29 March — 17 May
Craig Walsh's new exhibition may surprise those who only know his renowned video-projections in public spaces. Embedded developed out of a commission from Rio Tinto. Walsh spent four weeks in the Pilbara, where iron ore is mined. He worked with Murujuga Aboriginal Corporation (the traditional custodians of the Burrup Peninsula), Murujuga National Park rangers, and Rio Tinto staff, developing video works and photographic portraits. These works reflect on the connection local indigenous people have to their surrounding landscape, which is rich in rock art. In the Pilbara, mining is having a huge impact on the lives of indigenous people. While everyone in Australia is touched by mining, few people know what iron ore looks and smells like. So, for his Embedded show, Walsh adds massive industrial bins brimming with iron ore, turning the gallery into an obstacle course, a labyrinth. Embedded juxtaposes two different notions of landscape: landscape as Country and landscape as commodity. A joint project with the Museum of Contemporary Art, Sydney.
There Will Be ________.
There Will Be_______. is centred around a 30 minute film by Los Angeles-based artist Kerry Tribe. The piece addresses one of the twentieth century's most shocking and mysterious society murders. Filmed on location at Greystone Mansion in Beverly Hills, in the very rooms where the killings took place, and using only dialogue appropriated from dozens of Hollywood feature films that were shot within the storied estate, There Will Be_______. proposes a series of explanations for how Los Angeles oil tycoon Ned Doheny Jr. and his personal assistant Hugh Plunkett were killed. The official finding was murder-suicide—Plunkett killed Doheny in a fit of paranoia and then shot himself. Of course, other theories abound. When the mansion was sold in 1955 it became a popular Hollywood filming location. Over sixty feature films have used the mansion as a set. The Los Angeles Times says of Tribe's film: 'The dialogue is both uncannily familiar and awkwardly stilted, as if the actors are skipping lines or reciting from different pages ... the script both propels the narrative and fractures the illusion, reminding us that we don’t in fact know what really happened'. Kerry Tribe is represented by 1301PE, Los Angeles.
7 June — 26 July
Brisbane-born Sydney-based artist Gary Carsley has become internationally recognised for his large digital photographs, where he swaps out tonal areas in the image (usually a landscape) for similarly toned woodgrain patterns. He calls these posterised images 'draguerrotypes' (referring to daguerreotypes, an early form of photography), because they are like photography in drag, photography dressed as impressionist painting. The drageurrotypes collapse and conflate the analogue into the digital, the old fashioned into the new fangled, painting into photography, and conceptualism into craft. The draguerotypes have also developed into a furniture line, with Carsley reissuing Ikea furniture covered with his own fake-woodgrain landscapes. Carsley recently began making photographic works based on lapidiary (stone inlay), swapping wood patterns for stone, bringing in a new ranges of references.
Carsley's new project Scientifictive is grounded in the recognition that, irrespective of where they live, people increasingly experience the natural world as a cultural representation, in the form of a park or garden. Carsley's show will take the form of a large landscape garden that articulates values common to the garden traditions of both East and West. It will contain follies, water features, and paths, and several moongates (or stargates) that magically link remote parts of the world to each other. His title is a nod to Robert Smithson, who wrote: 'Many architectural concepts found in science-fiction have nothing to do with science or fiction, instead they suggest a new kind of monumentality which has much in common with the aims of some of todays artists.' A joint project with Kunstverein Ulm.
9 August — 20 September
Much of what Ringholt does might seem childish or foolish, and irrelevant to contemporary art, but his apparent naiveté in fact forces a re-evaluation of what we consider appropriate. He opens a vertiginous void between exhibitionism and modesty that forces us to become aware of our place at the intersection of isolation and social interaction—and to reconsider our sense of self in the world.—Carolyn Christov Bakargiev
Melbourne artist Stuart Ringholt is fearless. In 2006, he published an autobiographical book, Hashish Psychosis: What It's Like to Be Mentally Ill and Recover. His early performances placed him in embarrassing situations. He has produced deranged sculptures and collages and led audiences in naked gallery tours and anger workshops. Ringholt addresses personal themes such as our fear of embarrassment and the pressure to conform to social norms. This exhibition is a survey of his work. The centrepiece is a new work, generously supported by a Catalyst Katherine Hannay Visual Arts Commission. It's a giant, temporally askew clock. A disorientating, uncanny sense of time that will pervade the exhibition. It prompts a reconsideration of how time may be measured and spent. In its implied alternative time zone, we also present Ringholt's Club Purple—an naked daytime disco, situated within the gallery, operating for the coure of the exhibition. Featuring an extensive playlist, Club Purple will offer a unique experience for those who wish to participate in a dramatic reinvention of the museum as an embodied space. There will be solo dance days, mixed days, and 'ladies days'. Stuart Ringholt is represented by Milani Gallery, Brisbane. A joint project with Monash University Museum of Art and City Gallery Wellington, curated by Charlotte Day and Robert Leonard.