15 February–03 March
Opens 15 February 6pm–8pm
Window Pictures
Daniel Stephen Miller
In each of the videos in this series, a fixed camera shows a shop window displaying goods for sale. Seduced into looking but not buying, the artist, armed with a camera, walks into the shop. After undertaking whatever negotiation is necessary, he eventually appears in the window, makes several photographs and exits the premises. The projection of these videos in an old shop window on Gertrude Street is obviously really profound and, like, totally meta.
15 February–03 March
Opens 15 February 6pm–8pm
Freeloader
Pippa Makgill
The work for the installation Freeloader came about after thinking about the notion of ‘lazy sculpture’. I have alot of bottles, objects and spray paint just skulking around in my garage. After work we hang out not doing much. I asked them if they wanted to be in an exhibition and none of them were particularly keen. The spray paint showed a bit of interest. So I guess we’ll see what happens.
15 February–03 March
Opens 15 February 6pm–8pm
Inside is outside, Outside is inside
Yuria Okamura
Inside is Outside, Outside is Inside explores the duality of the physical and the metaphysical worlds through examining the relationships between geometry and figuration, the interior and the exterior, as well as perception and illusion of space.
Yuria draws her inspirations from Zen architecture and their gardens in an attempt to construct a meditative pictorial space, through which the viewer can imagine the spiritual world within the realm of the material world, while exploring the ways in which the geometry can inherit the nature of meditative spaces.
15 February–03 March
Opens 15 February 6pm–8pm
Artefact
Chantel de Latour, Antonia Ellis, Olivia O’Donnell
Interpretations of the ‘Artifact’ provide a conceptual groundwork for this group show by three Melbourne artists, Antonia Ellis, Chantel de Latour and Olivia O’Donnell. Across a variety of media, each investigates the complex relationship between the object/artifact and contemporary art.
Antonia’s practice references a nostalgic longing for high academic art and classicism. Her work uses pieces of iconography to reference idealism and the pursuit of perfection in the antiquity.
Chantel’s small landscapes conjure archived memories re-presented as artifacts. The elusive search for identity through recognition of place, links these fragments in an expansive geography of its own.
Olivia’s practice interrogates the relationships between travel and exploitation. Working in temporal installations that question the simulated and real, authenticity and replica, fragility and structure.
Fiona Estelle Blandford
‘Still life for 2010’, is a photographic series that investigates political and historical references from
traditional ‘still life’ painting. A farm sticker, a rubber band, cling wrap and a gauze bag are signs
evoking the production and marketing of food. The work reflects our indulgence and eroticisation
of food and the accessibility of an increasing season-less market.
Fiona Estelle Blandford, A Tableau for 2010, 2010
Alice Parker
In No Direction Home Alice Parker reflects on a continuous and meticulous refinement of a vocabulary of colour and its relationship to space and object. This work explores how subverting the plane of a geometric form through the use of colour, surface and light informs the public space.
Alice Parker, No Direction Home, 2010
Kelly Manning
Big Wigs is a series of portraits utilising images from the public domain representing individuals who are presently influential in the Australian Contemporary art scene.Through the political and economic connotations in Big Wigs, the artist aims to challenge commercialization and highlight the difficulties facing art in a consumer society where changes in the art world are dependent upon the social elites, politicians and urban planners.
Kelly Manning, Ben Quilty, 2011
Angeliki Androutsopoulos
Oil on board
June I – VI
25 January–11 February
Opens 25 January 6pm–8pm
In No Direction Home, Alice Parker reflects on a continuous and meticulous refinement of a vocabulary of
colour and its relationship to space and object.
This work explores how subverting the plane of a geometric form through the use of colour, surface and
light informs the public space.
Anita Belia
EVERYTHING IS A COPY OF A COPY
Video text piece
Words appropriated from the film scripts Taxi Driver, 1976 and Fight Club, 1999.
Everything is a copy of a copy, questions the split between what society thinks is morally correct versus what
is truth and what is reality. Whilst investigating how capitalism, cultural propaganda and the consumer
dominant undermine the notion of self.
How does one capture the reference points that are meaningful?
Anita Belia, Everything A Copy, 2011
03–05 January
Opens 03 January 6pm-8pm
Our Swedish resident JOHANNA NORDIN will open her MALE EGO EXORCISM BUREAU (MEEB)
Do you identify yourself as a male? is your ego in need of an exorcism?
Then this might be your chance! The bureau will commence operations with a demonstration
(featuring The Last Tuesday Society and List Operators Richard Higgins) at ca 6.30.
Males with Egos wishing to have them exorcised are encouraged to contact the Bureau at jnsmaleexorcismbureau@gmail.com.
After the grand opening the Bureau will be open for business from 10am-5pm Wed and Thurs providing full or partial Male Ego Exorcisms with a convenient and “while-U-wait” service.
