Nie deny nie - roberta rich
Nie Deny Nie is a selection of new works created over the last 2 years, during my time in Johannesburg and Cape Town, South Africa.
‘These works utilise text and archival material as a vehicle to consider and explore notions of denial and reclamation, particularly within a southern African “Coloured” context both pre and post Apartheid. The exhibition reflects upon historical practices of Apartheid South Africa – its methodologies of classification, forced removals as a result of the Group Areas Act law, as well as my personal relationship to these histories.
Drawing often from experiences of “cross examination” as a primary source of research, I employ Afrikaans, colonial terms such as Coloured, appropriated as Coloured™ in my work as a platform for discussing the complexities of African identity. These practices for me, act as a navigation tool through a complex field of rejection and reclamation of language, to find and ascertain empowering forms of self-determination and positive representation of African identity'.
Roberta Rich's residencies and research over the past two years in South Africa was supported by the Australia Council for the Arts ArtStart program, the Sainsbury Sculpture Grant, established in memory of the late Madeline Olive Taylor through her estate and The Freedman Foundation Travelling Scholarship for Emerging Artists, both administered by the National Association for the Visual Arts (NAVA), Assemblage Studios, TwilSharp Studios and Greatmore Studios.
Clockwise from entrance
1. It was a generally accepted fact, 2016. Framed Serigraph on paper, Edition of 5. 80 x 35 cm. $420
2. 192 Denials in ‘78, 2016. Framed Serigraph on paper, Edition of 5. 80 x 35 cm. $430
3. 152 Denials in ’79, 2016. Framed Serigraph on paper, Edition of 5. 80 x 35 cm. $430
4. Amendment Denial Act, 2016. Framed Serigraph on paper, Edition of 5. 80 x 35 cm. $420
5. ColouredTM, 2016. Framed Serigraph on paper, Edition varies of 5. 80 x 35 cm. $550
6. 136 Denials in ’76, 2016. Framed Serigraph on paper, Edition of 5. 80 x 35 cm. $430
7. 98 Denials in ’77, 2016. Framed serigraph on paper, Edition of 5. 80 x 35 cm. $430
8. Deny, Denial, Denied, 2016. Framed Serigraph on paper, Edition of 5. 80 x 35 cm. $450
9. Nie Deny Nie, 2016. Framed Serigraph on paper, Edition of 5. 80 x 35 cm. $450
10. Remembering District Six, 2016 – 2018. Single channel HD video, duration 12’52’’.
11. your idea of africa sucks, 2017. Silkscreen on silk, mixed media installation. $1100
12. ColouredTM #1, 2016. Tapestry with found canvas. Dimensions 75cm x 50cm approximately.
13. ColouredTM #2, 2016. Tapestry with found canvas. Dimensions 75cm x 50cm approximately.
lighthouse - tamara baillie
Woe betide those that say
They don’t need no light to guide their way
Think they're safe on their own--
Drown in murky depths below
-- Chad Alan Gracey, Chad David Taylor, Edward Joel Kowalczyk, Patrick Dahlheimer
This new work expands on Baillie’s cartographically-inspired installations of sugar-cured muslin and salt-water mark making, which seek to chart the dark territories obscured by traditionally accepted narratives of exploration and discovery.
Her unique processes create haunting psycho-geographies that respond simultaneously to physical and emotional terrain. The resulting installations are non-linear spaces that offer a relational experience of landscape and question our accepted understandings of collective identity and memory.
Taking as a starting point her own explorations of elusive familial and cultural histories, her practice often considers strategies for masking, concealment and control. Her work is informed by both the Australian landscape and the many ghosts that inhabit it. The experience of navigating these ephemeral forms creates an unavoidably personal engagement with both the physical and emotional topography.
Supported by Helpmann Academy and Arts South Australia.
Lighthouse, 2018, sugar, cotton, wire, light.
t e n d e r / r u i n - KATHERINE CORCORAN
t e n d e r / r u i n investigates the potential for queer subjectivity and atypical modes of desire to be explored as virtual centres of power. J.E Munoz describes a queer aesthetic as having the capacity to map a forward-dawning futurity and to carve paths of potentiality. The installation syncs the embodied with the simulated and considers modes of existing and desiring that splinter from the norm. A flesh that flows, a sound that fucks, a platonic hard on ~ tender manifestations and delusions that ruin. It looks towards a subtle body politic and mindful contemplation where queerness can reveal utopian ideals.
Katherine Corcoran works with digital media, sculpture and performance. Her practice is led by an interest in queer subjectivity, virtual intimacy and embodiment. She is currently undertaking an MFA by Research at UNSW Art and Design and has has exhibited at Casula Powerhouse, ACMI, 4a Centre for Contemporary Asian Art, Firstdraft Gallery, Underbelly Arts Festival, Bus Projects, and Grace and Fyfe Gallery, Glasgow.
J. E. Munoz, Cruising Utopia: The Then and There of Queer Futurity, NYU Press, 2009
swell, 2017, two channel hdv, 3:00
rush, 2018, single channel hdv, 3:00
bruise, 2017, single channel hdv, 3:00
bend, two channel hdv, 3:00