Regimes of Value at Margaret Lawrence Gallery and Substation

Regimes of Value

Regimes of Value

An exhibition over two venues curated by Elizabeth Gower investigating the appropriation of urban detritus as a contemporary art strategy.
Featuring works by:
Lauren Berkowitz, Ryan Foote, Michael Georgetti, Elizabeth Gower, Nathan Gray, Lou Hubbard, Christopher Lg Hill, Matt Hinkley, Melanie Irwin, Ash Keating, Nicholas Mangan, Rowan Mcnaught, John Nixon, Louise Paramor, Simon Pericich, Joshua Petherick, Caroline Phillips, Elvis Richardson, Stuart Ringholt, Ilia Rosli, Julie Shiels, Slow Art Collective, Kate Smith, Charlie Sofo, Masato Takasaka, Alex Vivian

The Substation
Opening: Wednesday 13 March, 6 – 8pm
with performances by Hi God People and Melanie Irwin 
Exhibition Dates: 7 March to 7 April 2013
1 Market Street, Newport VIC 301
www.thesubstation.org.au

Margaret Lawrence Gallery
Opening: Thursday 14 March, 6 – 8pm
with a performance by Melanie Irwin
Exhibition Dates: 15 March to 13 April 2013
40 Dodds Street Southbank VIC 3006
www.vca.unimelb.edu.au/gallery

Free Public ForumsRead more for information on public forums by artists and visiting UK academic and author, Dr Gillian Whiteley.
  
Image: Melanie Irwin, Particle Aggregation, 2012. Photo: Kaite Irwin


The focus of the two exhibitions is the collection of ephemera and urban detritus, materials generally considered unviable, residual and cast-off, and their re-purpose as a contemporary art strategy. The use of detritus has been effectively appropriated by every aspect of contemporary culture. The resulting works have been viewed as disruptive, transgressive, narratives of socio/political dissent, and vehicles of parody and the deployment of kitsch. Awareness of dwindling resources has motivated some contemporary artists to re-purpose surplus materials, within the rhetoric of sustainability.
PUBLIC FORUMS PROGRAM
Junk: Art and Politics of Trash
Thursday 14 March, 12.30 -1.30, VCA Art School Auditorium

Dr Gillian Whiteley visiting UK artist, curator and author of ‘Junk: Art and politics of Trash’ will present an illustrated panoply of trash narratives. In these she re thinks key moments in art’s historical and present appropriation of junk, trash, garbage, dross, detritus, within our eco-conscious and globalized culture.

Material/Materialist culture Artists floor talks, 19 March, 12.30 – 2.00 in VCA Margaret Lawrence Gallery
A general discussion on ‘trash and its entangled narratives’. Introduced by Dr. Gillian Whiteley with floor talks by John Nixon and Masato Takasaka.
Trash and its entangled narratives
Artists floor talks, 23 March, 4.00 – 6.00 at The Substation
Refreshments provided
Artists Lauren Berkowitz and Simon Pericich will join with Dr Gillian Whiteley, visiting UK artist, curator and author of ‘Junk: Art and Politics of Trash’ to discus artists’ appropriation of urban detritus, junk and ephemera as a contemporary art medium within our eco-conscious and globalized culture.

Copies of the exhibition catalogue and ‘Junk: Art and Politics of Trash’ will be available for purchase.
 The Sustainability Conundrum of the Prosumer Artist
Tuesday 26 March 12.00 -2.00, VCA School of Art Auditorium  Artists Ash Keating, Ryan Foote and Slow Art Collective, will join with Dr Gillian Whiteley and Jodi Newcombe (Carbon Arts) to discuss a range of conceptual, ethical and practical approaches undertaken by artists who engage with or maintain an environmentally sustainable art practice.
All events are FREE and all ages welcome. 
Bookings are non-essential however RSVP is appreciated:
ML-gallery@unimelb.edu.au
   
     Images from top: Melanie Irwin, Ash Keating, Simon Pericich

Kate Just exhibition at Daine Singer


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DAINE SINGER


KATE JUST


VENUS WAS HER NAME


OPENING 3-5PM
SATURDAY 16 MARCH


EXHIBITION 14 MARCH - 20 APRIL 2013


EMAIL FOR DIGITAL PREVIEW OF EXHIBITION WORKS

DOWNLOAD EXHIBITION ESSAY BY CASEY JENKINS
Venus Was Her Name brings to Melbourne works Kate Just produced during a recent three month residency and exhibition in Krems, Austria (2011-2012). Just’s interest in Krems was ignited by its close proximity to the town of Willendorf, home of the Palaeolithic female figurine The Venus of Willendorf (25,000 BCE). Continuing her interest in female representation, Just created a series of works exploring the legacy of The Venus in the area and its untapped subjective presence. Just drew on contemporary archaeological theories suggesting The Venus might be a self-portrait, or image of a textile practitioner. She produced a life-like knitted portrait of her own skin, and knitted a large twine sculpture of the word ‘VENUS’ with knitters across Austria, using archaic knitting symbols in place of letters. These works are shown alongside a a series of collages of women formed from images of archaic objects and a table of faux-archaeological relics relating to the artist and The Venus.

Kate Just was born in Connecticut in 1974 and moved to Melbourne in 1996. Just has a Master of Arts from RMIT, a Bachelor of Fine Arts from VCA and a Bachelor of Science (Film-making) from Boston University. She has been a Lecturer in Art at the Victorian College of the Arts since 2005. Just has exhibited extensively including at Auckland Art Fair, AC Institute New York, the Kunsthalle in Krems, Austria, Craft Victoria, Gertrude Contemporary, Centre for Contemporary Photography, Melbourne Art Fair, Contemporary Art Space of Tasmania, Chalk Horse Gallery, First Draft, MOP, Perth Institute of Contemporary Art, Canberra Contemporary Art Space, and Daine Singer. Recently, a survey exhibition of Just’s major knitted works was held at Ararat Regional Gallery entitled Kate Just: The Knitted Work 2004 – 2011. Her work is currently being exhibited in Louise Bourgeois and Australian Artists at Heide Museum of Modern Art. In May 2013, Just’s studio led PhD at Monash University will culminate in the exhibition The Texture of Her Skin. Just has held international residencies at KREMS AIR in Austria (2011) and the Australia Council Residency in Barcelona (2012). As a recipient of the British Council Realise Your Dream Award, Just will travel to London in 2013 to create a public knitting work entitled Women HOPE. Her work is held in collections including Artbank, Ergas Collection, City of Port Phillip, Ararat Regional Art Gallery and Proclaim Management Collection.


Image: Kate Just, Venus Was Her Name, 2012, installation view
The Factory, Kunsthalle Krems, photograph: Christian Redtenbacher


Daine Singer
Basement 325 Flinders Lane, Melbourne 3000
www.dainesinger.com / info@dainesinger.com / 0410 264 036



VCA PAINTING END OF YEAR PARTY in the PARK




 
Okay,

It is the end of the year, and some people are saying goodbye.
So it is the time to celebrate our time at the VCA.

It will be at 5pm on Friday the 26th Oct.
After school finishes for the day we all head over the road.

In the gardens across from school, near the rotunda.
like last year.






The party will include;
BBQ
Sweet things
Speeches by teachers,
Speeches for teachers,
Kenny
Gifts for the Teachers
Soccer
Sports
Relaxing environment

Trees

(text taken from FB, see Daniel Belfield for more details)

 5PM Friday, October 26, 2012, Royal Botanical Gardens (more details coming)

Janenne Eaton 17 Oct / 10 Nov 2012

 
Block Projects 79 Stephenson Street Cremorne, Victoria, Australia 3121. 17 Oct / 10 Nov 2012

Raafat Ishak, Nomination for the presidency of the New Egypt

Sutton Gallery is pleased to present Nomination for the presidency of the New Egypt, an installation by Raafat Ishak which continues his engagement with moments of major social upheaval, responding to the revolutionary wave of the Arab Spring and the ensuing transition toward political democracy in Ishak's native Egypt.

At this pivotal moment within the recent history of the Middle East, as groups and individuals seek to propose alternative models of governance, Ishak's latest project involves the establishment of a manifesto for a new political party to contend the Egyptian elections. Written in cursive Arabic text, the ‘party's' manifesto sits below an imagined logo, a Scarab beetle, painted in Ishak's customary style, where distinctive lines enclose curved, square or rectangular shapes that have been slowly built up in pastel shades on unprimed MDF.

Placing emphasis on the need for better food distribution and land cultivation, the proposed manifesto revisits a highly radical and contentious position within the framework of Egyptian nationhood: the re-flooding of the Nile River. Here Ishak calls for positive action and renewal, thereby reflecting his practice at large, which continually expresses the world as another place or suggests an imagined future.

The physical configuration of Nomination for the presidency of the New Egypt recalls a paper scroll resting on a black cube. Notably, the presence of the black cube has carried great significance throughout Ishak's oeuvre, with incarnations of Malevich's Black Square 1915 appearing in Ishak's practice as early as 1987. His resonance with this symbol is not simply due to its significance in modern art and architecture; it is also equally a reflection on his heritage and the sacred site of Islamic pilgrimage, the black stone cube of the Kaaba in Mecca: ‘While this motif resonates with externally generated meanings - an amalgam of archeological layers and intersecting histories - it also suggests the limits of abstraction and the meanderings of the contemporary artist'.i In this way, the black cube is positioned as both structurally and culturally representative of the circulatory nature of the personal and political.

12 October 2012 - 10 November 2012
Sutton Gallery