News

  • 14th Jun 2018

    Zac Langdon-Pole has been announced as the winner of the 2018 BMW Art Journey Prize. An international jury selected him unanimously from a shortlist of three artists whose works were exhibited in the Discoveries sector at this year's Art Basel Hong Kong. Langdon-Pole's project will take him later this year across a world that humans and birds have been navigating for millennia. He will follow the flight paths of birds like the white stork or the arctic tern, traveling along the earth's axis where the Northern and Southern Hemispheres' summers intersect.

    Migrating birds cover some of the longest distances traveled by any living being. Their routes have guided the Polynesian pathfinders across the seas.  Inspired by this ancient celestial tracing, Langdon-Pole's journey questions the position of humans as the center of the world. Weaving through Central Europe, Southern Africa, and the Pacific Islands of Samoa and Hawaii, his Art Journey seeks to understand how culture intersects with the science of celestial mapping—and from there flows into larger existential inquiries about who we are and how we are situated in the world.

    (image: Zac Langdon-Pole 'Lacunae Mouths' (detail) 2016)

  • 1st Jun 2018

    Zac Langdon-Pole’s exhibition «scions», featurning works created during his time as the Charlotte-Prinz-Fellow in Darmstadt opens today (1 June) at Kunsthalle Darmstadt, Germany.

    Revolving around the histories of objects, their interpretations and the fantasies they fuel, Langdon-Pole’s installations uses elements of different origins: inherited furniture, meteorites, bird specimens, or texts, and takes up various narratives to put the seemingly disparate in relation to one another. By combining different objects, removing parts of them or substituting them with other pieces, he traces various connections between cultures, locations and times. He also refers to gaps and deals with the the way different configurations of objects affect the identity and reading of things. Thus his works question seemingly unambiguous identifications and follows the traces in the histories of objects left by migration, colonialism, exotism and cultural exchange.

    The exhibition runs until 8 July in Darmstadt.

    (image: #ZacLangdonPole ‘Residuals (a)’, 2018)

  • 23rd May 2018

    No one is watching you: Ronnie van Hout, a major solo survey of Ronnie van Hout will open this July at the newly opened Buxton Contemporary, Melbourne. Curated by Melissa Keys, this ironically titled exhibition shines a spotlight on the Melbourne-based New Zealand-born artist best known for his distinctive brand of existential absurdism. Bringing together works that span more than twenty years of practice, No one is watching you: Ronnie van Hout encompasses sculpture, video, photography, embroidery and text, and features major new installations.

    Opening 12 July, the exhibition will run until 21 October.

  • 9th May 2018

    Laith McGregor has been named as a finalist in the 2018 Paul Guest Prize, a biannual prize highlighting contemporary drawing practice in Australia, hosted by the Bendigo Art Gallery. The artworks of all fifty finalists will be on show from 30 June - 9 September 2018, with the winner to be judged by Roger Butler, Senior Curator, Australian Prints and Drawings at the National Gallery of Australia.

    (image: Laith McGregor 'This Old Island’, 2018 (detail))

  • 5th May 2018

    Sarah Contos’ new suspension work ‘Nikola Teska Sends Theda Bara To Mars’ opened at the National Gallery of Australia on Friday. This ambitious and dramatic arial installation will transform the NGA foyer with cinematic tableaus replete with nostalgia and glamour. Made possible by the recently launched Balnaves Contemporary Intervention Series, a multi-year commissioning platform which provides leading artists with the opportunity to present innovative works not previously deemed possible, the installation will remain on view until 24 September.

    (image: Sarah Contos 'Nikola Teska Sends Theda Bara To Mars', 2017-18 (detail))

  • 3rd May 2018

    Tom Polo and David Griggs have been announced as finalists in the 2018 Archibald Prize. Awarded annually to the best portrait of a person distinguished in art, letters, science or politics, and painted by any artist resident in Australasia. This open competition is judged by the trustees of the Art Gallery of NSW, with the finalists being displayed in an exhibition at the Gallery.

    Griggs is also represented in this year’s Sulman Prize.

    (image: TomPolo ‘I once thought I'd do anything for you (Joan)’, 2018)

  • 2nd May 2018

    Zac Langdon-Pole is currently presenting work in the inaugural exhibition Loose Ends Don’t Tie at PS120, Berlin, the first of three in the exhibition series The Way Things Run (Der Lauf Der Dinge). The exhibition investigates the migration of people, objects, and images in contemporary global societies. Nomadic circulation transforms people, cultures, and ideas. It leads to multiple, dyssynchronous states of being; it produces new narratives of belonging and of displacement. Through investigation and shared art historical practices, Loose Ends Don’t Tie brings attention work from the hypervisible art canon to the yet to be visible emerging artists.

    Langdon-Pole exhibits alongside Alvaro Barrington, Tom Burr, Renee Green, Iman Issa, Mirak Jamal, Joan Jonas, Tarik Kiswanson, Olu David Ogunnaike and Rosemarie Trockel.

    Until 27 May, PS120 Berlin, DE.

    (image: Zac Langdon-Pole 'Residuals (c)', 2018)

  • 28th Apr 2018

    Ray Edgar has reviewed Robert Hunter’s NGV retrospective, published in today's issue of The Age:

    "Just as we experience architecture through light and space, appreciating Hunter's work requires active engagement: moving around the painting, occupying the space and responding to the physical qualities of light, material and space that bring the painting to life. The work can appear both as a depthless window onto the world, and a repeating pattern that extends beyond the frame”.

    (image: Robert Hunter installing ‘Untitled’ 1971 at the Lalit Kala Academy, New Delhi in 1971. Courtesy Monash Museum of Art)

  • 27th Apr 2018

    A retrospective surveying the work of Robert Hunter opened Friday 27 April, at NGV Australia. 


    In a career spanning almost five decades, Hunter developed an idiosyncratic visual language that drew upon the logic of minimalism. Using a basic geometric lexicon and everyday materials such as house paint and masking tape, he endlessly reinvented the modernist grid. From his earliest near-white square canvases, the wall paintings that dominated much of his output in the 1970s, and the finely nuanced white-on-white compositions of the works for which he is now best known, he produced a remarkably consistent body of work that tests the very limits of visual perception.

    Robert Hunter’s uncompromising vision and commitment to a singular aesthetic position is unique in Australian art.
 Mounted in tandem with ’The Field Revisited’, which celebrates the 50th anniversary of the first comprehensive display of colour field painting and abstract sculpture initiated by an Australian institution, both exhibitions continue at NGV Australia until 26 August.

    
(image: Robert Hunter ‘Untitled (#3)’ (detail) 2016)

  • 27th Apr 2018

    Daniel Boyd has received a commission to design a new pavilion in collaboration with Edition Office at the Australian War Memorial.

    The work, 'For Our Country’, will recognise and commemorate the military service and experience of Aboriginal and Torres Strait islanders.


    'For Our Country' is set behind a ceremonial fire pit within a circular stonefield, incorporating a mirrored glass façade covered in thousands of mirrored circular lenses that reflect the viewer and the Memorial across its surface. Behind the glass veil is an intimate, contemplative space with a curved back wall and seating constructed of black pigmented rammed earth from which to see back through the thousands of transparent lenses to the fire and memorial grounds beyond.


    With permission from the Ngunnawal Elders, an open invitation will go out to every Aboriginal and Torres Strait Nation for soil from their lands to be offered into the ceremonial cham­ber at the centre of the pavilion which penetrates deep onto the ground below the work. In this way each Nation is unified together in this place, where a piece of real country can act as sym­bolic remains of the fallen who have died in the protection of their country.


    'For Our Country' will occupy a prominent position in the Memorial Sculpture Garden and is planned to be constructed in November/December 2018.

    (image: courtesy of Edition Office)

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