ArtSlant - Closing soon en-us 40 Johan Dijkstra - Groninger Museum - July 2nd, 2013 - September 25th, 2013 <p>From 1 July 2013, the Groninger Museum will display three portraits of the Groningen resistance fighter Anda Kerkhoven. Anda Kerkhoven (1919- 1945) grew up in Indonesia as the daughter of a wealthy tea plantation owner. She was a woman of principle in many matters, as well as a convinced pacifist. The Medical School in Batavia (now Jakarta) could not accommodate her objections against vivisection. Groningen University was willing to accept conscientious objectors with regard to this principle, and Anda was able to take up student life in Groningen in 1938.</p> <p>However, this life was soon plunged into disorder with the Nazi occupation of 1940. Anda Kerkhoven became active in the resistance, in the &lsquo;De Groot&rsquo; group. She was arrested by the Sicherheitsdienst (the German secret services) on 27 December 1944. However, she withstood severe interrogation and torture in the Scholtenshuis (German headquarters in Groningen at the time) on the Grote Markt, without revealing significant information. In addition, with her steadfastness she managed to encourage and console her fellow prisoners. In the night of 19 March 1945, along with resistance fighter Gerrit J. Boekhoven, she was executed and buried by two NSB officers near the Oosterbroekweg on the border between Haren and Glimmen. There had been no trial.<br /><br />Their grave was discovered after liberation. To great public attention, Anda Kerkhoven was reburied in the Noorderbegraafplaats, and her remains were finally transferred to the Loenen fields of honour near Apeldoorn in 1967.<br /><br />Anda Kerkhoven was interested in art, had a creative nature, and posed for artists, including Ploeg painter Johan Dijkstra, on several occasions. Unwittingly, these portraits form a monument to this remarkable, brave and gifted woman.</p> <p>&nbsp;</p> Sat, 03 Aug 2013 08:59:51 +0000 Scott Finch - Baton Rouge Gallery - September 1st, 2013 - September 26th, 2013 <p>With his latest BRG exhibition, &ldquo;Sharp/Blunt,&rdquo; Scott Finch uses two different mediums to tell different parts of the same story over and over again in different ways. The first, works created using china markers and paper, see the artist channel intuitive urges with the artist intentionally snuffing out temptations to fall back on well-worn ideas. The second style observed in this single body of work results from the artist&rsquo;s use of scratchboards where he has layered imagery produced by gouging the india ink surface of a prepared board. Here, textures and volumes appeal to the tactile cravings of the viewer&rsquo;s eye. As Finch puts it, &ldquo;This appears to be two bodies of work, but it isn&rsquo;t. This is one vision filtered through two different processes as the spirit moves. The pendulum swings to extremes but it remains tethered to the same center all the time.&rdquo; &nbsp;</p> <p>A BRG artist member since 2002, Finch received his Masters of Fine Arts at Temple University&rsquo;s Tyler School of Art. He has been featured by the Critic's Choice Exhibition at the Dallas Visual Art Center, the Fleisher Art Challenge at the Fleisher Art Memorial in Philadelphia, and the Gulf South Regional Artists Exhibition at Bridge for Contemporary Art in New Orleans. His professional experience includes: East Baton Rouge Parish School System, Talented Visual Artist; Southeastern Louisiana University, Hammond, Adjunct Faculty; Baton Rouge Community College, Baton Rouge, Adjunct Faculty; Texas Sculpture Association, Dallas, Executive Director.</p> Sun, 20 Apr 2014 09:57:59 +0000 Kelli Scott Kelley - Baton Rouge Gallery - September 1st, 2013 - September 26th, 2013 <p>Kelli Scott Kelley&rsquo;s exhibition, &ldquo;The Gift,&rdquo; continues her exploration of humankind&rsquo;s connections, disconnections and impact upon the natural world. She does so by placing figures, animals and objects in metaphorical narratives. This body of mixed-media drawings is executed using collaged re-purposed papers, many of which were salvaged from her son&rsquo;s discarded school papers. In going through these piles of papers, she found numerous drawings that complemented her work nicely.</p> <p>As Kelley herself explains, "In some of my pieces, there is a dialog between his doodles and my images."</p> <p>A Baton Rouge Gallery artist member since 2000, Kelley earned her Masters of Fine Art from the University of Massachusetts, Amherst and her Bachelors of Fine Arts from Louisiana State University. Since moving back to her hometown of Baton Rouge, Kelley has been teaching art at Louisiana State University, where she is now an Associate Professor of Painting. Kelley has shown her work across the country including Hooks Epstein Gallery, Mississippi University for Women and the Boulder Museum of Contemporary Art.</p> Sun, 20 Apr 2014 09:57:59 +0000 John Harlan Norris - Baton Rouge Gallery - September 1st, 2013 - September 26th, 2013 <p>&ldquo;Occupants Test Prints,&rdquo; John Harlan Norris&rsquo; third BRG exhibition, continues his examination of professional portraiture, but sees him introduce colorful mixed-media prints to his series of oil-on-canvas paintings for the first time. Norris finds inspiration in the ways we allow the roles we play in our daily lives to define us. Whether pursuing leisure, prosperity or social status, we assume identities that both define us and fail to define us. With his work, Norris delves into the possibilities and limitations of our occupations at a time when we frequently change jobs, balance multiple roles and cannot easily delineate between public and private life. &ldquo;The works concentrate on tools, uniforms, ephemera and other signifiers that both define the [subject&rsquo;s] roles and obscure their identifying qualities,&rdquo; says Norris.&nbsp;</p> <p>A BRG artist member since 2009, Norris is currently an assistant professor of art at Arkansas State University. He received his Masters of Fine Arts from Louisiana State University, having earned his Bachelors of Art degree at Centre College (in his home state of Kentucky). Since graduating, Norris has taught drawing and design at Louisiana State University, University of Louisiana at Lafayette and Southern University (Baton Rouge). His work has been shown in Chicago and Houston as well as throughout Louisiana and Kentucky. It is fitting that Norris investigate professional roles as he balances multiple himself, as a visual artist, instructor and musician. His band, Harlan, has released three albums, The Still Beat, Spiderette and 2011&rsquo;s Night Loop.</p> Sun, 20 Apr 2014 09:57:59 +0000 Bobbie Burgers - Bau-Xi Gallery - Vancouver - September 13th, 2013 - September 26th, 2013 <p>Bau-Xi Vancouver is delighted to exhibit the latest work from Vancouver artist Bobbie Burgers. This series, entitled Alchemy will be on display from Sept 13<sup>th</sup> to Sept 26<sup>th</sup>, 2013.</p> <p>There are many laws of alchemy, but the first and most important one is the fact that everything has life and every life is part of something.</p> <p class="MsoNoSpacing" style="text-align: justify;"><span lang="EN-CA">For painter Bobbie Burgers the lifecycle, beauty and existence of flora and fauna in the natural world are nothing short of magical. Likewise, the process of painting- mixing colours and integrating light and shadow, also create endless mysterious and unpredictable results. </span></p> <p class="MsoNoSpacing" style="text-align: justify;"><span lang="EN-CA">To Burgers, this idea is liberating. &ldquo;When you look at all the wondrous things happening around us, like seeds and water and soil creating a flower, I think anything can happen.&rdquo; In<em style="mso-bidi-font-style: normal;"> Alchemy</em>, she explores how nature incorporates light and shadows to form new colours. She executes this into brilliant yellows and sage greens in her paintings of Okanagan hills and lush floral arrangements. </span></p> <p class="MsoNoSpacing" style="text-align: justify;"><span lang="EN-CA">Like the alchemical process, painting also is an ancient technique, observes Burgers. &ldquo;Alchemists dreamt of transforming base metals into gold. I dream of turning paint into happiness.&rdquo; Burgers&rsquo; hope is to provoke memories and transport the viewer to the sights and scents of summer. &ldquo;I wanted these works to bottle up the essence of summer, to keep the warm - the soft breeze, the smell of dry grasses, the feel of sandy feet - all in a small little vial to be worn around ones neck during the long nights of winter. There to be uncorked and deeply inhaled every now and then.&rdquo;</span></p> <p class="MsoNoSpacing" style="text-align: justify;"><span lang="EN-CA">&nbsp;</span></p> <p class="MsoNormal"><span lang="EN-CA">&nbsp;</span></p> Sat, 07 Sep 2013 23:16:44 +0000 Jorge Tort, Angelika Buettner - Obra Galería Alegría - September 12th, 2013 - September 26th, 2013 Fri, 06 Sep 2013 06:02:14 +0000 Bernd Metz, Astrid Stricker, Aline von der Assen, Jutta Heun, Eva Weingartner - BronxArtSpace - August 31st, 2013 - September 27th, 2013 Tue, 18 Feb 2014 15:48:32 +0000 Tim Acheson, WINNIE PUN - 126 Artist-Run Gallery © Kerry Guinan - September 7th, 2013 - September 28th, 2013 <p>126 is delighted to present new work OVERLAND | THE ONGOING by Tim Acheson (Ireland) and Winnie Pun (Hong Kong).</p> <p>Tim Acheson's new work deals with the duality of a sense of perspective.&nbsp;Although we observe our surrounding landscape we are simultaneously in a landscape of memory &nbsp;and outside references. The work looks at the simultaneous nature of seeing and memory, perspective and location.&nbsp;</p> <p>Tim Acheson is a visual artist based in Galway City. His practice, consisting of object making, video and field recording, deals with the human aspect and reaction to the physical landscape. He is currently a member of Engage Studios.</p> <p>Winnie Pun's work encourages active looking. Seeing is always in motion within each image, and each image portrays a mechanism of seeing that can be continued in other work, and in other mediums. It is not her intention to create photographic paintings or photographic images that resemble paintings as such. The banality of subject matter is non-narrative, but has the intention to slow down viewer&rsquo;s perception. The indirectness induces an ambiguous moment where the mechanism of seeing and the nature of representation can be confronted.</p> <p>Winnie received her Bachelor of Fine Art Degree from GMIT in 2011. Her work has been selected for various exhibitions including RDS Student Awards (2010), Eigse Carlow Arts Festival (2012) and Osage Gallery, Hong Kong (2013). She is currently based in Hong Kong.</p> Sat, 07 Sep 2013 07:36:09 +0000 DORD BURROUGH - Artereal Gallery - September 4th, 2013 - September 28th, 2013 <p>Dord Burrough&rsquo;s fey, pale paintings with their pastel palette of mauves, lilacs, pinks, soft greens and deep violets, are a nostalgic homage to the alchemy and systems of the natural and netherworlds.<br />The distinctive romantic, sometimes grotesque, paintings, focus on Dord&rsquo;s underlying longing, (one that a large section of modern society shares), for a return to our original harmonious bond with nature.<br />The artist views the loss of connection as linked to the way Western cultures devalue their unconscious and subliminal perceptions as they increasingly focus on materialism and profit - unlike many ancient and Eastern societies which embrace natural cycles and differing levels of consciousness within their traditions and everyday way of life.<br />While Dord Burrough works within the conventional genres of portraiture, still life and landscape, they are accessed through a psychedelic lens. The lushly impasto and ostensibly figurative paintings are not truly representational but are speculative and introspective visions of her relationship and self identification with nature, approached through the experience of meditative states.<br />There is a history of liminal states as vehicles in the creation of art; of artists and poets who make visual the memories from altered states and levels of perception. Notable among them is the Romantic poet, Samuel Taylor Coleridge who in the late eighteenth century took opium as a dysentery cure at Ash Farm in Devon, unwittingly unleashing his unconscious with a plant extract as a conduit to an inner world and conceiving of the epic poem Kubla Khan and the pleasure dome of Xanadu.<br />The landscapes of Dord Burrough unfold with a latter day Flora or Ophelia, embedded in a voluptuous confection of plant life, who revels, almost wallows, in the abundance of nature in the bucolic painting Am Ende der Wald [at the end of the forest]. The artist embraces the characteristics of cacti in Cactus heart; euphoric floral lollipop explosions suggestive of the hallucinogenic and medicinal allure of cactus juice sit atop spiny, prickly stems signalling &ldquo;danger, don&rsquo;t touch&rsquo;. A sense of total immersion and rapturous surrender characterises Bathing in the forest with birds, an exultant painted paean to being at one with nature in an idyllic floral cosmos.<br />The portraits are gestural and &lsquo;organic&rsquo; in style, many wreathed in garlands and evocative of myths, nymphs, satyrs and cultural rites. The still life genre introduces the dark side in both palette and sentiment. Indoor plant dreaming about the outside world depicts a neglected desiccated plant, constricted and parched deprived of light and its outdoor environment.<br />A different level of consciousness, an escapist, somnolent valerian induced blissful torpor is invoked in the lavender hues of the text based painting, Sleep. In contrast is the rude awakening of I thought I would be young forever fuck, signalling our complacency in the face of the inevitable life cycle of bloom and droop.<br />Since graduating with a Bachelor of Fine Art degree majoring in Painting from Queensland College of Art in 2008, Dord Burrough has lived and exhibited in Germany and Australia, including &lsquo;Test Pattern&rsquo; at Ryan Renshaw Gallery in 2012. She was a finalist in &lsquo;The Churchie National Emerging Art Prize in 2011 and 2012 and was recently artist in residence at Level Gallery in Brisbane from April to June 2013, concluding with an exhibition, The Howling Unknown.<br />Dord Burrough is a contemplative and experimental artist who seeks ways to make visual her personal and the collective dilemma of our increasing alienation from the natural world and the innate self.</p> Fri, 30 Aug 2013 08:10:15 +0000 Robin McCarthy - Artereal Gallery - September 4th, 2013 - September 28th, 2013 <p>Artereal Gallery is pleased to present the exhibition <em>MEDUSA 0.1</em>, by sound artist Robin McCarthy. McCarthy&rsquo;s predominantly theatre based practice has incorporated sound design, installation and original score for numerous international theatre companies, festivals and recordings. For the first time in Australia, McCarthy will exhibit <em>MESDUSA 0.1</em> in a gallery setting.</p> <p>In <em>MEDUSA 0.1</em>, the artist presents a soundscape of a post apocalyptic time, told through a series of audio tubes distributed in the project space. For much of the performance a number of these tubes remain silent, only sporadically contributing to the harmonising chorus of the narrative, stemming from a central hub, or &lsquo;black box&rsquo; &ndash; a record or history of McCarthy&rsquo;s subterranean staging. These portholes guide the viewer into the artist&rsquo;s fractured narrative of environments, or perhaps more appropriately, scenes. These are most certainly linked to the product of image making, an exercise of the aural molding and seducing ones comprehension (and wonder) of a world existing outside our own.&nbsp; These audio cues create story, or an aura, one difficult to alienate from the desire to attach imagery. It is here that McCarthy employs his open narrative to great effect.</p> <p>In two particular scenes, McCarthy presents the listener with a space of industrial workings, the mechanized, repetitive movements of heavy machinery that shake and dominate these soundscape. This in turn is contrasted with a lobby, where elevator music and melodic tunes are interrupted by uncanny intermissions and jarring, which suggest that the world we are eavesdropping upon contains an underbelly of acute distaste and lurking menace. It is the intersection of these types of scenes that elevate a sense of tension in McCarthy&rsquo;s work. These disjointed moments and places seem to seamlessly break and join again, to collide, intersect and interfere with one another, their opposing existence propping each other up.</p> <p>The psycho-narrative and sci-fi tone of McCarthy&rsquo;s <em>MEDUSA 0.1</em>, along with the fracturing of its soundscapes can be linked to the cinematic works of David Lynch or Chris Marker&rsquo;s <em>La Jet&eacute;e</em>. Here one can see the influence of such work on the psyche, its evolution, susceptibility and control of our recognition and experience of reality- where narrative impacts the psychological state and vice versa. However, while this may be accurate in the stylistic tone of <em>MEDUSA 0.1</em>, the influence of 80&rsquo;s and 90&rsquo;s indie film of McCarthy&rsquo;s generation should not be overlooked. The intersection of narrative and social structures in films such as Harmony Korine&rsquo;s <em>Gummo</em> and Richard Linklater&rsquo;s <em>Slacker</em>, where the audience is presented with pieces, or fragments of a social sphere, where the overarching tone is developed not by a linear narrative, but by placing together the ingredients of a &lsquo;place&rsquo; or &lsquo;time&rsquo; and allowing them to speak for themselves by painting a picture of the &lsquo;greater&rsquo; environment, not just a singular beginning and end of an individual story. This same technique is employed in <em>MEDUSA 0.1</em>, where the audience and listener navigates only the peepholes to a world where characters are never properly introduced, formulating their own structures, hierarchies and reasoning.</p> <p>Robin McCarthy is a sound designer, composer and creator. He has been sound designer for The Sydney Theatre Company, NIDA and Autograph, London. McCarthy has collaborated with artists and musicians as well as filmmakers, where he created the sound design to the animated short <em>Gristle </em>winner of the Melbourne International Animation Festival (2012) as well as being part of the official selection for numerous Australian and International film festivals.</p> <p>- Matt Glenn (Curator)</p> Sun, 08 Sep 2013 21:42:30 +0000 Hooshang Khorasani - Attleboro Arts Museum - September 20th, 2013 - September 28th, 2013 <p>Two equine works by Ruston, La., artist Hooshang Khorasani will be exhibited in Massachusetts at an invitational show that is connected to the book "True Grit."</p> <p>&nbsp;</p> <p>"Equine Allure" and "In Flight" will be part of the "Horse Sense" show at Attleboro (Mass.) Arts Museum from Sept. 20-28.</p> <p>&nbsp;</p> <p>The exhibit complements the city of Attleboro's annual summer reading initiative, The Big Read/Attleboro's 1ABC (1 Adventure, 1 Book, 1 Community), which is funded by the National Endowment for the Arts. This year's book selection is "True Grit," a much-loved American classic with a dynamic frontier story, legendary characters and complex adventures. The program encourages the community to read a selected book at the same time and for readers to expand their connection to the book through related arts and cultural programs.</p> <p>&nbsp;</p> <p>"Horse Sense" features more than 30 works from 15 artists and honors the strength, impact, companionship and powerful work of the horse.</p> <p>&nbsp;</p> <p>Throughout "True Grit," the reader finds several examples of the symbiotic relationship between a character in the novel and his or her horse. In more than one instance, the life and well-being of each depends on the other. Horses are portrayed as the working partners of the main characters, but author Charles Portis also vividly demonstrates a pure and simple bond that cannot be ignored. One memorable example is protagonist Mattie's relationship with her horse, Little Blackie, and her relentless search for her father's murderer &ndash; and his lost horse, Judy.</p> <p>&nbsp;</p> <p>A Sept. 21 reception will open with cowboy violin music, followed by a ceremony to kick off Attleboro's reading of "True Grit." Additionally, representatives from a therapeutic riding center will discuss how such riding uses the magnetic bond between people and horses to teach such skills as listening, balance, motor control, and a variety of other attributes that help people promote independence and self-confidence.</p> <p>&nbsp;</p> <p>Hooshang's paintings are 30-by-40-inch acrylics on canvas.</p> <p>&nbsp;</p> <p>More information can be found at</p> Thu, 12 Sep 2013 04:20:09 +0000 Dan Havel - Avis Frank Gallery - September 6th, 2013 - September 28th, 2013 <p>Chaos meets Order. This is the root premise of my current studio explorations.<br /> These drawings and&nbsp;sculptures illustrate a process of dissecting the exacting<br /> language of architectural space with conceptual&nbsp;reanalysis and physical agitation.<br /> &nbsp;<br /> The house form represents a perfect, stable structural icon. It acts as a<br /> universal memory&nbsp;of home.&nbsp;The perfection is slowly disrupted and worn by its<br /> function as vessel for living.&nbsp;Eventually, time takes its toll, along with acts of nature,<br /> to weaken the structure. Its final demise,&nbsp;brought&nbsp;on by disaster, development,<br /> or rotting neglect, will permanently disrupt the perfection of the house<br /> and leave a dynamic reorganization of its geometry.<br /> All that is left of the disrupted structure is the&nbsp;footprint hinting at the perfection<br /> that once was.&nbsp;The energy behind this disruption of order is what I am attempting to convey.<br /> &nbsp;<br /> The floor plan has been a reoccurring image in my work. It is the first instrument of functional<br /> organization before a structure is built. It is the footprint left behind when the structure is gone.<br /> It creates volume with a few simple lines. It contains and releases space with the interplay<br /> between&nbsp;mass and void. It acts as a structural grid for the chaotic process of living. In the end,<br /> the floor plan is a snapshot into the lives of the people who have inhabited it.</p> Sun, 01 Sep 2013 04:20:41 +0000 Group Show - CAM Casoria International Contemporary Art Museum - June 28th, 2013 - September 28th, 2013 <p><b>CAM museum caged; gates become exposition space for the solidly behind protest of 18 Neapolitan artists.</b></p> <p><b>A long cage has been issued before CAM museum after recent news events; from June the 28th 2013 on the gratings are hanging the works of 18 Neapolitan artists, inspired by Casoria museum adventures and realized as solidly behind to CAM cultural campaign.</b><br /> On June the 28th at 7.30 pm CAM museum opens to <b>WellCAM_Welcome to the politically uncorrect museum.<br /> </b>Eight years after, the most rumoured museum in Europe is still open and its activity lively even though, like a caged lion, its entrance appears closed up in a metal fencing bringing the visitor to the museum path but dividing him from the rest of the world. That cage, from June the 28th, is becoming an exposition space, an open door to art, bringing works out with its arms open wide to the road. Hanging on the gratings are the works 18 Neapolitan artists realized as solidly behind the cultural resistance of CAM as inspired by the Casoria museum adventures.<br /> From racism to corrupted politics, from violence to camorra, the story of the museum is involved in the social meaning of art.<br /> Its story mixes perseverance and dedication, provocation and reflection, a difficult pathway for a space on a degraded province, which has become a reference and a symbol for those supporting culture notwithstanding the "arduous" place. Local and international situation hinted a thread to the artistic agenda of CAM. This inquiry through a news-based art has been many times unwelcome to criminal organizations and toupper politics spheres.<br /> With this exhibition CAM wants to celebrate, with those ones who supported it, eight years commitment for culture and its vigour notwithstanding uncountless adversities.</p> Sat, 22 Jun 2013 00:35:14 +0000 Roberto Infantes - Galeria Fúcares (Almagro) - July 6th, 2013 - September 28th, 2013 <p>La galer&iacute;a F&uacute;cares_Almagro se complace en presentar la segunda exposici&oacute;n individual de Roberto Infantes (Daimiel, 1981).</p> <p>En la nueva serie que Roberto Infantes nos presenta en esta exposici&oacute;n, nos encontramos con paisajes urbanos y paisajes de su tierra, La Mancha, desarrollados a partir de fotograf&iacute;as en color de aquello que ve, sin modificar, pero con el a&ntilde;adido de la pintura o la superposici&oacute;n del collage.</p> <p>Lo que el artista pretende es generar otra realidad, su realidad, su ficci&oacute;n..., aquello que no es, que no llegar&aacute; a ser, pero que nunca va ha saber, realmente, c&oacute;mo es.</p> <p>El tr&aacute;nsito que supone ir desde lo urbano a lo rural, es una suerte de nomadismo en busca del lugar ideal. A veces, la invasi&oacute;n del hormig&oacute;n de las nuevas construcciones, se funden con el paisaje desde la contradicci&oacute;n que destruye cualquier posibilismo est&eacute;tico.</p> <p>En los actuales trabajos de Roberto Infantes, la pintura se superpone espacialmente a la fotograf&iacute;a a trav&eacute;s de la plancha de metacrilato que forman parte de la propia obra. Es ah&iacute; donde, como una enso&ntilde;aci&oacute;n, la pintura acent&uacute;a el devenir del paisaje con el paso del tiempo.</p> <p>Las insistentes l&iacute;neas verticales y horizontales que defin&iacute;an espacios, han desaparecido de las obras de Infantes; sin embargo, el repertorio formal de sus actuales trabajos se sirve de trozos de madera, hilos, elementos vegetales..., cuyo resultado son met&aacute;foras establecidas a partir de edificaciones ficticias que est&aacute;n contenidas en la propia imagen. Estas obras, tiene una relaci&oacute;n con los espacios teatrales en los que se desarrolla una tridimensionalidad que posiblemente va a generar el desarrollo de un universo propio.</p> Sat, 06 Jul 2013 02:45:52 +0000 Robyn Djunginy, Bobby Bununggurr, Philip Gudthaykudthay - Galerie Zadra - September 3rd, 2013 - September 28th, 2013 <p>A group show of historic and recent paintings, weavings and works on paper. Featuring Philip Gudthaykudthay, Bobby Bununggurr, Robyn Djunginy, Peter Minygululu, Charlie Djurritjini, Linda Namiyal Bopirri Nanuyal, Julie Malibirr Djulibing, Dorothy Djukulul, plus Judy Baypungala (dec) and Dr David Malangi (dec).</p> <p><em>Goyurr&nbsp;</em>is a word that brings a smile to people&rsquo;s faces in Ramingining. Bobby Bununggurr described it to Ben Wallace, Bula&rsquo;bula&rsquo;s curator, as "I am ready to go", or "I am willing to go", or "where they are going". It is the ideal word, then, to convey the spirit of these amazing artists that has sustained them and their art practice over the past forty years.</p> <p>During the time Bula&rsquo;bula Arts has been operating in Ramingining, central Arnhem Land, it has gathered a substantial history, along with international recognition. It can also lay claim to some of the most significant artists Australia has produced, such as Philip Gudthaykudthay and Dr David Malangi. Bula&rsquo;bula&rsquo;s artists have become highly regarded for their superb art across various media including fibre, painting, barks, works on paper, and Dupun (hollow log coffins or poles).</p> <p>This exhibition of carefully selected works from the late 1990s draws from each of the Bula&rsquo;bula&rsquo;s artforms. While not exhaustive in its scope, the exhibition aims to give the viewer an impression of the diverse talent across time that inhabits Ramingining.</p> <p>It is indicative of Bula&rsquo;bula&rsquo;s achievements that its artists have regularly been included in significant exhibitions such as the ground-breaking exhibitions Aratjara and The Native Born, both of which toured internationally in the late 1990s and early 2000s. The stage was set early for Ramingining&rsquo;s rise when in 1984 Djon Mundine, the then curator at Bula&rsquo;bula Arts, curated an exhibition of their work at the Power Gallery (now the Museum of Contemporary Art). Even more extraordinary was that this exhibition was acquired in its entirety by the Power Gallery. Given that the focus of the Gallery was on contemporary art, this was seen as a radical move at the time. Previously, Indigenous art from remote regions was the province of ethnographic museums.</p> <p>Through the decades, Bula'bula's artists have remained true to their culture and sense of purpose. Their works are not mindless repetitions of tired, but popular, designs aimed at satisfying a broad market; they are deeply felt, considered assertions of identity and sovereignty, interwoven with the significant historical memories and politics that have shaped their lives over the centuries. Each work created is a step towards maintaining their cultural foundations and paving the way forward for their descendants.</p> Mon, 28 Oct 2013 07:11:13 +0000 Louise Hindsgavl - Galleri Christoffer Egelund - August 30th, 2013 - September 28th, 2013 <p>Galleri Christoffer Egelund proudly presents the site specific installation Human Desires by the Danish artist Louise Hindsgavl (b. 1973). <br /><br />Anthropomorphic frogs with feathery wings and their friends occupy the project room at Galleri Christoffer Egelund from Friday, August the 30th. The series Human Desires consists of hovering nightmare tableaus in porcelain displaying human lust and desire - the forbidden kind. The bestial side of man has taken over, and this is evident as the porcelain figurines are composed of equal parts human and animal. In one of the mobiles a player with a cow&rsquo;s head is conducting female genital surgery on herself, grinning, apparently unaffected by the circumstances (Human Desires #7). The artist emphasizes the absurdity of such a voluntary cosmetic operation particularly if you consider its evil twin: involuntary female circumcision, also known as Female Genital Mutilation, often seen in parts of Africa and The Middle East. In another part of the room we are confronted with the remnants of a playhouse after a bombing raid. This is a case of vengefulness where innocence was ignored.<br /><br />As always, in the narrative universes of Louise Hindsgavl we are lured in by the beautiful, seemingly innocent, porcelain and then in for a thought-provoking shock when the traditional shepherd girl grows animal limbs and conducts cosmetic genital surgery. <br /><br />Louise Hindsgavl graduated from Designskolen, Kolding, DK, in 1999 and has exhibited widely in Denmark, Europe, the US and Asia since her graduation. She is represented in major collections worldwide including: National Museum Stockholm, Sweden; Victoria and Albert Museum London, UK; Minneapolis Institute of Arts, MIA, USA; Carlsberg Art Fondation, DK; The The R&ouml;hsska Museum, Gothenburg, SE; Designmuseum, Copenhagen, DK; Trapholt, Kolding, DK; ASU Art Museum, Arizona, USA etc. Furthermore, among others, she has received: The Danish Art Foundation work grant of 3 years (2010), Silkeborg artist grant (2010), The Danish Art Foundation grant (2008, 2006, 2004) and The Biennale Award, The Biennale of Arts and Craft and Design (2004). For an elaborated biography, please visit:</p> Thu, 05 Sep 2013 01:16:13 +0000