Bill Henson
Untitled 97 1983–84
type C photograph, edition of 10
Collections: Gene and Brian Sherman & Terrence and Lynette Fern.
Reproduced courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

Anastasia Booth 
'Teresa' 2016
copper
200 x 270 x 30 cm
Collection of the artist, Brisbane.
Reproduced courtesy of the artist.

Poetry Slam!
6.30 pm. Refreshments from 6 pm.
Friday 20 October 2017

UQ Art Museum

Join us for a poetry slam evening combining art and words!  

Simon Palfrey 
Demons Land: a poem come true 2017 (still)
single-channel high-definition digital video
duration: 00:45:00
Reproduced courtesy of Simon Palfrey and the collaborating artists.

The Critic as Artist: Simon Palfrey and Mieke Bal

Saturday, September 16, 2017 (All day) to Sunday, February 25, 2018 (All day)

The Critic as Artist:
Simon Palfrey and Mieke Bal

16 September 2017 – 25 February 2018

In coming months, the UQ Art Museum is pleased to present two film works, drawn from large-scale multimedia installations, that explore new possibilities in literary and art criticism. Creative, collaborative, and highly experimental, Simon Palfrey’s Demons Land: a poem come true (2016) and Mieke Bal’s Reasonable Doubt (2015) take up the traditional tasks of arts criticism and scholarship – to interpret and evaluate the aesthetic and intellectual objects of the past – while also reimagining the critic as artist. 

Simon Palfrey’s Demons Land: a poem come true 2017
16 September – 9 November 2017

Mieke Bal’s Reasonable Doubt 2015
10 November 2017 – 25 February 2018


Simon Palfrey’s Demons Land: a poem come true 2017

What might it mean for a poem to come true? Demons Land is the story of a rapturous Romantic called The Collector, who in 1798 is transported to an island beneath the known world. He thinks the island savage and formless, and determines to remake it in the image of his favourite poem. That poem is Edmund Spenser's hallucinogenic epic, The Faerie Queene, a poem equally of militant Protestantism and erotic transport, written in the service of the Elizabethan conquest of Ireland. Like the poem that is its inspiration and antitype, Demons Land offers a shadowy allegory of the dreams and crimes of empire ‒ as a political and racial act, and as an expression of sexual desire and imaginative speculation. This vast, conflicted poem becomes the seminal text of the unfinished modern world. 

The film of Demons Land is the centrepiece of a multi-media travelling exhibition that also features paintings, sculptures, soundscapes, and text. The film was written and produced by Simon Palfrey; artwork for both film and installation is by Tom de Freston; editing and cinematography by Mark Jones; music and sound design by Jethro Cooke and Luke Lewis; acting by Stephanie Greer. The film was co-directed by Palfrey, Jones, and de Freston.

Simon Palfrey is Professor of English Literature at Brasenose College, University of Oxford. He is a founding editor of the Bloomsbury series ‘Shakespeare Now!’ and ‘Beyond Criticism’. His books include Late Shakespeare: A New World of Words (Oxford, 1997), Shakespeare in Parts (Oxford, 2007, with Tiffany Stern), Doing Shakespeare (Arden, 2004, 2nd ed. 2011), Shakespeare's Possible Worlds (Cambridge, 2014), Poor Tom: Living King Lear (Chicago, 2014). His most recent publications are Shakespeare's Dead (Bodleian Library/Chicago, 2016, with Emma Smith) and the novel Macbeth, Macbeth (Bloomsbury, 2016), written with Ewan Fernie.

Simon Palfrey is also co-author, with Ewan Fernie, of Macbeth, Macbeth (Bloomsbury, 2016), an experimental novel written in response to Shakespeare’s greatest tragedy. Simon and Ewan will be reading from Macbeth, Macbeth on 17 September at Bloodhound Corner Bar in Fortitude Valley. More


Presented in collaboration with the UQ Node, ARC Centre of Excellence for the History of Emotions (Europe 1100–1800).

Nigel Milsom
Judo House Part 6 (the white bird) 2014–2015
oil on linen
Collection of Art Gallery of New South Wales. Contemporary Collection Benefactors 2015, with the generous assistance of Alenka Tindale, Peter Braithwaite, Anon, Chrissie & Richard Banks, Susan Hipgrave & Edward Waring, Abbey & Andrew McKinnon
Reproduced courtesy of the artist and Yuill|Crowley, Sydney.

Saturday, September 16, 2017 (All day) to Sunday, February 25, 2018 (All day)

16 September 2017 – 25 February  2018

Almost four centuries after its creation, Gian Lorenzo Bernini's Ecstasy of Saint Teresa (1652) remains the supreme emblem of religious visionary experience and the Baroque sensibility in art. Understanding ecstasy to encompass states of exaltation beyond the sensuous suffering of Bernini's sculpture, Ecstasy: Baroque and Beyond brings together older depictions of ecstasy with more recent works focused on the transcendence of normal consciousness, including trances, moments of expanded awareness, and visionary insight.  From representations of saints and mystics, to dreamscapes and images of bacchanalian revels, this exhibition explores how Baroque style – characterised by exaggeration, high drama, extravagance, frenzy, and excess – continues to inform contemporary art.

PIETRO AQUILA | CHRIS BENNIE | ANASTASIA BOOTH | LOUISE BOURGEOIS | SALVADOR DALI | AUDREY FLACK | BILL HENSON | PETRINA HICKS | WILLIAM HOGARTH | GORDON MATTA-CLARK | CLAUDE MELLAN | NIGEL MILSOM | GIROLAMO NERLI | GORDON SHEPHERDSON | DAVID STEPHENSON | HIROMI TANGO | DAVID WADELTON

Curator: Andrea Bubenik


Opening

6.15 for 6.30 pm Friday 15 September
opened by
Angela Ndalianis
Professor in Media, Swinburne University of Technology
 

Online Catalogue

 


 

Videos

 


Public Programs

5.00 pm Friday 15 September
Before the opening, please join us for a conversation between the exhibition curator Dr Andrea Bubenik and Professor Angela Ndalianis, led by Dr Amelia Barikin.

Public Forum: Ecstasy: Art, Literature, Religion, History
8:30 am – 1:00 pm Saturday 16 September

Speakers include Alastair Blanshard , Andrea Bubenik, Kenneth Chong, Ewan Fernie, Peter Holbrook, Angela Ndalianis, and Simon Palfrey.

UQ History of Emotions Public Lecture in Art History
6.30 pm Thursday 5 October

Professor Andrew Leach, The University of Sydney, 'Ecstasy, Agony'
The Canadian sculptor Stanley Lewis owes his fame, in part, to the acknowledgment given him by the novelist Irving Stone. In the process of writing his forceful depiction of Michelangelo, Stone had been taught by Lewis to “carve marble” in the manner of the Renaissance master, allowing the writer insight into “the thinking and feeling of the sculptor at work.” More


Media

  • Download images for new and review here
  • Read the media release here
     

An exhibition partnership between UQ Art Museum and the UQ Node, ARC Centre of Excellence for the History of Emotions (Europe 1100–1800).

Brenda L. Croft  
Self–portrait on country (Wave Hill), 24 June 2014 2014 
inkjet print on archival paper
Reproduced courtesy of the artist, Stills Gallery Sydney and Niagara Galleries, Melbourne.

Still in my mind: Gurindji experience, location and visuality

Saturday, August 12, 2017 (All day) to Sunday, October 29, 2017 (All day)

12 August – 29 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

Online Catalogue

 

 


Opening Programs 

Saturday 12 August 2017

2.00 pm UQ Art Museum
Dr Felicity Meakins, Senior Lecturer, School of Languages and Cultures, in conversation with Gurindji community members and Still in my mind participating artists, including exhibition curator Brenda L. Croft.

3.00 pm UQ Anthropology Museum
Curator talk with Michael Aird, Research Fellow, School of Social Science and curator of From Relics to Rights.

4.00 for 4.30 pm UQ Art Museum
Exhibitions officially opened by
Mr Mervyn Bishop
Celebrated Australian photographer


Public Programs

Round Robin – Curating and Writing Indigenous Art: Tokenism, Pluralism and other Perspectives.
6.00 for 6.30 pm Wednesday 23 August
 
How have curators and writers of Indigenous and non-Indigenous heritage presented Indigenous art, and what is at stake in a critical engagement with their work? Such questions are current and must continue if we are to effectively navigate and represent these plural perspectives, while addressing the concept of cultural “Otherness” and avoiding tokenism.

What does it mean to be a citizen? 
Tuesday 12 September 6.30 pm. Refreshments from 5.45 pm.

What does it mean to be a citizen? A passport and the right to vote? In Classical Athens, entry into the citizen body was determined by gender, birth and ancestry, while in the Roman Empire, many people enjoyed even the most basic of citizen rights. What does citizenship mean today to Indigenous Australians? To stateless refugees? Join a panel of political thinkers, curators and historians to examine these questions. More


Media

  • Download images for news and review here


Developed in a partnership between UNSW Galleries, UQ Art Museum, and Karungkarni Art and Culture Aboriginal Corporation, with support from an ARC Discovery Indigenous Award, the National Institute for Experimental Arts, and the ARC Centre of Excellence for the Dynamics of Language. Still in my mind: Gurindji location, experience and visuality is generously assisted by the Australian Government through the Australia Council, its arts funding and advisory body, and the Indigenous Languages and Arts Program.