The best thing I saw today, originally uploaded by mxccuba.
Source: inbetweenspaces riff on Boxcopy e-newsletter, crawl.net.au, originally uploaded by mxccuba.
￼In the lead up to Barbara Penrose’s exhibition Architectural Fantasies, Vertigo at LEVEL, we’ve had a brief debate about Kensuke Todo in the office. My immediate response and claim is that it’s painting. Similarly, Penrose’s work is two-dimensional sculpture. Her new work finds form in the shadows of Brisbane City Hall. I’ve prepared the accompanying catalogue essay, French translation by Elizabeth Ruinard, which thinking back has really come about through Barbara making a comment on the blog.
Alice Lang Just in Case (detail) (2011), fabric paint, applique and mirror., originally uploaded by mxccuba.
ALice Lang Multiple Visions at Grantpirrie Gallery Window from 12 May – 18 June.
Protest: Philippine dictator Marcos is not a hero. Source: ABC, originally uploaded by mxccuba.
Alice Lang, Just in Case (2010), cotton, dowel, fabric paint and acrylic mirror. P: C. Warner., originally uploaded by mxccuba.
Since the week before last, I’ve started to recall and gradually reminisce about Satellite Space and that era. In discussing the term ‘emerging’ I partly cringed at recognising myself, the terminology; but mostly emphathised, particularly with Channon’s reference to the ‘emerging’ timeline of opportunities and the associated anxiety. Made worse or exacerbated by self-imposed pressure. I really remember that.
One of the first projects I undertook as an independent curator was developing a strategy for emerging artists with artworkers alliance. Part of that research was meeting with artists and co, to discuss aspirations, what happens next, i.e. transition from emerging to mid-career. I remember one interviewee in particular saying that young and emerging artists have a lot of power in this city. I think that was true then and it can also seem to be true now. But surely one has to question why a society, a contemporary art community, would give such power to a group of people who by they’re very own description lack experience and a retrospective perspective.
Politicians in particular often tout a leg up to emerging creatives. However, without some support or focus on progressing to mid-career and/or recognising established artists, it can be more a process of disappearing. Albeit, this is not to say that every artist should be destined to have a successful career trajectory. Even so, without a longer-term view, many emerging artists are basically set up to fail.
I was surprised to hear that post-graduation, artist run initiatives are now inextricably linked to and supported by tertiary institutions. For some time, the alternative in alternative-run has steadily faded from these spaces. Nevertheless, it’s still little surprising to be confirmed so definitively. These spaces are no longer anti-institutional, but very much a part of an institutional system.
For some further information visit: Institute of Modern Art – News.
In the midst of developing new work for the forthcoming solo at MoB, Alice Lang recently curated I’m Okay, You’re Okay at LEVEL. The exhibition explored the relationship between anxiety and contemporary art practice and was accompanied by an awesome catalogue essay that I just have to share: Ok_Essay (kindly courtesy of Alice Lang). It fully conveys its subject. Not only does it describe how anxiety is expressed in each artist’s work, it embodies anxiety. Which surely, could not have been an easy task.
I love the anonymity of Sydney, but gradually I was feeling a bit forsaken in the solitary confinement of Andrews’ The Cell. Feeling a bit sad and missing people I know, I put my CSI camouflage back on the hook. But then, Anna walked in and I got to experience the work differently all over again. Yay!
Shen Shaomin, Bonsai Series (2007-09), originally uploaded by mxccuba.
And back to the Sydney Biennale at MCA. Can’t believe I didn’t previously mention Shen Shaomin’s Bonsai Series (2007-09). These works utilise wire and clamps as instruments of torture to stretch or suppress and coerce into extreme bonsai configurations.