14 December — 8 March
Playtime explores infantile regression. Many of our ideas about art stem from the notion of innocent childish creativity—the Picasso thing. However, this exhibition will be more overtly juvenile, anarchic, even scatological. It comes out of the unlikely thought of juxtaposing Brisbane artist Jenny Watson's childish paintings (self-portraits of the artist as a young girl playing with horsies) with films of transgressive performances by the Viennese actionist Otto Muehl. It will also feature Auckland art-school associate-professor Peter Robinson, with his fecal sculpture Das Es and rude graffitos lamenting university life; dummy-spitting neo-dada Sydney performance artist Justene Williams; Auckland artist Steve Carr's videos of himself in a bedroom pillowfight with little girls and smashing up a panel van with little boys; plus a cunning amateurish film from Brits Jake and Dinos Chapman, reconstructing notorious art mutilations and deaths using rubber-glove puppets. [image: Peter Robinson]
Anita Holtsclaw and Ruth McConchie
Fresh Cut 2013: Part 2
Since 1997, we have presented Fresh Cut, an annual exhibition showcasing our pick of emerging local artists. The show is limited to artists born or living in Queensland, who are up to six years out of art school, who have not shown at the IMA before.
This year, the four artists have been selected by IMA Director Robert Leonard and artist and QUT lecturer Grant Stevens. They are Joseph Breikers, Caitlin Franzmann, Anita Holtsclaw, and Ruth McConchie. Each will receive $5k to help them realise their work for the show, courtesy of a Creative Sparks grant from Brisbane City Council and Arts Queensland.
The show comes in two instalments. Breikers and Franzmann went first. Now it is Holtsclaw and McConchie's turn. Both of them make works addressing the gaze—voyeurism and surveillance. Holtsclaw explores the representation of women (and the feminine) in cinema. She presents her romantic films in specially constructed cinema enclosures, made of translucent drapes. McConchie's creepy installations incorporate secret passageways and crawl spaces from which we can perv on others (and imagine them perving on us). Her Fresh Cut installation could be a film set—it suggests a cinematic mise-en-scene. [image: Anita Holtsclaw]