Curated by Richard Blundell (Fellow of the Design Institute of Art, teacher at Queensland College of Art – Griffith University) and Associate Professor Donal Fitzpatrick of Queensland College of Art. This event will showcase and celebrate design, exploration, technology, manufacturing and thinking on the Gold Coast. Located at 19 Karen Contemporary Art space, the gallery is dedicated to discovering cutting edge emerging Australian and international artists with exceptional and diverse talent.
Drawn from the QUT Art Collection, this exhibition brings together artworks that, at their core, have an agenda. Sometimes this position is forthright, overt, and deeply political, as is the case with the work of Richard Bell, Fiona Foley, Michel Cook, and Vernon Ah Kee who call for equality for Indigenous Australia, or Keith Looby and Jay Younger who put government politics under scrutiny. For others the intent is more subtle; Alfredo and Isabel Aquilizan, and Dadang Christanto delicately question inequality and give voice to the disenfranchised, and Leah Emery and Barbara Hanrahan reflect on gender issues with humour. Whatever agenda is espoused, these artists are united in presenting powerful images that testify to the ongoing political power of art.
Jerrems put her camera where the counter culture suggested; women’s liberation, social inclusiveness for street youths and Indigenous people in the cities who were campaigning for justice and land rights.
Chris Langlois has attained the reputation as one of Australia’s leading contemporary landscape artists. Characterised by subtle shifts of light and space, the paintings explore the land and sea, and often envelop the viewer with their large scale and surface quality. While his paintings are often inspired by places, they transcend time and space to become much more about personal experience.
The display of large photographic prints in Terry Burrow’s new exhibition Banaras Backs has been selected from the complete series of 1008 photographs that feature in The Banaras Back Book. Burrows has created an intriguing visual essay of people clandestinely photographed from behind, sitting or squatting on the Ghats (steps) along the banks of the river Ganges in Varanasi (Banaras) in India. From behind, these ‘torsos’ maintain a stillness suggesting inanimate objects whilst displaying subtle nuances of human form and gesture.
Brooke Ferguson is a Brisbane-based artist whose practice often explores the playful potential of language in art. Through performance, installation, collaboration and text-based work she seeks to generate moments of reflection and a questioning of the interstices between art and life. Half finished sentences brings together works which point to the discursive and open-ended potential of making art. The title of the show also refers to the act of ending what one is saying midway through conversation, and starting over again.
Lie of the Land confronts the viewer with species of wild animals facing extinction. Pople travelled to Kenya to encounter creatures that challenge the human belief of absolute dominance. These large-scale close-up portraits suggest the paradox of human relationships with the wild, where the conceited will of domestication is merging with the absolute terror of the unknown. As in most of Pople’s works, Lie of the Land draws attention to the artificial and contrived nature of human authorities.
Tango embraced memories, diaries, letters and works to create Dust Storm, which plunges the viewer into an immersive environment of colour and light, and highlights Tango’s interest in the therapeutic abilities of art.
The Institute of Modern Art presents Kraft, the first survey exhibition of Melbourne-based artist Stuart Ringholt. As part of his diverse practice, Ringholt leads audiences on naturist gallery tours, anger workshops, and participatory performances that invoke embarrassment, fear, laughter, and love. Ringholt also makes videos, absurdist sculptures, painted mirrors, and collages.
Hiraki Sawa’s video works are subtle reflections on ideas of time and motion, travel and dislocation. Having lived between London and Japan for many years, cultural mobility has formed a key reference in Sawa’s work, with his narrative sequences often about journeys into real, subconscious or imagined worlds.