Data Processing/Visualisation, installation view, John Curtin Gallery, 2012
Jan Andruszkiewicz, Here to There = There to Here: Commutative Dynamism, 2011,
HDVideo Data Processing/Visualisation
Jan Andruszkiewicz, Mutatis Mutandis (The appropriate changes have been made),
2011, HDVideo Data Processing/Visualisation
Ben Crappsley, Substratum, 2011, mixed media on paper, installation views, John Curtin Gallery, 2012
Ben Crappsley, Substratum, 2011, mixed media on paper, 21x19cm
Sheridan Coleman, Mountain series, 2011, gouache on board, 9 x 9 cm each, installation views, John Curtin Gallery, 2012
Sheridan Coleman, Immaculate Eruption series, 2011, acrylic on board, installation view, John Curtin Gllery, 2012
Sheridan Coleman, Immaculate Eruption: White Spirals, (detail), 2011, acrylic on board
Sheridan Coleman, Nine Mountains... Sun and Moon Mountain, (detail) 2011, ceramic colours on porcelain
Kelsey Ashe Giambazi, Antipodean Orientalism, 2011, digital print on canvas, 40 x 40 cm each, installation views, John Curtin Gallery, 2012
Kelsey Giambazi, Carbon Concerns, 2011, digital textile print on canvas
Kelsey Giambazi, Waratah Insect, 2011, digital textile print on canvas
Shayne O'Donnell, Veil series, 2010, charcoal and acrylic on paper, 150 x 120 cm, installation view, John Curtin Gallery, 2012
Shayne O'Donnell, Eventide, 2011, oil, wax, xanthorrheoa resin on canvas, 100 x 100 cm
Grass tree lake, 2010, charcoal acrylic xanthorrheoa resin on paper, 150 x 120 cm, installation view, John Curtin Gallery, 2012
Shayne O'Donnell, installation view, John Curtin Gallery, 2012
Shayne O'Donnell, Deja vu, 2011, oil, wax, xanthorrheoa resin on canvas, 1350 x 1650mm
Shayne O'Donnell, Eventide, 2011, oil, wax, xanthorrheoa resin on canvas, 1000 x 1000mm
The John Curtin Gallery is proud to present Spinifex: People of the Sun and Shadow to celebrate the 15th anniversary of the Spinifex Arts Project. The Spinifex People, of the Great Victoria Desert, gained national recognition for their pioneering Native Title claim over their ancestral lands, from which they were removed during the controversial British nuclear testing program of the 1950s.
Their country - comprising 55,000 square kilometres and lying between Warburton in the north and the Nullabor Plain in the south - is one of the most remote and isolated areas within Australia. In 1999, after long negotiations with the Western Australian State Government, the Spinifex People were granted Native Title. Central to the claim, the Spinifex Arts Project produced two large Native Title paintings - the Men's Combined and the Women's Combined. Created to celebrate their continuous occupation and care of their country over thousands of years, these two important works show the entire Spinifex area including claimants' birthplaces, and convey important stories that traverse and give form to this land.
Welcome to Country by Barrie McGuire at the Spinifex: People of The Sun and Shadow opening event
Below: Spinifex: People of the Sun and Shadow, installation views, John Curtin Gallery, 2012
Anne Hogan, Pur-Purnga, 2009, acrylic on linen, 99 x 135 cm, courtesy The Lepley Collection
Men's Collaborative Painting, Wati Tjutaku, 2007, acrylic on canvas, 200 x 150 cm, used with permission of Spinifex Arts Project
Men's Native Title Painting, 1998, acrylic on canvas, 187 x 123cm, courtesy the Spinifex Arts Community Collection
Simon Hogan, Paltju, 1997, acrylic on canvas, 67 x 105cm, courtesy the Spinifex Arts Community Collection
Angelina Tjaduwa Woods, Yampil & Seven Sisters, 2010, synthetic polymer on canvas, 138 x 201cm, courtesy The Lepley Collection
Developed for the ISEA2011 Istanbul exhibition Uncontained, the traditional suitcase is used as a paradoxical transmigratory symbol for this exhibition. The suitcase is analogous to transportation and distribution, packing and unpacking, compression and the uncompressed. The suitcase is inextricably linked to the use of telecommunications, databases and digital media, which through its compressed shipment of information can impose on the location, culture and immateriality of cyberspace, a parallel culture of sameness to those suitcases of the early explorers and the migrants that followed. This will be the Australian Premiere after its inaugural presentation at ISEA2011 in Istanbul, Turkey in late 2011.
Participating artists: Karen Casey, Mark Cypher, Tina Gonsalves, Mark Guglielmetti, Nigel Helyer and Mitchell Whitelaw.
Curated by Vince Dziekan, Paul Thomas and Sean Cubitt
Paul Thomas speaks about The World Is Everything That Is The Case
Forum - experimental new media
Friday 1 June, BankWest Theatre, John Curtin Gallery
Focusing on the works and ideas presented in these two exhibitions, the speakers will discuss the curatorial premise and how experimental new media presents opportunities for global interaction and expression.
Speakers include: Paul Thomas, Vince Dziekan, Mark Cypher, Karen Casey and Nigel Helyer.
Refreshments provided. Please RSVP- firstname.lastname@example.org
Karen Casey, Meditation Wall, video projection, suitcase installation containing laptop and EEG headset, 200 x 600cm
Meditation Wall is an immersive environment designed to illicit meditative or trance-like mind states. The work was created using a custom designed video interface that generates effects from both real time and pre-recorded brainwave Electroencephalograph (EEG) data. The software utilizes the artist’s EEG to control and manipulate original sound and image files, producing a changing audiovisual sequence inspired by the colours, patterns and sounds of Istanbul and the Australian desert.
Mark Cypher, Propositions 2.0, 2011, Suitcase containing sand, Kinect camera, projector, games engine software 300 x 300 x 300cm
The installation Propositions 2.0 will enable participants to interact with and generate different landscapes based upon the manipulation of sand in a suitcase. A Kinect camera interfaced with a games engine interprets the sand’s surface, this then provides the topology for a virtual landscape. As the participant finishes their ‘landscape’ it is added to a cumulative sculpted surface of a world. The surface of the world and indeed the piece as a whole is not a lasting and pure statement of fact, but rather a cumulative series of propositions that articulate an immensely networked topography.
Tina Gonsalves, Chameleon, 2008-2010, Emotionally interactive video project exploring emotional contagion 300 x 300 x 300cm
This work contains six screens displaying video portraitures of six subjects shot around the world. The video portraits respond to the facial emotion expression of the audience (using facial emotion expression technology developed by the MIT Media Lab). This triggers the portraits to respond, via intelligent emotional algorithms that mimic how we socialize (developed with neuroscientist Chris Frith). The work develops moods and temperaments, constantly shifting the emotional landscape.
Mark Gugliemetti, in collaboration with Indae Hwang, Travelogue: A recording of minute expressions, 2011, Digital media installation, electronic components, LCD displays, software, code 20 x 80 x 60cm
The work uses site-specific information, in this case Turkish government census data collected on tourism in Turkey during 2010, to seed or initialise the “world”, carpet and documentary. The underlying code transforms this data into an infinite array of modulating patterns of light and colour, that recalls Islamic art, specifically carpet making, and “virtual worlds”. The visualizations celebrate the enfolded potential in cultural migration, both human and digital.
Nigel Hellyer, Weeping Willow, 2011, mixed media and audio, 250 x 130cm
Weeping Willow is an audio installation that examines the complex relationship between two empires, Britannia and Cathay employing the vehicle of the ubiquitous Blue Willow pattern, a commodity that taps deeply into the Orientalist psyche of the European empires. The work appears as a series of fragments (physical and sonic) that coalesce to tease out the trade of images, concepts and material goods that simultaneously illuminate and obscure inter-cultural understanding.
Mitchell Whitelaw, Local Colour, 2011, cardboard, vinyl, dimensions variable
This work uses generative processes and digital fabrication to address the relationships between growth, materiality, locality and the network. Bowl forms are generated using a simulated growth process - a software model that has been used to model both cancer tumors and urban sprawl. Here this process is materialised using cardboard produce boxes - containers that both enable trade and colourfully display their local origins. These forms are framed by a network diagram in which our familiar hyperconnectivity disintegrates into localised islands.
Experimental new-media artist Dennis Del Favero presents Magnesium Light, a two-part video project investigating the interrelationship between war and identity.
In You and I, Del Favero engages with the possible fantasies that surrounded the infamous Abu Ghraib photographs of 2006.
Todnauberg is a video work dealing with the encounter in 1969 between the Jewish poet and Holocaust survivor Paul Celan and the German philosopher and Nazi collaborator Martin Heidegger in 1969.
Open Saturday 17 March and Sunday 18 March 1-4pm, for a special public preview.
Normal opening hours: Monday - Friday 11am - 5pm plus Sunday 1-4pm.
This will be the premiere of an exciting new project under the direction of FotoFreo’s founder Bob Hewitt. FutureGen will profile the best emerging photo-media talent from around Australia - the best of the ‘future generation’ of Australian photographers, together with the best emerging talent from China where a similar programme is being undertaken. From the Australian photographers involved, six bodies of work, selected by internationally renowned curator Sam Stourdzé, Director of the prestigous Musee de L’Elysee in Switzerland, will be exhibited in September 2012 at the Pingyao International Photography Festival, China.
Hardy Lohse, Botschaft der Republik Irak (Iraqi Embassy for East Germany): Pankow, Berlin, Deutschland.
Iraq’s embassy to East Germany from 1969.
East Germany and Iraq were involved in weapons and military science exchanges. Closed upon reunification of Germany in 1990.
James Horne, Kitchen, Electron micrograph, Archival pigment inkjet print on Canson Rag Photographique 310gsm
Nico Kenderessey, The Butterfly Ball, from the Dreamscape series, 2012, pigment based inks on archival paper
3 February - 4 March 2012
A Perth International Arts Festival Event, supported by Visual Arts Program partners Wesfarmers Arts
Extended due to overwhelming public repsonse - last day is Sunday 4 March, 1-4pm.
In his first solo exhibition in Australia, U-Ram Choe from Korea presents his extraordinary kinetic sculptures, charting a path between art, science and cybernetic technologies. Finely engineered stainless steel, aluminium, and acrylic 'bones' provide the skeletal scaffolding for the 'brains and muscles' - CPUs and motors - which are assembled into captivating forms reminiscent of otherworldly flora and fauna. Taking his vision and art into a virtual realm he frequently identifies and categorises his sculptures with a fabricated narrative of species and habitat, inviting the audience to imagine the evolution of life forms into the future.
U-Ram Choe opening event at the John Curtin Gallery
U-Ram Choe, Urbanus Female, 2006, metallic material, machinery, metal halide lamp, electronic device (CPU board, motor) closed 103 x 103 x 241cm, open 389 x 389 x 233cm, installation view, John Curtin Gallery, 2012
U-Ram Choe, Jet Hiatus, 2004, steel, acrylic, machinery, synthetic resins, acrylic paint, electronic device (CPU & LED board, motor), 88 x 222 x 85cm, installation view, John Curtin Gallery, 2012
U-Ram Choe, Urbanus Male Larva, 2006, metallic material, machinery, acrylic, electronic device (CPU board, motor), 25 x 25 x 57cm, installation view, John Curtin Gallery, 2012
U-Ram Choe, Nox Pennatus, 2005, metallic material, machinery, acrylic, electronic device (CPU board, motor), 84 x 107 x 86cm, installation view, John Curtin Gallery, 2012
U-Ram Choe, Cakra-2552-a, 2008, metallic material, machinery, electronic devices (CPU board, motor), 80 x 80 x 35cm, installation view, John Curtin Gallery, 2012
U-Ram Choe, Ultima Mudfox, 2002, metallic material, machinery, acrylic, electronic device (CPU board, sensor, motor, small light bulb), 65 x 150 x 55cm, installation view, John Curtin Gallery, 2012
U-Ram Choe, Una Lumino Ortus, scientific name : Anmopispl avearium cirripedia URAM, 2009, metallic material, motor, LED, custom CPU board, Polycarbonate, 143 x 130 x 47cm, installation view, John Curtin Gallery, 2012
This new annual award is an opportunity for an outstanding graduate from Curtin University's Department of Art to exhibit at the John Curtin Gallery. The Award, presented to Lance Ward for his intriguing series of photographs, is a joint initiative between the John Curtin Gallery and the Curtin Student Guild.
In modern-day society, our lives tend to revolve around interactions with the digital; we often overlook the objects within our everyday that make modern existence possible (such as the plumbing in a building). These objects show ingenuity - a triumph of humankind over nature that allows us to have more freedom.
Lance Ward uses photography to create images that frame overlooked objects (and their surroundings), in the world around us. He captures these seemingly banal objects so that they become monumentalised; thereby presenting viewers a chance to re-consider something they thought they knew. The images are large-scale and offer the opportunity to pause and appreciate the beauty that is inherent in the everyday world - not just the digital world.
Lance Ward, Untitled (fluorescent Light), 2011, digital print, 105cm x 140cm
Lance Ward, Untitled (Green Series 1A), 2011, digital print, 105cm x 140cm
Lance Ward, Untitled (Green Series 1B), 2011, digital print, 105cm x 140cm