17 June – 3 September 2017
New Alchemists comprises a diverse suite of works by Australian and International artists exploring ideas of futuristic biologies and post-human engagements within the broad intersections of art and science.
Paralleling a view of the artist as contemporary alchemist, the selected works channel experiences beyond our accessible human and non-human worlds. Through play, ambiguity and provocation, the works engage in narratives that collapse our sense of familiarity and embodied otherness with the world around us.
Art Orienté Objet (France); Michaela Gleave (Australia); Ian Haig (Australia); Oron Catts & Ionat Zurr (Australia) in collaboration with Corrie van Sice (USA); Nadege Philippe-Janon (Australia); Thomas Thwaites (UK) and Lu Yang (China).
Curator: Dr Alicia King
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New Alchemists is a Salamanca Arts Centre exhibition toured by Contemporary Art Tasmania. Contemporary Art Tasmania is supported by the Australian Government through the Australia Council, its principal arts funding body, and by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments, and is assisted through Arts Tasmania by the Minister for the Arts. Salamanca Arts Centre is supported by the Hobart City Council and through the Tasmanian State Government. This exhibition is supported by Contemporary Art Tasmania’s Exhibition Development Fund.
12 August – 19 October 2017
Inspired by the words of revered Indigenous leader Vincent Lingiari, ‘that land ... I still got it on my mind’, this exhibition reflects on the Gurindji Walk-Off, a seminal event in Australian history that reverberates today. The Walk-Off, a nine-year act of self determination that began in 1966 and sparked the national land rights movement, was led by Lingiari and countrymen and women working at Wave Hill Station (Jinparrak) in the Northern Territory.
Honouring last year’s 50th anniversary, curator and participating artist Brenda L. Croft has developed the exhibition through long-standing practice-led research with her patrilineal community and Karunkgarni Art and Culture Aboriginal Corporation. Lingiari’s statement is the exhibition’s touchstone, the story retold from diverse, yet interlinked Indigenous perspectives. Still in my mind includes photographs and an experimental multi-channel video installation, history paintings, digital platforms and archives, revealing the way Gurindji community members maintain cultural practices and kinship connections to keep this/their history present.
Curator: Brenda L. Croft, in partnership with Karungkarni Art and Culture Aboriginal Corporation
Developed in partnership between UNSW Galleries, UQ Art Museum and Karungkarni Art and Culture Aboriginal Corporation, with support from Australian Research Council Discovery Indigenous Award, National Institute for Experimental Arts, and Australian Research Council Centre of Excellence for the Dynamics of Language.
16 September 2017 – 20 February 2018
Almost four centuries after its creation, Gian Lorenzo Bernini’s St. Teresa in Ecstasy 1652 remains the emblem for religious visionary experience and baroque sensibilities in art. Going beyond the sensuous suffering depicted by Bernini, Ecstasy: Baroque and Beyond brings historical depictions of ecstatic experiences together with modern and contemporary works that feature transcendence of normal consciousness, trance or trancelike states, expanded spiritual awareness, and visionary experiences. From saints and mystics, to bacchanalian fetes and dreamscapes, the exhibition also explores how Baroque stylistics such as theatricality, exaggeration, high drama, extravagance, frenzy and excess continue to permeate the work of contemporary artists.
Curator: Andrea Bubenik
In collaboration with the UQ Node, Australian Research Council Centre of Excellence for the History of Emotions (Europe 1100 – 1800).
11 November 2017 – 18 February 2018
Look at me looking at you posits the roles that the spectator plays in the construction of an image, the exchange between the viewer and maker that drives an image or object. With the self as subject, this can be reduced to an intimate conversation that might take place in the gallery space itself or at some future time, as if someone has passed on a message to be later revealed and savoured.
The title is from the song (I’m) Stranded by The Saints. Recorded in Brisbane in 1976, (I’m) Stranded quickly became an instant Australian cult hit and is now a classic. The Saints orbited around punk rock rather than being fully fledged members. Their intelligent, bombastic and pioneering attitude suits a more singular outlier vision rather than being part of any hip gang or fashionable style.
Most of the artists in Look at me looking at you are also in this spirit, revelling in aspects of the hand-made, the hand-me-down, the urgent and the everyday. They come from a diverse range of backgrounds and ages, are at different points in their careers, and create a variety of touchpoints, from celebrating the banality of the everyday through to pop music, family relationships and the nature of identity.
The National Self-Portrait Prize is a $50,000 invitation-only, acquisitive prize is held by The University of Queensland every two years. The winning work is selected by an independent judge of national stature.
Curators: Glenn Barkley and Holly Williams