29 September, 2005

9th Montreal Photographic Biennale

Where's Mickey, 2002
Lamda print from Polaroid original
100 x 80 cm (image)

The Artistic Director of the the 9th Montreal Photographic Biennale Martha Langford has invited six Australian photographers to show at the 2005 Montreal Photographic Biennale. The chosen artists are: Destiny Deacon, Lindy Lee, Tracey Moffatt, Martyn Jolly, Polixeni Papapetrou and Glen Sloggett.

Langford says: "Australian photographic practice was part of the inspiration for the theme of Image & Imagination.

"The work of the six participating artists is interlaced across the Festival. Of particular interest are visual explorations of identity and place. Remarkable synergy is created by the co-presence of Australian Aboriginal, American Native, and First Nations photographic artists."

As part of the Festival's first category, Sightlines into the Imagination, renowned artist and filmmaker Tracey Moffatt will present her first major Canadian exhibition at the Montreal Museum of Fine Arts. She will show three key photographic series: Scarred for Life (1994), Up In The Sky (1998), and Invocations (2000).

Polixeni Papapetrou will show Dreamchild (2003) and Wonderland (2004), a series of large colour works based on Lewis Carroll's photographs and illustrations from Alice in Wonderland and Through the Looking Glass.

In the Festival's second category, Mirroring Ourselves, Reframing Otherness, Destiny Deacon's Adoption (1993/2000) will exhibit at the Leonard and Bina Ellen Gallery. Her work will be shown with Canadian artist Evergon in an exhibition that manifests the power of symbolic objects to stir emotions from bitter anger to sublimated desire.

Lindy Lee's Birth and Death (2003), dedicated to the memory of her father, nephew and mother-in-law, will be shown at the Centre d'Art Amherst.

Glen Sloggett's Abandon (1997-2000), Cheaper and Deeper (1996-2000) and Lost Man (1993-2003) will show at the Maison de la culture Notre-Dame-de-Grace. Sloggett's work reflects images of everyday suburban spaces, leaving the viewer simultaneously amused and anxious. His dark, disquiet images explore the neglected, the derelict amd the out-of-date. His works have been featured in exhibitions including New Australiana, an Australia Centre for Photography touring exhibition, and Photographica Australis at ARCO 2002 in Madrid.

The Australian artists will be joining more than 60 artists from Canada, France, Haiti, the United Kingdom and the United States at the Le Mois de la Photo a Montreal.

from ozart

28 September, 2005

La Poupée

A quick guessing competition.
Look at the two images below and name the artist.

The works were seen on the weekend at the Pompidou Centre, Paris.

If your first response was Cindy Sherman, then you are not alone.
But you are incorrect. The works were dated 1949, which is too early for Sherman.

This is a Sherman.

and this is Hans Bellmer

Hans Bellmer (German)

1902 - 1975

German-French artist Hans Bellmer studied engineering in Berlin from 1922 to 1924, but gave up to work as a typographer and bookbinder. In 1933 he made his first doll, an articulated figure of a young girl, based on his fifteen-year-old cousin Ursula and on memories of his adolescent sexual encounters. The following year he published a collection of ten photographs of the doll, which were welcomed by the Surrealists for the way in which they broke sexual taboos and released repressed desires. From 1946 Bellmer produced a series of meticulously executed drawings and etchings developing the theme of violent eroticism.

La Poupée [The Doll]1933

This photograph previously belonged to André Breton, the leader of the surrealist group, who was a great admirer of Bellmer’s work. It shows Bellmer’s second doll, made in 1935. Bellmer made several dolls, the first one in 1933, all of which had moveable parts that could be put together in many strange and disquieting combinations. Bellmer’s photographs of his doll are carefully staged in both interior and exterior settings. They show how photography could further explore the eroticism of the doll and the obsessive desire that led to its creation.


Prints & Drawings

Hans Bellmer in The Art Institute of Chicago: The Wandering Libido and the Hysterical Body

more from sue taylor
"Bellmer's doll still casts her shadow over Cindy Sherman's hermaphroditic grotesqueries, Robert Gober's hairy wax legs, Kim Dingle's naughty little girls, and Tony Oursler's video puppets, among many others."

the faces of cindy sherman

Impact Update

Photographs from the Impact Conference

From the Academy of Fine Arts

From the National Museum of Poznan Website

From April Vollmer's website
Artists from the Nagasawa Art Park woodblock program in Japan were invited to give a talk and portfolio presentation at IMPACT an internatinoal printmaking conference in Berlin and Poznan
Artists: Miriam Zegrer and Eva Pietzcker (Germany) Michael Reed (New Zealand) Daniel Heyman (US) Heinrich Heine (Netherlands) Haruka Furusaka (Japan) Nel Pak (Netherlands) April Vollmer (US) Merijean Morrissey (Canada) Dariusz Kaca (Poland)


Marco Corsini - New work

Marco Corsini, The space between the trees, 2005,
70 x 70 cm, Acrylic on canvas

Marco Corsini, A kind of homecoming, 2005,
70 x 70 cm, Acrylic on cotton

Marco Corsini, Chiara's song, 2005,
70 x 70 cm, Acrylic on cotton

Artist Statement

Marco Corsini is Australian born and raised by Italian immigrants in rural Australia. While he now lives in Europe, he still has a strong attachment to the Australian landscape and his practice frequently reflects this theme. These works contain some of the elements present in Marco’s previous work; that of journey, movement and a shifting sense of perspective within the Australian landscape.

The works emerged shortly after the birth of Marco’s daughter Chiara in Amsterdam. The title ‘Chiara’s song’ goes part way in explaining the work’s vibrancy as they celebrate a new life with freshness and clarity. However, it is also a song about belonging and a sense of place. They draw on a reservoir of memories originating from the experience of growing up surrounded by the Australian landscape. As when moving through such a landscape, forms intertwine and shift with an ambiguous sense of space being created. The ambiguities of those spaces, locked in Marco’s memory, that appear in these paintings have come to represent the ambiguities and difficulty of identity in a world where immigrants and nomads alike frequently cross borders. The ambiguities of identity and belonging, which arise when borders are crossed, have found a suitable expression in the experience of moving through the Australian landscape.


Previous Blog Entry

Rosalie Gascoigne

Rosalie Gascoigne is one of Australia’s most respected contemporary artists. She first exhibited her art in 1974 at the age of 57. Her career spanned 25 years during which time her work was exhibited widely both in Australia and internationally until her death in 1999. Four years after her first exhibition, she was the subject of a major survey exhibition at the National Gallery of Victoria, and four years after that she was chosen the represent Australia at the 1982 Venice Biennale.

press release - Roslyn Oxley9 Gallery
Gascoigne Estate, 2002
Rosalie Gascoigne, 2004
With her very distinctive and poetic assemblages of found objects, Rosalie Gascoigne is one of Australia's most accomplished visual artists. Now 81, Gascoigne came to art late in life (she gave her first exhibition at 57), but she says she's really been an artist all her life. Stephen Feneley spoke to Rosalie Gascoigne on the occasion of a major retrospective of her work at the Art Gallery of New South Wales.

Rosalie Gascoigne assembles abstract patterns and grids from natural and manufactured materials found in her surroundings. By using familiar objects such as sheets of corrugated iron, road signs, soft drink packing cases, bundles of sticks and floral linoleum, Gascoigne's simple designs evoke a sense of place through the associations which these materials have with the context from which they have been collected.


Australian Biography

Rosalie Gascoigne's hauntingly evocative visual depictions of the Australian landscape have rapidly propelled her into the spotlight of international fame. Yet until she was well into her fifties she was completely unknown as an artist. This program traces the experiences which shaped this complex and fascinating woman, from her difficult childhood in New Zealand to the heady acclaim that greeted her work when it finally came to the attention of those capable of recognising its special quality.

Inkjet Water Transfer

How To
1) Paper (a page in your journal although you might want to experiment on
scrap paper first)
2) A fresh inkjet print (photos or artwork should be simple & have good
contrast and bold colours)
3) Can or cup of water
4) Paper towels
5) Burnishing tool (smooth rounded objects such as wooden spoon, ice cream
stick, rounded end of scissors, etc.)

An inkjet water transfer is fairly easy to make but there are many variables
that affect how the end result will look. You have to experiment a bit and see
what works best for you.

Using a large brush or sponge dampen the paper with clear water. The surface
should be fairly wet, but water should not stand in puddles. Remove any excess
water with the sponge or paper towel, and then lay the paper flat.

Carefully lay your inkjet face down on your wet paper without shifting its
position. Next, using your burnishing tool carefully burnish the back of the
inkjet print. Be careful not to rip the paper by burnishing too hard. When
you've burnished the entire image carefully remove the print.

You should have a light or ghosted image on your journal page. How wet you
make your receiving paper, and how hard or softly you burnish can make a big

These transfers have a soft pastel look and you can add handwriting to the
page or work with soft values using color pencils. You can also make multiple
transfers with a new print or the same one.

22 September, 2005

Picture Australia

PictureAustralia celebrates five years!

PictureAustralia was launched on September 4, 2000, based on the Image Search database. It started with 470,000 images from seven participants: the National Library, the Australian War Memorial, the State Libraries of New South Wales, Tasmania and Victoria, National Archives of Australia and the University of Queensland library.

PictureAustralia has grown dramatically. There are now 41 participating agencies including all State and several public libraries, museums, galleries, and university libraries. PictureAustralia also has two overseas contributors - the National Library of New Zealand and SCRAN (Scottish Cultural Resources Access Network), which show the activities of Australians abroad.

The database has more than doubled in size to over 1 million photographs and artworks which graphically illustrate events, people and places in Australia’s historical, social and political life.

Searching is easy with picture trails bringing together images on various themes, for
example, social dance, historic public buildings, bushrangers, fashion and indigenous arts.

PictureAustralia is expected to grow further with Australian and international agencies interested in joining and sharing their images in a collaborative environment.


Printmaking in Sweden

National Gallery of Ireland, Dublin

"From Darkness Into Light: Printmaking in Sweden 1890-1960"
Print Gallery (7 September - 4 December 2005). Admission free.

An exhibition of nineteenth and twentieth-century Swedish prints will go on view in the National Gallery of Ireland (Print Gallery) from 7th September until 4th December 2005. Admission is free.

The exhibition, entitled "From Darkness Into Light: Printmaking in Sweden 1890-1960", comprises some 6o black and white prints largely drawn from the collection of the Swedish Fine Art Print Society (FfGK), including a fine selection of prints by Axel Fridell (1894-1935) from the renowned personal collection of HM King Carl XVI Gustaf of Sweden.

Anne Hodge, curator of the exhibition and author of the accompanying illustrated brochure, says that this is the first exhibition of its kind to be shown in Ireland and is a wonderful opportunity to showcase the work of twentieth-century Swedish printmakers whose work is notable for its virtuosity and technical experimentation. Many of the images give an insight into a distinctive way of seeing and recording life, inspired in part by the dark winter days and the breathtaking grandeur of the Nordic landscape.

Like their Irish contemporaries, Swedish artists were driven by their relative isolation to seek inspiration, training and patronage in the great art centres of London, Paris and Berlin. One of the most exciting and influential printmakers of the period was Axel Fridell (1894-1935) who, like many others of his generation, spent time in Paris and London to study and hone their art. Among the other artists whose work is represented in this show are Stig Borglind (1892-1965), Albert Engström (1896-1940), Prins Eugen (1865-1947), Maja Fjæstad (1873-1961), Carl Flodman (1863-1888), Ragnhild Nordensten (1888-1951), Hans Norsbo (1897-1955), Anders Zorn (1860-1920).

The exhibition is accompanied by an illustrated brochure (available from the Gallery Shop, price €2) with essays by Karl Haskel, Chairman of the FfGK, Rachelle Puryear, Printmaker, and Anne Hodge, Curator of Prints and Drawings.
A series of talks around the exhibition will take place in the Gallery's Lecture Theatre each Sunday and Tuesday throughout September (admission free).

"From Darkness into Light: Printmaking in Sweden 1890-1960" has been organised in conjunction with a Graphic Studio Gallery exhibition (8 September-1 October 2005) featuring the work of contemporary Swedish printmakers, curated by James McCreary and Lars Nyberg. There will also be a special week of Swedish events taking place in venues around Dublin.

Visit www.nationalgallery.ie or www.graphicstudiodublin.com

A strong tradition of printmaking developed in Scandinavia during the early twentieth century and printmakers of this period are notable for their virtuosity and technical experimentation. Like their Irish contemporaries, Swedish artists were driven by their relative isolation to seek inspiration, training and patronage in the great European art centres of London, Paris and Berlin.

Printmaking developed against a background of rapid industrialisation and expansion, particularly in Stockholm. The urban landscape became an important subject for artists such as Axel Fridell (1894-1935), one of the most exciting and influential printmakers of the period whose work is represented in this show by a special selection of black and white prints from the renowned personal collection of King Carl XVI Gustaf of Sweden.

This exhibition of late nineteenth and early twentieth century black and white prints from Sweden is the first of its kind to be shown in Ireland. It will include 63 prints mostly drawn from the collection of the Swedish Fine Print Society (FfGK).

Many of these images evoke a wide range of emotions; calm introspection, raw nervous energy, melancholia and surreal humour are all present. They give an insight into a distinctive way of seeing and recording life, perhaps inspired by the long Nordic nights and bleak, snowy landscapes of Sweden.

Bridget Riley

Seen in Sydney last summer at the MCA, Bridget Riley is showing at the Cranbrook, USA whose exhibition press release states:-
"Her last exhibition in North America was at the Dia Center, New York, in 2000."
They didn't mention Sydney. Wonder if they read her CV?

Bridget Riley: Paintings and Preparatory Work 1961-2004
14 December 2004 - 6 March 2005
Museum of Contemporary Art

“No painter, dead or alive, has ever made us more aware of our eyes than Bridget Riley.” Robert Melville, The New Statesman, 1970.
Bridget Riley is one of Britain’s most respected artists, recently receiving rave reviews for her exhibition at Tate, London. Encompassing forty years of uncompromising and remarkable innovation her distinguished career is reflected in her characteristic and distinctive, optically vibrant paintings.

Celebrated for their ability to engage the viewer’s sensations and perceptions, producing visual experiences that are complex and challenging, subtle and arresting, Riley’s paintings employ a simple vocabulary of colours and abstract shapes to generate sensations of movement, light and space.

This exhibition shows the development of her work from the early 1960s to the present day. Included is a selection of the artist’s dynamic black and white ‘dazzle’ paintings, which were celebrated for their disturbing and disorientating optical effects and led to her inclusion in the seminal exhibition The Responsive Eye at MOMA in 1965, as well as a number of works from the late 1960s which represent Riley’s earliest exploration of colour. Riley will also create a new wall drawing on site in Sydney.

This exhibition has been organised by the British Council
Bridget Riley is represented in Sydney by Rex Irwin

Cranbrook Art Museum

This exhibition encompasses forty years of uncompromising and remarkable innovation, exploring Bridget Riley’s characteristic and distinctive optically vibrant work. Her last exhibition in North America was at the Dia Center, New York, in 2000.

Riley’s work is celebrated for its ability to engage the viewer’s sensations and perceptions, producing visual experiences that are complex and challenging, subtle and arresting. Her paintings employ a simple vocabulary of colors and abstract shapes to generate sensations of movement, light and space. This exhibition traces the development of Riley’s work from the early 1960s to the present day.

21 September, 2005

Artist Residencies

Res Artis is the largest existing network of artist residency programmes, representing the interests of more than 200 centers and organisations in 50 countries worldwide that offer to international artists facilities and conditions conducive for making art.

Currently members of Res Artis reside in: Australia, Austria, Belgium, Brazil, Canada, China, Colombia, Costa Rica, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Iceland, India, Indonesia, Iran, Ireland, Italy, Japan, Latvia, Lithuania, Mexico, Norway, Portugal, Roumania, Senegal, South Korea, Spain, Sweden, Switzerland, Taiwan, the Netherlands, Turkey, United Kingdom, USA.



Stirring - Vol 25 No 3

Polemical essays in Stirring address the 'white thing' of Indigenous art, the track record of AbaF, the challenge to traditional printmaking from the new giclée technology, the Australia Council and Howardism, and take a slightly irreverent look at the international biennials of the world.

Remote - Vol 25 No 2

Remote is an exploration in texts and images of the cultures of the remote areas of Australia - the Top End and the Centre. It looks at the visual arts production of both Indigenous and whitefella artists across the whole region and is going to be a very significant landmark in documenting the new spirit of exchange and collaboration between peoples of different cultural backgrounds. Acclaimed guest editor Cath Bowdler calls this 'the intercultural', because it is "that which differentiates the remote experience most markedly".


Art Monthly Australia

Current Issue

Susanna Castleden

Susanna Castleden : Souvenir

22 August - 12 September 2004

Susanna Castleden was the G a l e r i e D ü s s e l d o r f
Curtin University of Technology - School of Art
Post Graduate S c h o l a r s h i p A w a r d Recipient in 2002

from Galerie Dusseldorf

Shell Fremantle Print Award

To celebrate the culmination of their 30 year partnership Shell Development Australia and Fremantle Arts Centre are proud to announce a special anniversary program:

Print Matters - a symposium, a book and an exhibition.

Print Matters Symposium: 3-4 September. Fremantle Arts Centre. A national print symposium bringing together artists, critics, curators and educators.
Programme - Print Matters symposium. Download
Booking Details - Print Matters. Download

Fremantle Print Award Celebration Program

An invitational exhibition featuring the work of
10 Australian artists who have made an
outstanding contribution to the genre of print -
Susanna Castleden, Paul Uhlmann, Pat Brassington,
Milan Milojevic, Lesley Duxbury, Heather
Hesterman, Neil Emmerson, Dennis Nona, Jonathan
Tse and Judy Watson.
3 September - 16 October

1 Finnerty Street, Fremantle, WA 6160. Tel: (08) 9432 9555. Fax: (08) 9430 6613
Gallery Hours: Open daily (except Good Friday) 10am - 5pm


18 September, 2005

Margaret Preston Exhibition

Margaret Preston (1875-1963) is one of Australia’s most celebrated artists and the country’s most important early modernist. Her vibrant, decorative paintings and prints of the 1920s and 30s epitomise a unique era in the history of Australian art. Her works of the 1940s and 50s argue for her re-assessment as one of the country’s most significant landscape artists.

Preston promoted her unique vision for a new, modern Australian art through a synthesis of European and Asian traditions, together with the profound influence of Aboriginal art – which she recognized as one of the world’s great art traditions.

This is the most extensive exhibition ever presented of Margaret Preston’s art, with over 180 works including paintings, prints, pottery, textiles and previously unseen archival material relating to Preston’s colourful life.

29 July - 23 October 2005
Art Gallery of NSW

Essay:Preston as Printmaker

Australian Art History - interpreted

The Metropolitan Museum of Art (USA) interprets Australian history.


Jan Telfer

Jan Telfer
New Prints

4th -16th October

Gadfly Gallery
131b Waratah Avenue
Dalkeith, WA 6009

Phone/Fax: 08 9386 8369


Frank Hurley

Born in Sydney in 1885, Frank Hurley led a rough-and-tumble youth in Australia and ran away from home when he was 14 to work on the docks.

When he bought his first camera at the age of 17, he could not have imagined that his collection of striking and daring photographs taken around the world would go down in history.

Hurley made two voyages south as photographer with Douglas Mawson’s Australasian Antarctic Expedition, 1911-1914. His official tasks included recording the life and scientific work of the expedition men.

On his trip with Ernest Shackleton's Imperial Trans-Antarctic Expedition, from late 1914 to 1916, the expedition vessel Endurance became stuck fast in the ice and was eventually destroyed. The crew moved first onto the sea ice and then to Elephant Island where they remained for over four months while Shackleton and five others sailed to South Georgia for assistance. When they abandoned the Endurance, Hurley had to leave behind 400 of his 520 glass negatives because they were so heavy.

In all, Hurley made six trips to the Antarctic.

You can now experience Frank Hurley’s magical and expressive images for yourself. The colour photographs, held by atmitchell, are some of the rarest and most valuable images of Antarctica, taken using one of the first colour photographic processes called the Paget Colour Plate system.

Hurley’s colour images record Shackleton’s famous British Imperial Trans-Antarctic Expedition, 1914-1917, onboard the ill-fated Endurance.



A young Australian photographer Frank Hurley accompanied Shackleton on the Trans-Antarctic Expedition to record events in motion and still pictures. Little was it realised when setting off exactly what an epic tale would be recorded and that amongst the film would be some of the Endurance itself being crushed and sunk by sea-ice. Shackleton had a deal with a London newspaper to sell his story and pictures on his return to England, a legacy of the difficulty in providing funding for the expedition. Hurley for his part planned to sell the photographs and film on his return, so there were pressing financial reasons to return with a good record as well capturing images of history in the making.

As a result almost every stage of the journey is recorded. Some of the photographs are presented here

17 September, 2005

Venice Printmaking

The new Venice Printmaking Center is a non-profit organization, sponsored by the City Council of Venice, devoted to large format printmaking, a Biennial exhibition, international cultural exchange and publication of "The Large Format in Contemporary Printmaking".

Artist residencies are generally offered for a four week period. Prints produced during this time will be exhibited in the studio exhibition space and will be juried for inclusion in the Biennal, "The Large Format in Contemporary Printmaking". Residencies shorter than four weeks will preclude the possibility of the studio exhibition and inclusion in the Biennial.

Venice Printmaking asks that each artist donate one piece of work, produced during their stay, to the Venice Printmaking collection. A catalogue of the collection will be published each year.

Fee: 60 Euro per day, includes housing, studio space and some materials.

07 September, 2005

marco corsini

Negotiating Subjectivities

Marco Corsini
10 – 21 September 2001

These paintings are a conceptual project that has emerged from my study of the art of Gordon Bennett and an interest in Postcolonial Australian identity. Most of the paintings combine sampled images of Bennett's art alongside images of people in a shopping centre. This is done in a manner that simulates negotiations between the colonised and a broader Australian society. The paintings explore the Postcolonial subject as a new understanding of identity. This is an identity based upon encounters and negotiations by subjects with others rather than on conventional racial or cultural identities.

Bennett's most recent series of works, Notes to Basquiat, highlights the function of colonialist ideology through common representational elements that operate on both the 1980s American artist, Jean-Michel Basquiat and Bennett. Despite their completely different racial backgrounds both artists are represented as "black urban artists". All the samples of Bennett's work used in my paintings are from this series. The sampling of Bennett's painting into my own painting introduces a dialogue of Bennett's subjective experience of being colonised.

The images of a local shopping centre taken from random video recordings were developed to paintings using digital manipulation. Images of subjects were modified to preserve their anonymity. The inclusion of these images has a twofold purpose. Firstly, to represent the notion of encounter between subjects and secondly, to introduce the presence of a broader Australian community alongside the Bennett images. The paintings simulate encounters between those that have been colonised and a broader Australian society


Suzanne Biederberg

Australian Artists: Janina Green recent photography, Marco Corsini new paintings 7 - 17 September, opening 7 September 16-18 h.

1e Eglantierdwarsstraat 1 1015 RW Amsterdam
phone +31 20 624 54 55
fax +31 20 688 13 74
email biederberg@xs4all.nl
www www.galeries.nl

0pen from Wednesday till Saturday 14-18 h.
first Sunday of the month
or by appointment


Janina Green

Janina Green majored in printmaking which she feels is a medium in common with photography. She developed her interest in photography when, after a career as an art teacher, she was an arts journalist writing mainly for the Melbourne Times. Having reviewed many photographic shows, she turned to photography herself and is largely self taught. Since her first solo exhibition in 1986 she has had an extensive exhibition record producing seven different bodies of work; Reproduction, Still Life, Figure Works, Manual Labour, Vacuum, Plantation and Scooping Up the Moon at Plum Creek.




The Rau Collection - Tennessee State Museum


The Tennessee State Museum in Nashville is the only museum in the Southeast and the last in the United States to present the exhibition of paintings from the renowned collection of Dr. Gustav Rau. Showcased are 95 rarely seen masterpieces by El Greco, Gainsborough, Cézanne, Pissarro, Monet, Renoir, Degas, Cassatt and many others. Half of the works on display are Old Master paintings from the 15th to the early 19th centuries, and the other half represents Impressionist, Post-Impressionist and early modern art from the mid-19th to mid-20th centuries.

Among the highlights of the exhibition are:
• Six paintings by Claude Monet, including The Wooden Bridge;
• Fra Angelico's Saint Nicholas of Bari and Saint Michael;
• Paul Cézanne's The Sea at L'Estaque;
• Auguste Renoir's Woman with a Rose;
• Canaletto's Saint Mark's Square; and,
• El Greco's Saint Dominic in Prayer.

The initial public exhibition of the collection, at the Musée de Luxembourg in Paris, drew a record attendance of 300,000 and was declared by the French media to be the best art exhibition of the year 2001.

the other louisiana

The Louisiana Museum is in Denmark. I had intended reporting on my visit there last year, but having found this blog entry, there doesnt seem much point.

If you are in Denmark, its worth making the trip to the Museum.

from absolutearts
by Asbjorn Lonvig

06 September, 2005

Gosia Wlodarczak & the Dobell Drawing Prize

Gosia Wlodarczak’s work is out all on its own. We had never seen her work before last year’s DPD, but as we have come to know it better, we are constantly amazed that this Western Australian artist does not have representation in Sydney. Wlodarczak’s densely layered abstract drawings are part performance, part sculpture, part doodle where she sets up situations where – for example –she might have an object placed on a canvas and then she draws around it, leaving a void on the canvas where the object has been. She also layers her automatic drawings to varying degrees so you get what appears to be a virtual three dimensional space demarcated by different colours. The work in this show Personal Space/safety zone 7 is a richly and densely layered drawing of black, red, grey and white lines on a burgundy coloured canvas. Less constricted by its idea than her work from last year, it can only be a matter of time before she gets the $20k.

from the artlife

more on Gosia from PICA

Australia Pavilion & the VCA

The VCA pamphlet was at the Australian Pavilion. It listed the VCA graduates selected to represnt australia at the biennale.

Reading the pamphlet left the question of who the other eleven artists were and what their demographic breakdown was. It also led to questions concerning the selection process, funding sources, politics and other curatorial concerns.

I also note this article on the suitability of the Australia Pavilion building.

This article from uninews.unimelb.edu.au

The Victorian College of the Arts is celebrating the outstanding success of its art school staff and alumni in representing Australia at the prestigious international Venice Biennale over the past three decades.

VCA visual artists have been selected to represent Australia at 10 of the 21 Venice Biennales to which Australia has sent artists since 1978.

A special publication, in English and Italian, has been produced to promote the achievement and to profile the VCA’s ‘Venice 10’ – eight graduates and two past staff members.

The publication, 10/21 – VCA at the Venice Biennale, features images of works by the artists, notes on their careers, and messages from Victorian Minister for Arts Mary Delahunty, VCA Director Professor Andrea Hull, and Head of the VCA School of Art, Associate Professor Su Baker.

The ‘Venice 10’ are former VCA staff members John Davis and Lyndal Jones, and noted alumni Peter Booth, Arthur Boyd, Trevor Nickolls, Jenny Watson, Bill Henson, Howard Arkley, Patricia Piccinini and (in 2005) Ricky Swallow.

“The maverick, innovative and bold spirit of the ‘Venice 10’ have made an historic contribution to Australian culture and the wider world of art,” says Professor Hull.

“And through their teaching and art practice, John Davis and Lyndal Jones also added in significant ways to the cultural life of the College.

“Celebrating these 10 outstanding visual artists reflects the VCA’s longstanding commitment to providing students with a nurturing environment – one in which they have every opportunity to explore ideas and work creatively,” she says.

Associate Professor Baker sees the VCA School of Art’s ‘Venice 10’ as “a testament to the long history of the School and its impact on the creative life of Victoria and the nation”.

“They represent the history of the VCA – from the National Gallery School of Art to its modern form as the foundation school of the Victorian College of the Arts, as established in 1972,” she says.

art - minimal and conceptual

some people just dont have a clue do they?


or see original citation


Emperor's New Installation

"The Pavilion will be left empty, with only the traces of past exhibitions remaining."
This guy gets THE JOSIE PRIZE for most imaginative work in show.

Inside the empty pavilion a group of people were taking a break. I watched another person's reaction to the unexpected empty pavilion, it mirrored my own.
Since 2001 Daniel Knorr has been working on “invisible artworks.” These works exist as oral information and narration. The documentation of the works as well as their "materialization" only occurs through media.
This is a classic solution to the age old panic of an unprepared looming exhibition. Minimalism. Conceptual minimalism. If you are only going to present the documentation as the work anyway, why bother making a work in the first place? It makes sense to me. Loved it.
"The second part of the presentation in the Romanian Pavilion consists of a reader in English, edited by Marius Babias, that contains critical texts on Europe and illustrations by Daniel Knorr. The thousand-page reader will be given to exhibition visitors free of charge."
Unfortunately the readers were also absent.

about the artist from artnet

from artfacts.net

world market 1996 - interview

rotterdam 2000

Daniel Knorr presents his project "Not Another Readymade (Visible Invisible Series)", which was started in Zurich in 2001, followed by Iasi and Chicago. However, the piece exists only in the sphere of the spoken word: In each gallery where the work was presented the guards had to explain to the public that there are no works to be seen.

Romanian Pavilion at the 51st Venice Biennale European Influenza: Daniel Knorr 09 June 2005 16:00 - 10 November 2005 Italy : Exhibition : fine arts European Influenza
The artist Daniel Knorr, who was born in Bucharest and lives in Berlin, represents Romania at the 51st Venice Biennale. The commissioner of the Romanian Pavilion is Marius Babias.

European Influenza will be exhibited in the Romanian Pavilion. The Venice Biennale, as a world model for culture, is an ideal place for the presentation of a powerful countermodel to the eastern expansion of the European Union. The Pavilion will be left empty, with only the traces of past exhibitions remaining.

The materialization of the work "European Influenza" takes place through the consideration and observation of the process of European unification, so to speak in the minds of the visitors and their process of interaction with society and media. Since 2001 Daniel Knorr has been working on “invisible artworks.” These works exist as oral information and narration. The documentation of the works as well as their "materialization" only occurs through media.

Further, the process of European acculturation is a focus of this presentation. The question is how new cultures of assimilation, liberated identities, and options for action can emerge in the prospect of Europe’s future self-definitions. The visual arts produce linguistic and visual politics, models for thinking and observing, that cross borders.

The second part of the presentation in the Romanian Pavilion consists of a reader in English, edited by Marius Babias, that contains critical texts on Europe and illustrations by Daniel Knorr. The thousand-page reader will be given to exhibition visitors free of charge. The authors include Edit Andras, Sorin Antohi, Marius Babias, Boris Buden, Cosmin Costinas, Nicoleta Esinencu, Catalin Gheorghe, Roger Griffin, Vasif Kortun, Erden Kosova, Marta Kuzma, Oliver Marchart, John Miller, Rastko Mocnik, Stefan Nowotny, Bojana Pejic, Dan Perjovschi, Natasa Petresin, Ileana Pintilie, Piotr Piotrowski, Meike Schmidt-Gleim, Hito Steyerl, Kristine Stiles, Marlene Streeruwitz, Ovidiu Tichilendeanu, Attila Tordai-S., Raluca Voinea, and Tim Zulauf.

Commissioner / Curator: Marius Babias

Romanian Pavilion, Giardini di Castello


La Biennale di Venezia
Giardini / Arsenale
Venezia - Italy


"Or the wrecked and empty Romanian pavilion, a non-work that Daniel Knorr presents, I take it, as a kind of metaphor for the powerlessness of art and of the nation state in the new world order and the new Europe, but that reminds us only of other such non-happenings that have amused, baffled and annoyed visitors over the past decades"
The Guardian