Casula Powerhouse Arts Centre presents: DEATH
Art about death typically brings to mind a certain kind of theatricality or a sombre tone, a classic still life with a skull and an extinguished candle, however the contemporary artists in this exhibition are talking about death in unexpected ways. Death has touched everyone and its effect is often life changing. It is a subject with many complexities. It is capable of stirring powerful emotions and actions, meanwhile by definition it is a simple scientific fact of life, “the cessation of all biological functions that sustain a living organism”
This exhibition focuses on the ways in which we process and deal with death and mortality; practically, emotionally, physically and psychologically, rather than the moment or meaning of death. Death is an unromantic look at some of the many facets of death including a suicide pact in the suburbs of Perth, subverting a fear of death with faux enlightenment, talking to the dead through white noise and the vestigial in elation to the embodiment of memory, archive and grief.
Declan Apuatimi, England Banggala, Carla Cescon, Ronnie Djanbardi, Simon Gende, Nora Holland, Richard Lewer, Thomas Munkanomi, Tony Pilakui, Samuel 'Marbuk’ Poantimului, Patrick Pound, Clementine Puruntatameri, Tracy Puruntatameri, Araya Rasdjarmrearnsook, Helen Shelley, Laurens Tan, Hayley West
PORTAL TO K-TOWN was an exhibition presented by MAP (Modern Art Projects) as part of the the Art & Architecture Series.
Guest curators: Claire Healy & Sean Cordeiro.
Copper Beech is an art-deco house designed by Donald Thomas Esplin with Paul Sorenson garden. Invited artists inhabited the building for a day, presenting a unique dialogue in response to the architecture and provenance of a building that eclipses earlier art deco styles and modern functionalism.
Artists featured: Damian Dillon, Mark Gerada, Claire Healy & Sean Cordeiro, Martin Kirkwood, Tobias Richardson, Joan Ross, Suzann Victor and Hayley West.
Venue: Hotel Hotel South Loft Apartment, Marcus Clarke Street. Upstairs: I Remember You Upon entering the space you lay down on a 'cooling bed’ and contemplated an object/s that you will leave for someone once you are dead. Downstairs: A Death Cafe served coffee, cake and conversation about death.
Art, Not Apart: A Festival of cross-disciplinary works that ‘say something’ – giving light to the lesser heard, lesser seen, makes society more open.
MAGENTA was an exhibition curated by Beata Geyer.
The grouping of artists with very diverse art practices and approaches to art production explores the notion of magenta, both as concept and as percept, in various imaginative contexts. Artist and curator Beata Geyer presents this exhibition as a multilayered installation where different artistic responses merge to create an exciting viewing experience. Magenta is contained not just within the pictorial or spatial spectrum but also within the conceptual multitude of perspectives and overlay of forms and dimensions. The interaction of colour between form, material, space and architecture unlocks the multitude of meanings attempting to define what magenta potentially is.
Artists: Louise Blyton, Sue Callanan, Adrian Clement, Fiona Davies, Beata Geyer, Shavaurn Hanson, Joel Lambeth, Tom Loveday, Ian Milliss, Tobias Richardson, Margaret Roberts, Hayley West, Caroline Wilde and Kayo Yokoyama.
1 million years saw the return of another former Darwin-based artist to NCCA, with NSW-based Hayley West employing sculpture and video-based performance to address persistent themes in her work relating to the 'vestigial’: the embodiment of memory, archive and grief.
NCCA’s Screen Room became a 'makeshift temple’ with a video work in which West performs a series of acts in a prehistoric-like 'grotto’ setting in the Blue Mountains where she resides. These acts broadly suggest family histories, bereavement and the vestigial. 'By contextualising the vestigial into a contemporary art framework’, states West, 'there is an attempt to alleviate grief, relax impending emotional upheavals, or assist in the recovery of surpressed or avoided emotions’.