VAULT EXTRA 3rd MARCH 2022
ACCESS HUMA BHABHA’S LATEST EXHIBITION ONLINE
New terracotta sculptures by Huma Bhabha currently on view at the Fundación Casa Wabi in Puerto Escondido, Oaxaca, are now also on view as an online exhibition on the David Kordansky Gallery website produced in collaboration with Salon 94. The works were made during Bhabha’s recent residency at Fundación Casa Wabi, which culminated in the solo installation curated by Nicholas Baume, Artistic & Executive Director, Public Art Fund – Baume also writing an insightful essay to accompany the presentation. In these haunting works, Bhabha explores the potentials of locally sourced materials while furthering her ongoing investigations of the human — and humanoid — form. The exhibition continues until December 31, 2022 and you can access the online viewing room here
For VAULT Issue 37 (Feb – April) fellow artist Shivanjani Lal spoke to Huma Bhabha about key concepts, materials and experiences driving her work. Read more about Bhabha’s practice in On Theft: A conversation between artists Shivanjani Lal and Huma Bhabha.
Image credit: Installation view Huma Bhabha, 2022, Fundación Casa Wabi in Puerto Escondido, Oaxaca, Mexico, February 12 – December 31, 2022. Photo: Diego Berruecos. Courtesy David Kordansky Gallery, Los Angeles and Salon 94, New York
1301SW OPENS SOON
An exciting new gallery in Melbourne is set to open in mid-May. The brainchild of Los Angeles’ 1301PE and Auckland’s Starkwhite, 1301SW will act as the definitive home for both Australian and international art. The gallery will create a dialogue between these respective art communities through a program of unique and innovative exhibitions that showcase acclaimed international and local artists alongside each other. 1301SW will work with artists associated with the founding galleries, such as Billy Apple, Petra Cortright, Ann Veronica Janssens, Gerold Miller, Fiona Pardington, Philippe Parreno, Jessica Stockholder, Diana Thater, Rirkrit Tiravanija, Gordon Walters and Pae White, together with exhibitions by Australian- based artists Rebecca Baumann, Mikala Dwyer, Alicia Frankovich and Jonny Niesche. Curated by 1301SW’s newly appointed director Jack Willet, the gallery’s inaugural exhibition, An eeriness in the Plain, examines the sense of unease that often emanates from minimalist, abstract and conceptual tendencies in contemporary art.
Image credit: Rirkrit Tiravanija, untitled 2017 (it's raining men, los angeles times, december 2017), 2018, enamel paint and newspaper mounted on linen, 240 x 174.6 cm. Courtesy the artist 1301SW
FABRIZIO BIVIANO AT METRO GALLERY
Fabrizio Biviano’s current exhibition, Post-Influence showing at Metro Gallery, Melbourne, is a personal rendition of life itself and what it means to be human. The somewhat melancholy status of today’s world looms over the works with the candy-coloured backgrounds purposefully dishevelled and unkempt. A stack of books lies underneath the skull in An easy way to become good (2022), signalling Biviano’s aptitude for grappling with fraught subjects, such as the inevitability of death and the universal want for a zestful life. Post-Influence continues at Metro Gallery until 23 April, 2022.
Image credit: Fabrizio Biviano, An easy way to become good, 2022, oil on canvas, 122 x 96 cm. Courtesy the artist and Metro Gallery, Melbourne
MAKING PLACE AT MUSEUM OF BRISBANE
Making Place: 100 Views of Brisbane currently showing at the Museum of Brisbane (MoB) presents more than one hundred historical and contemporary depictions of the Brisbane region dating from the 1820s to the present day. A deep dive into the changing nature of Brisbane as conveyed through the artists' perspective, the exhibition includes works from the collection as well as a newly commissioned immersive sound artwork by Brisbane composer, artist and curator Lawrence English titled Site Listening: Brisbane – the title offering a clue to the sounds brought by the work into the gallery. Larrakia, Wardaman and Karajarri artist Jenna Lee has also contributed a significant new installation titled Growing Place (2022), which looks at the historic and ongoing impact of colonisation on environment and language. By looking to the present landscape, as well as taking time to reflect on the past and speculate on the future, the exhibition invites visitors to question their own sense of and creation of place.
Image credit: Mia Boe, K'gari means Paradise in Butchulla, 2020, acrylic on stretched linen. Photo: Carl Warner. Commissioned with support from Jane and Michael Tynan Museum of Brisbane Collection
ELVIS: DIRECT FROM GRACELAND
There’s another great reason for a weekend road trip to Bendigo with Bendigo Art Gallery currently showing Elvis: Direct From Graceland – an exclusive biographical exhibition exploring one of the greatest musical icons of the 20th century. The Gallery has been able to secure extraordinary access to the Graceland archives, with the exhibition exploring many facets of the king of rock and roll’s stellar career, including the lesser-known aspects of his early years, interests and personal life. Elvis: Direct from Graceland features around three hundred authentic artefacts owned by Elvis Presley, direct from his Graceland home in Memphis, Tennessee – including his military uniforms, his 1976 Red Bicentennial Custom Harley Davidson and an amazing array of his famous jumpsuits. The exhibition moves beyond the familiar narrative of a musical megastar, showcasing a more private side that included the singer’s devotion to his parents and his love of books, motorcycles, horses and karate. The exhibition continues until July 17, 2022.
bendigoregion.com.au/bendigo-art-gallery
Image credit: Elvis Presley in the 1968 NBC television special, Singer Presents… Elvis, later known as the ‘Comeback Special’. Photo: Fathom Events/CinEvents. © EPE. Graceland and its marks are trademarks of EPE. All Rights Reserved. Elvis Presley™ © 2021 ABG EPE IP LLC.
APPLICATIONS NOW OPEN FOR SAM’S INDIGENOUS CERAMIC AWARD
Established under the patronage of acclaimed artist Dr Thancoupie Gloria Fletcher (Thainakuith), the Shepparton Art Museum Indigenous Ceramic Award (ICA) is the most prestigious national award for Indigenous ceramics, showcasing new and exciting developments in the field. The acquisitive prize attracts ceramic works from Indigenous artists across Australia and builds on SAM’s significant holdings of Indigenous ceramics.
Presented on Yorta Yorta Country, the Award provides a national platform to share personal, historical and deep cultural learnings from artists and Country. The major $20,000 acquisitive prize celebrates innovation in ceramic practice, much like its partner-award, the Sidney Myer Fund Australian Ceramic Award, also hosted biennially at SAM. The ICA also includes a $5,000 South-East Australian Aboriginal Artist Prize, dedicated to local practice, and a $1,500 People’s Choice Award.
The multifaceted Award celebrates and supports the rich and diverse use of the ceramic medium by Indigenous artists and acknowledges the special industry of ceramic art. Previous prize winners have included Jack Anselmi and Aunty Cynthia Hardie, Vera Cooper, Janet Fieldhouse, Irene Mbitjana Entata, Danie Mellor, Rona Rubuntja, Yhonnie Scarce and Carol Anilyuru Williams.
Applications for the 2022 Award are now open until June 3, 2022. An exhibition of shortlisted finalists will be presented at SAM from August 13 until December 4, 2022. For more information and to apply visit SAM’s website.
sheppartonartmuseum.com.au/whats-on/ceramic-awards/ica/
Image credit: Image courtesy Shepparton Art Museum
JON CATTAPAN: THRESHOLD SIGNS 2008-2021
Art Ink has just released Jon Cattapan: Threshold Signs 2008 – 2021, a significant publication that presents of the practice of the esteemed Melbourne-based artist. With a career spanning over forty-five years, the book not only documents the formative experiences that have shaped Cattapan’s career, but also reinforces his influence and position within the arts. Alongside images of more than 150 artworks – created over the last two decades – the book includes essays by Professor Peter Hill and Professor Chris McAuliffe, as well as an interview with Tess Maunder, which underscores the artist’s own perspective on his work. The book is currently available through Art Ink’s website.
The artist currently has a solo exhibition at STATION’s Melbourne gallery on view until Saturday 14 May, 2022. Particle Days showcases Cattapan’s new suite of large-scale paintings, all of which explore different networks of communication, emotional states of being, disputed territories, and digital spheres. For more information visit STATION’s website below
artink.com.au/cattapan
stationgallery.com.au
Image credit:Image courtesy Art Ink
