REPORT 2019 CONTEMPORARY ART TASMANIA
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
CONTEMPORARY
ART TASMANIA
2019
ANNUAL
REPORT
Contents
Contemporary Art Tasmania CHAIR’S REPORT 8
acknowledges the traditional and 10
DIRECTOR’S REPORT
original owners of the land, the
muwinina people; pays respect BOARD MEMBER AND
SUB-COMMITTEE PROFILES 16
to those who have passed before
us and acknowledges today’s STAFF 19
Tasmanian Aboriginal community, EXHIBITION PROGRAM REPORT 20
who are the custodians of this land.
OFF SITE PROJECTS 28
SHOTGUN REPORT 30
TOURING PROGRAM REPORT 34
PUBLIC PROGRAM REPORT 38
CURATORIAL MENTORSHIP
PROGRAM 50
BOARD MENTORSHIP 51
STUDIO PLACEMENTS 51
PROJECT SPACE 52
MEMBERS’ WALL 54
COURTYARD COMMISSION 54
COMMUNICATIONS AND
ENGAGEMENT REPORT 56
PUBLICATIONS 60
FINANCIAL STATEMENTS 61
ACKNOWLEDGEMENTS 66
7
Contemporary Art Tasmania is and their practice. We initiate and
Tasmania’s professional level, public present projects that provide artists
presentation platform dedicated with industry networking and
to contemporary and experimental critical engagement. Mentorship
art. Its provenance is traceable opportunities in curatorship and
from the foundation of Chameleon governance are also offered and
contemporary art space in 1982, managed. We maintain a program to
through 20 years operating as assist the Tasmanian public gallery
Contemporary Art Services sector develop and tour exhibitions.
Tasmania (CAST) and, from 2013, as Contemporary Art Tasmania also
Contemporary Art Tasmania. hosts public programs designed to
foster and educate audiences in new
The organisation is a member of the and experimental art.
Contemporary Art Organisations
(Australia) national network (CAOA),
NETS Australia (National Exhibitions Vision
Touring Support) and is assisted by
the Australia Council for the Arts, To be the lead developer and
Arts Tasmania and through the Visual presenter of contemporary art
Arts and Craft Strategy. in Tasmania
An incorporated Australian public
company, Contemporary Art Core Values
Tasmania is guided by a Board of
• Leadership
management that consists of arts
professionals and key individuals • Provision of opportunity
who bring a range of governance, • Contemporaneity
business and related skills.
• Professionalism
Contemporary Art Tasmania • Generosity
provides a program of high quality,
experimental visual arts exhibitions
characterised by innovation and Goals
energy. Exhibitions are developed for
the organisation’s gallery space as • To create a dynamic context for
well as in other venues around the professional practice
state and nationally. • Raise the levels of participation
• To build deep and broad
Contemporary Art Tasmania
partnerships based on mutual
provides assistance to specifically
benefits
support, stimulate and develop
Tasmanian contemporary artists • To be well managed
9
Chair’s
to this and many others during her The key shifts in the new Strategic
2.5 year tenure on the Board. Plan are:
Report My thanks also go to Scott Baddiley,
Patricia Brassington, Belinda Cotton,
Dr Ellie Ray, Rebecca Fitzgibbon, Dr
• grow what we already do well;
• integrate CAT programs more
thoroughly so to raise their
Bill Hart and Jane Stewart for their value for participating artists;
contribution to CAT’s strategic work • bring the studio program
and the sub-Committees – Program into closer alignment
and Communications. with our other programs;
The success of any organisation also demonstrates how CAT has • make greater use of digital
is dependent on its people. I am met and continues to meet one of The CAT Mentorship Programs and online programs as a way
deeply grateful for the time and its key outcomes of the outgoing continue to attract superb of accessing the organisation
commitment of the CAT staff and strategic plan to ensure CAT is candidates. The Curatorial Mentee and its programs; as well as
fellow board members whose focus a versatile, nimble and resilient for 2019 Eva Nilssen realised her • securing the housing needs of
and achievements in working as a organisation. I sincerely thank project, Anthropocene Noir, and our organisation.
team this past year have positioned each one of you for showing such Caitlin Fargher was announced as the
CAT as an outward focussed, commitment, fortitude and care to 2020 Curatorial Mentee. The Board These shifts have been informing
resilient, and strategic organisation. each other and the organisation. Mentee for 2020, Michelle Maynard the work of the Board during the
was warmly welcomed by the Board last year which included:
In particular, and on behalf of the The strategic planning work that as we farewelled Maddie Burrows.
Board, I pay tribute to Belinda has been undertaken over the last We thank both her and Eva for their • Board Skills Matrix and Audit
Cotton (Deputy Chair) and the CAT two years has been a critical factor contributions to CAT as the 2019 • Exploration of CAT’s future
team who have been outstanding in CAT’s ability to respond to the Board Mentees and sincerely wish housing needs and opportunities,
throughout the pandemic crisis. current circumstance. This has them both every success in their including a Quantitative
Kylie Johnson, Colin Langridge, Pip been a process that has brought future endeavours. Analysis and Feasibility
Stafford, Lisa Campbell-Smith, Sally together the whole team and Board Study for redevelopment
Rees and Michael Edwards (whilst as well as co-opted and valued The focus of the Board this year • Membership evaluation
on Long Service Leave) have been experts, business and government was to formalise the 2020-2024 survey development
resilient, professional and caring colleagues and members of the Strategic Plan. It was developed • Commencement of scoping
of each other and the wider CAT wider CAT membership, for whom as part of the funding application for a Disability Improvement
membership as they managed the and which we are sincerely grateful. to Arts Tasmania and the Australia Action Plan
impact of the increasingly strict Council for the Arts. Informed by a
protocols being rolled out across the One of the key drivers of the refreshed vision and mission, CAT is With these planks in place, CAT
state in response to the pandemic. strategic planning process determined to be synonymous with will be well positioned to continue
embarked upon in 2018, was former Tasmanian contemporary art practice to better serve its membership and
The transition to working remotely Deputy Chair, Justy Phillips who and discourse. contemporary art in Tasmania.
and securing CAT’s business resigned on 18 June last year. As
continuity across all its programs one of the key lateral thinkers and
and operations has been highly catalyst for the new 2020-2023
effective because of the way the Strategic Plan, we are deeply ELVIO BRIANESE
CAT team approached the crisis. It grateful to her for her contribution Chair
11
Director’s
by the fantastic and well attended feedback was excellent, and it was
support events, notably Curating valued highly by the sector.
Report
in a Global Context (Alexi Glass-
Kantor) and The Choreography of walantanalinany palingina (WaPa)
Cutting (Sally Smart). The Roaring activity occurred continually
Forties was a live online concert across 2019, with Ruth Langford
streamed between the CAT gallery relocating from the CAT offices
and Structures Sonores Baschet, with Nayri Niara to the LongHouse
Paris. Dylan Sheridan performed in Macquarie Point and continuing
with the objects in his CAT to deliver arts worker training
Overview 2019 a selection of his better-known exhibition, streamed amongst other programs. Participation in the
artworks. In a feat of endurance performances by Tasmanian and Darwin Aboriginal Art Fair was
he engaged directly with queues French sound artists. Sheridan’s again an important high point in
The 2019 CAT Gallery Program project was also supported with the year where Bonnie Harper was
of individual audience members
was remarkably balanced series of sold-out workshops. supported to deliver and manage
though a confessional mode. For
and consistently strong. Both the Tasmanian stall where Verna
Unspoken Rule, curator Stevie S.
Confessions and Unspoken Rule The Touring Program’s remit to trial Nichols was the feature artist. The
included high profile artists Han’s design and spatial dexterity WaPa stall – with its focus on kelp
experimental models for relocatable
with established national and matched the rich diversity of art projects was well supported and shell works – was culturally
international reputations, while identity-driven artworks that also in 2019 by The Partnershipping unique and made a strong and
Increase Productivity (Grace activated both the space and the Project. It involves twenty regional distinctive contribution to the large
Herbert), Np423b: empty orchestra works. The CAT/TMAG partnered visual artists over the two-year life first nations fair.
(Dylan Sheridan) and dark maria project, Dirty Paper, offered four of the tour, with local artists joining
(Eloise Kirk) were solo exhibitions Tasmanian artists whose artistic the exhibition at each regional tour WaPa continues to work steadily
by younger Tasmanian artists who venue. Each iteration of the exhibition on developing the 22TEN22 First
practice is grounded in drawing,
were supported in the development is different, as it references the Nations Festival in 2022. In 2019
and a curator an opportunity to
of their projects. The objects individual presentation location and substantial financial support was
respond to TMAG’s collections involves a changed line-up of artists, secured through Events Tasmania
and installations presented had
with two artists from each of the to contract Marrawah Law to
commendable artistic resolution 2019 was made demanding by previous exhibition presenting venues undertake community work and
and high presentation values.
the Shotgun program; with two in the subsequent venues. The deftly develop a business plan for WaPa
Anthropocene Noir, curated by
intensive artist development curated Plimsoll Gallery exhibition, 22TEN22.
Eva Nilssen under the Curatorial
projects (Increase Productivity Systematic, also came onto the
Mentorship, sought to reveal
and dark maria) delivered and program in 2019. The highlight of the From the commencement of
the various, and at times playful, touring year, however, was the CAT
developed in the same year. The the year, the Board of CAT
perspectives of early career artists Art Handling Workshop for gallery were actively involved with the
on late capitalism and the changed impact of the, at times, intense
staff and volunteers developed by development and refinement of
world we now occupy. activity surrounding these
Colin Langridge and Kylie Johnson a new 2020 – 2024 Strategic and
project’s mentoring was able to and presented in Devonport. Fully Business Plan, with numerous
For Confessions, artist Tony Albert be experienced widely through subscribed, it simply was one of members contributing generously
developed and presented his first the CAT public and engagement the best professional development through sub-Committee activity
performance-based artwork amid programs. The year was marked programs I have attended, the for programming, touring and
13
communications and in additional
working goal group meetings. Their
Goals and 186.2% with Instagram. The CAT
podcast, What are you looking at?
Project Management programs to
upskill young Tasmanian Aboriginal
contributions to the organisation are also attracted 12,146 listens across arts and cultural workers.
valuable and valued. Likewise, my The four goals from the 2017-2021 the year, a 39% annual increase over
colleagues’ expertise and their real CAT Strategic Plan are: the previous year. The merchandise Goal 4. (a) To be well
commitment to and beyond their strategy contributed almost $3,000 managed
roles, and for the organisation, is a Goal 1. (a) To create a while expanding the experience of
tremendous asset of CAT’s. dynamic context for the organisation and its programs for In 2019 the organisation met or
professional practice: gallery visitors and providing other bettered 60% of recommended
CAT was again able to offer good ways for Tasmanian artists to access financial benchmarks despite
levels of financial support to the In 2019 Contemporary Art Tasmania our programs. Target audience groups finishing the year with an
artists on our programs in 2019, with delivered six gallery-based projects, continued to be serviced through (adjusted) small financial loss.
one touring exhibition, two offsite diversifying Engagement events The performance against financial
38.3% of annual expenditure going
projects, one project space alongside CAT programs: Np246b: benchmarks is outlined in the
towards artist support, made up of
program and one courtyard project empty orchestra was supported following Financial Report.
over $110.9K in fees paid directly to
against a target of ten projects for with sound workshops, and dark Organisational reporting targets
artists and allied professionals, with a
the year. The program supported maria with a traditional Chado tea were reduced to six meetings
further $115.9K of indirect assistance
15 curators and 43 artists across ceremony. The Board continued its following a shift to bi-monthly
made up of travel, installation,
all career stages and involved art work on defining the housing needs meetings introduced in 2018
materials, and freight costs that for supporting the expanded ambition
forms as various as performance, – against which seven general
artists would otherwise have needed of the organisation and seeking the
drawing, installation, sculpture, and special general meetings
to support in the realisation and extra investment needed to deliver on were held with full reporting.
sound, kinetics, painting, video and
presentation of their artworks. this goal. The organisation again fell
photography. The organisation met
the performance indicator targets short with three organisational
for supported curatorial activities Goal 3. (a) To build deep and policies written or reviewed
(4) and curatorial mentorships broad partnerships based on during the year against a target
(1). 11 public program activities mutual benefits: of eight. Seven staff creative
were presented against a target research opportunities occurred
of eight, and thirty-five critical The maintenance of key arts against a target of four; and nine
engagements sessions with artists partnerships (target #3) occurred professional development activities
were conducted (against a target through numerous projects delivered matched the staff and Board’s
of six). with the Tasmanian Museum & Art professional development target.
Gallery (Dirty Paper); Mona and
Goal 2: (a) Raise the levels of DETACHED (Shotgun 7 and Shotgun
participation: 8), Dark Mofo festival (Confessions);
the Plimsoll Gallery (Systematic),
The expansion of online Devonport Regional Gallery (Art
engagement through digital Handling & Display Workshop) and
programs (against a performance the Burnie Regional Art Gallery (The
indicator of 10% in 2019) was again Partnershipping Project). Working
quite remarkable; with strong through WaPa, CAT also continued to
increases of 64.8% for Facebook assist Nayri Niara and the Institute of
15
Financial Report recommended by the Australia
Council – in part brought about
Acknowledgements Conboy, Peter Robinson, Jan
Dallas, Remi Chauvin, Queen
by the vagaries of AASB1004. Victoria Museum and Art Gallery,
Contemporary Art Tasmania the University Schools of Creative
Contemporary Art Tasmania Contemporary Art Tasmania and
ended the year with an operating Arts and Media, Academy Gallery,
ended the 2019 calendar year with its collective contribution to the
profit of $9,843 (adjusted, it is an Devonport Regional Gallery, Burnie
an apparent surplus. The 2019 cultural life of Tasmania and the
operating loss of $16,998) with Regional Art Gallery, Design
Financial Report was again prepared artists we support is made possible
accumulated Members Funds at Tasmania Centre, Plimsoll Gallery,
taking into account the Australian only through the generosity of many
$803,336 (adjusted $262,702, a Salamanca Arts Centre and
Accounting Standards Board’s ruling individuals, philanthropists, partnering
decrease of 7.1% on 2018). While Sawtooth ARI.
AASB1004, which recognises grants organisations and other supporters
the organisation’s operating
received in advance as income with while being underwritten by the
margin of 1.3% is markedly behind
no liability brought to account. At essential base that government
the recommended 10% capacity
the end of 2019, Contemporary funding invests in contemporary
to build reserve funds, and the MICHAEL EDWARDS
Art Tasmania’s held funds for Arts and experimental art. This cultural
Reserves Ratio of 5.1% is well short Director
Tasmania, $189,000 core funding; economy is built around sharing
the recommended 20% benchmark,
the Australia Council, $110,075 core and involves a perpetual trade in
the Working Capital Ratio of 5.1:1 is
funding; Contemporary Touring knowledge, goods and goodwill, and
also well ahead of a 2:1 benchmark
Initiative $67,562; Visual Arts & Craft generosity. I have had the pleasure of
and the 2019 Liquidity Ratio of 1.7:1
Strategy, $50,354; Visions, $36,467; working with the people who make up
is solid against a benchmark of
Chosen, $41,514; Darwin Aboriginal the organisations, public, commercial
1:1 and indicates the organisation
Art Fair $3613; Tasmanian Regional and private entities and interest
can easily respond to unforeseen
Arts Network Tasmania, $7,165; groups, and warmly acknowledge: the
financial events should it be
Alcorso Foundation, $30,000; Australia Council for the Arts, Arts
required. The organisation is also
Events Tasmania, $60,000; and Tasmania, the Museum of Old and New
holding equivalent of 54.7 weeks in
retained EDF $1,500. Totalling Art, Detached Cultural Foundation,
cash reserves (adjusted 17.9 weeks)
$627,250, these funds are to be DarkLab, the Tasmanian Museum & Art
indicating that the organisation can
expended against projects in 2020 Gallery, Mona Foma, Elvio Brianese,
continue normal operations beyond
but are shown in 2019 Members Scott Baddiley, Pat Brassington,
the benchmark of 10 weeks.
Funds. Please note that figures that Belinda Cotton, Bec Fitzgibbon, Bill
account for the adjustment of 2019 Hart, Ellie Ray, Jane Stewart, Jarrod
funds receipted in 2018 and 2020 Rawlins, Craig Judd, Jim Everett, Ruth
funds receipted in 2019 are included Langford, Denise Robinson, Tony
in parenthesis below. Brown, Scot Cotterell, Emma Pike, Eva
Nilssen, Brigita Ozolins, Stevie S. Han,
At the end of 2019, Contemporary Caitlin Fargher, Rob O’Connor, Cath
Art Tasmania financial position Robinson, Sally Rees, Julia Drouhin,
remained sound, and achieved Anna Eden, Edith Perrenot, Nadia
this through meeting a majority Refaei, Matt Warren, Nick Smithies,
of the financial benchmarks Priscilla Beck, Amyris Cauchi, Lou17
Board Member and
PROGRAM COMMITTEE PAT BRASSINGTON
Artist, Contemporary Art Tasmania
Board representative
Sub-Committee
The aim of the CAT Program
Attended 5 out of 5 meetings
Committee is to provide guidance
around the development of the
Profiles
SCOT COTTERELL
CAT artistic program that aligns Artist, Curator
with the organisation’s goals and Attended 3 out of 3 meetings
strategies and its artistic plan. The Term completed 07.19
committee undertakes: assessment
of expressions of interest for MICHAEL EDWARDS
inclusion on the artistic programs, Contemporary Art Tasmania, Director
identifying new and experimental Attended 5 out of 5 meetings
BOARD JANE STEWART art projects, providing comment
Principal Curator, Tasmanian Museum on the implementation of CAT CAITLIN FARGHER
and Art Gallery Artist, Curator, 2020 Curatorial
programs, offering strategic direction
Appointed 19/4/2016 Mentorship recipient (non-voting
ELVIO BRIANESE for CAT projects and promotion
Attended 4 out of 6 meetings position)
Chair of the CAT Board of the program amongst industry
Attended 2 out of 2 meetings
Director, Liminal Studios colleagues.
DR BILL HART Appointed 09.19
Appointed 20.12.2017
Attended 6 out of 6 meetings Artist
Appointed 15.04.2017 There are seven positions on the STEVIE S. HAN
Attended 4 out of 6 meetings committee comprising: the CAT Independent Curator
BELINDA COTTON
Secretary of the CAT Board
Director, CAT Coordinator, a CAT Attended 2 out of 2 meetings
Independent Art Consultant, Tailored REBECCA FITZGIBBON Board member, three members from Appointed 09.19
Services for the Arts Events Media Manager, DarkLab outside the organisation who provide
Appointed 18.10.2016 curatorial, or audience, or specialist KYLIE JOHNSON
Appointed 21.04.2015
Attended 5 out of 6 meetings expertise and the CAT Curatorial Contemporary Art Tasmania, Program
Attended 4 out of 6 meetings
Committee Coordinator
Mentorship recipient. The committee
JUSTY PHILLIPS Attended 5 out of 5 meetings
SCOTT BADDILEY reports to the CAT Board. In 2019 the
Treasurer Artist
Contemporary Art Tasmania Program
Appointed 19/4/2016 EVA NILSSEN
Managing Partner, Findex Committee met on five occasions.
Term ended 18.06.2019 Artist, Curator
Appointed 19.06.2018
Attended 3 out of 3 meetings 2019 Curatorial Mentorship recipient
Attended 4 out of 6 meetings
(non-voting position)
MADDIE BURROWS Attended 2 out of 3 meetings
PATRICIA BRASSINGTON
Board Mentorship Recipient Term completed 07.19
Artist
Appointed 19/4/2016 Appointed 17.12.2018
Term completed 17.12.2019 BRIGITA OZOLINS
Attended 5 out of 6 meetings
Attended 5 out of 6 meetings Artist, Academic
Attended 2 out of 5 meetings
DR ELLIE RAY
Artist and Retired Director of Devonport
EMMA PIKE
Regional Gallery
Museum of Old and New Art, Assistant
Appointed 17/3/2015
Curator
Attended 5 out of 6 meetings
Attended 3 out of 5 meetings19
TOURING EXHIBITION COMMUNICATIONS SHOTGUN SELECTION CONTEMPORARY ART
COMMITTEE AND ENGAGEMENT COMMITTEE TASMANIA STAFF
COMMITTEE
The CAT Touring Exhibition The Shotgun Selection Committee is Director
Committee comprises the Director, The Communications and drawn from representatives from the MICHAEL EDWARDS
or their representative, from Engagement Committee is partnering organisations and industry
public art galleries in Tasmania. composed of CAT staff members professionals. In 2019 the Shotgun Exhibition and Public Program
KYLIE JOHNSON
Representation relates to the and board representatives. Its committee comprised:
position in each organisation. purpose is to provide support
Exhibition and Touring
and guidance to CAT’s audience PAT BRASSINGTON
COLIN LANGRIDGE
JANE BARLOW engagement, promotion and Artist, Contemporary Art Tasmania Board
Plimsoll Gallery, Exhibitions Manager marketing, and digital program and Program Committee representative
Communications
activities. PIP STAFFORD
CLAIRE BEALE MICHAEL EDWARDS
Director, Contemporary Art Tasmania NADIA RAFAEI (interim)
Design Tasmania, Executive Director
BELINDA COTTON Education and Engagement
JOE BUGDEN KYLIE JOHNSON
Contemporary Art Tasmania Board LISA CAMPBELL-SMITH
Salamanca Arts Centre, CEO Contemporary Art Tasmania
representative
Shotgun coordinator,
Independent Art Consultant, Accounts
MALCOM BYWATERS Tailored Services for the Arts
CRAIG JUDD SALLY REES
Academy Gallery, Director
Artist, Writer, Detached Cultural
LISA CAMPBELL-SMITH Gallery Technicians
Organisation
GEOFF DOBSON Communications and Engagement JULIA DROUHIN
Devonport Regional Gallery and Committee Co-ordinator, JARROD RAWLINS ROB O’CONNOR
Paranaple Arts Centre, Director Contemporary Art Tasmania Museum of Old and New Art, Curator
Design
MICHAEL EDWARDS MICHAEL EDWARDS ELLIE RAY CATH ROBINSON
Contemporary Art Tasmania, Director Director, Contemporary Art Tasmania, Artist, Northern representative STUDIO PUBLIC
PETER HUGHES REBECCA FITZGIBBON Invigilation and openings
TMAG, Senior Curator (Decorative Arts) Contemporary Art Tasmania Board AMYRIS CAUCHI
representative JULIA DROUHIN
COLIN LANGRIDGE Events Media Manager, DarkLab ANNA EDEN
Contemporary Art Tasmania,
SHAADEH KHADEMBASHY
Touring Committee Coordinator KYLIE JOHNSON JESSICA ROSE QUINNEL
Exhibitions and Public Program, EDITH PERRENOT
DAWN OELRICH Contemporary Art Tasmania MATT WARREN
Burnie Regional Art Gallery, Director Term concluded 04.2019
ASHLEIGH WHATLING PIP STAFFORD Photography
QVMAG, Curator Visual Art & Design Communications, JAN DALLAS
Contemporary Art Tasmania RÉMI CHAUVIN
LOU CONBOY
PETER ROBINSON21
Exhibition Gallery
at the other end, a false wall that ran
the width of the gallery was built to
enable Emily Parsons-Lord’s molten Exhibitions
Program metal to drip slowly from a small hole.
The following exhibition, Confessions
Report by Tony Albert presented a
combination of new and existing work
including a freestanding confessional
1. Unspoken Rule
booth commissioned for the CAT 18 January – 24 February 2019
presentation. Scheduled during
Dark Mofo festival, large numbers ARCHIE BARRY, LOUISA
of visitors had the opportunity to BUFARDECI, LIAM JAMES,
The 2019 CAT Exhibition Program March and Shotgun 8: dark maria interact with the artist via drawings ANNIKA KOOPS, ROEE
consisted of six major gallery-based by Eloise Kirk in September. The that were passed between the ROSEN, ARTUR ZMIJEWSKI
projects supported with mentorship, overlap in scheduling was at confessional cubicles. Albert’s tireless Curator: STEVIE S. HAN
artist and professional development, times intense but it also enabled generosity was impressive as he
public and engagement programs certain resources to be shared extended many of the performance
Unspoken Rule was a group
and digital programs. between each program. While sessions to accommodate the high
exhibition of Australian and
the conceptual basis of each of number of hopeful participants who
international artists reflecting on
The year began with the thought- the artist’s work varied greatly, queued in the gallery, often for hours.
identity as it intersects with a
provoking group exhibition, it was interesting that they both
public. The exhibition re-examined
Unspoken Rule. Curator Stevie S. Han chose to develop ‘whole-of-gallery’ While Np 423b: empty orchestra, a
the shifting sense of political and
brought together the work of six installations. Herbert constructed solo exhibition by Dylan Sheridan, did
cultural agency that characterised
Australian and international artists two discreet matching cubic not require any gallery walls to be
identity politics in the 1990s. The
whose work focused on identity spaces within the gallery, both built, the artist counterbalanced this
by constructing a significant number exhibition was titled Unspoken Rule
politics. Through the exhibition, lit with fluorescent tubes, one
of automated and interactive sound as a provocation in order to pose the
Han posed questions on how with a hot desk the other with a
Bod Pod while Kirk presented a machines. These were fixed to the questions: how do we see ourselves
conflicting political and cultural
views are managed. The curator number of freestanding static and walls and spread across the gallery through the eyes of others? How do
transformed the gallery with a central kinetic sculptures and wall-based floor, all made on-site by the artist. we navigate and reconcile conflicting
diagonal structure that demarcated works, all articulated with lighting political and cultural views in the
viewing zones while also providing designed by Jason James. The 2019 Exhibition Program public sphere?
housing for a sequence of flat achieved a balance of local, national
screen monitors. The well-attended The process of constructing and international content with the Curator Stevie S. Han selected an
opening event was marked by a live gallery walls and art works built program comprising a diversity of interesting combination of moving
performance by exhibiting artist, in-situ continued through 2019 art forms, practices and communities and still images in combination
Archie Barry. with the Curatorial Mentorship involving artists working at different with live performance to examine
exhibition, Anthropocene Noir stages of their careers. her theme of identity. The content
Unusually, two Shotgun programs curated by Eva Nilssen. A shifted from portraiture through
culminated in gallery presentation meditative audience engagement politically charged imagery to a
in 2019 - Shotgun 7: Increase space designed by Elissa Wilson surreal film of an operetta sung in
Productivity by Grace Herbert in was at one end of the gallery and Russian about a vacuum cleaner.23
2. Shotgun 7: Increase program of industry access,
critical engagement and new work
Productivity
culminating with the presentation of
Increase Productivity in March 2019.
16 March – 20 April 2019
Shotgun was a partnership project
between DETACHED, Mona and CAT.
GRACE HERBERT
Curatorium: Michael Edwards, Kylie
Johnson, Craig Judd, Jarrod Rawlins
Increase Productivity was an ambitious
installation developed by Grace Herbert
through the Shotgun 7 program. The
gallery presentation included weekly- 3. Anthropocene Noir
hosted Bod Pod sessions that were
designed to increase participant’s 4 May – 26 May 2019
productivity. Shotgun 7 was supported
with commissioned texts by Linda ERIN LINHART, LOLA PAGE,
Dement and Helen Hughes. EMILY PARSONS-LORD, DEXTER
ROSENGRAVE, ELISSA WILSON
Productivity is authenticity Curator: Eva Nilssen
is wellbeing is quantifiable.
Linda Dement – catalogue excerpt Driven by the urgency of climate
change and other Anthropocene
Grace Herbert’s exhibition Increase issues, and in a sense overwhelmed
Productivity brings together two by this, curator Eva Nilssen developed
symbolic regimes of self-improvement: her exhibition as a response to the
the first is that of contemporary major theme of the day, however
corporate culture, represented she chose to approach it from an
by that most ubiquitous object of unusual perspective that subverted
postfordism, the communal hot desk; the gravity of this subject by inviting
and the second is that of the personal a humorous or light-hearted response
fitness and well-being industry, here from the presenting artists. This
represented by a Bod Pod – an strategy could potentially offer a way
air-tight, human-scaled, fibreglass through the impasse of helplessness
chamber that, using the principle of the curator felt in the face of
air displacement, calculates the user’s destructive momentum.
body–fat ratio with extreme precision.
Helen Hughes – catalogue excerpt Erin Linhart used colour and
composition to aestheticize a
IMAGES: Archie Barry, Tatsache, 2017. Single channel video loop. Photo: Rémi Chauvin
Shotgun 7 was awarded to Grace landscape of junk via photographs
Grace Herbert, Increase Productivity, 2019. Installation view. Photo: Rémi Chauvin
Herbert in 2018 and the customised and objects while Lola Page designed25
and made fashion for doom from 4. Confessions
unsustainable materials, creating lurid
and erotic outfits that hung in the 7 June – 14 July 2019
space. Emily Parsons-Lord fascinated
visitors with her ever so slowly dripping TONY ALBERT
molten metal building a frozen flow on
the floor. Dexter Rosengrave videoed Confessions, Tony Albert’s solo
a performance employing the familiar presentation during Dark Mofo,
sight of seagulls screeching for hot represented the Girramay/Kuka
chips by the Hobart dock. The birds Yalanji artist’s first engagement with
tentatively plucked chips from the the idea of performance.
artist’s white uniformed body while
members of the public passed by. Elissa This exhibition presented new
Wilson addressed mortality by creating commissions and iconic works
a darkened space with sound and vision from the last ten years including a
that invited an audience to lay down confession-style booth within which
and ponder their own death. Albert engaged non-verbally with
one member of the public at a time.
Via a single sheet of paper, the artist
and participant exchanged hand-
drawn marks in a form of abstract
conversation. The unique experience
between artist and visitor resulted in
an artwork made in collaboration.
Confessions explored the artist’s
experience of growing up within the
Catholic Church and living with the
contemporary legacies of colonialism
through artworks referencing the
portrayal of Aboriginal culture
through western commodities
such as playing cards, a series of
photographic images of figures
wearing wrestling masks and a series
of drawings.
This exhibition was presented by
Contemporary Art Tasmania and Dark
Mofo 2019. IMAGES: Emily Parsons-Lord, When you cut into the present the future leaks out (detail)
2019. Dimensions variable. Photo: Peter Robinson
Tony Albert, Confessions, 2019. Powder coated steel booth. Photo: Rémi Chauvin27
5. Np 423b: empty orchestra 6. Shotgun 8: dark maria
10 August – 8 September 2019 28 September – 27 October 2019
DYLAN SHERIDAN ELOISE KIRK
Drawing upon his expertise and Curatorium: Michael Edwards, Kylie
experience in creating sound events for Johnson, Craig Judd, Jarrod Rawlins
festivals and theatres, Np 423b: empty
orchestra presented Dylan Sheridan Through the Shotgun 8 program,
with his first opportunity for a solo Eloise Kirk embarked on a
exhibition within a white cube gallery concentrated period of industry
space where the audience numbers access, critical engagement and
might vary considerably throughout new work, which culminated, with
the exhibition and the listening the gallery presentation dark maria.
experience could be more intimate. This Shotgun 8 was supported with
allowed for the gradual development commissioned texts by Daine Singer
and construction of multiple sound and Lucy Bleach.
machines made from found objects.
These were refined and tested in the Eloise Kirk works predominantly with
lead up to the opening event. collage and poured resins, creating
works about suspension, erasure and
Children and adults were absorbed by fragmentation. Often these works
the surprising motions and sounds of contain a central rock or geological
the automated devices which scratched form, severed from its context and
and clanked according to Sheridan’s suspended in resin. With dark maria
computer program. The audience at Contemporary Art Tasmania, Kirk
appreciated the second life given to the has expanded the scale, concerns and
used objects that the artist employed. materiality of her work. The resulting
exhibition comprises ‘paintings’
This project was made possible by (made from collages and poured
the Australian Government’s Regional pigmented resin), together with a
Arts Fund, which supports the arts in series of monumental sculptures
regional and remote Australia. formed from pigmented plaster
applied to ply supports. These
are accompanied by three kinetic IMAGES: Dylan Sheridan, Np 423b: empty orchestra, 2019. Installation view.
works, in which her paintings sit Photo: Rémi Chauvin
atop rocking motorised bases. Eloise Kirk, dark maria, 2019. Installation view. Photo: Rémi Chauvin
Daine Singer – catalogue excerpt
Acquainting us with the secret
subterranean realms that exceeded29
our vision, we came to know deep- known Tasmanian artists from the 1980s: For the second consecutive year
focus earthquakes, subduction zones, Off Site Projects Rodney Febey and Andrew Clifford. For Tasmanian Aboriginal artists came
brittle crusts and liquid earth. Land nearly 30 years, Harper has collected together as a collective group to
features that had formed through drawings by local artists in the form of showcase their artistic and cultural
volcanic eruption, metamorphic zines, photocopied flyers and posters, practises at the Darwin Aboriginal
folding and metastable states were which he has recently donated to the Art Fair. Participating artists were
now visible and compelled attention. TMAG collection. motivated by their old people who
1. Dirty Paper created the petroglyph symbols,
She got us thinking about how their
mesmerising forms conjured a feeling Dirty Paper is the eighth collaborative traditional mariner shell necklaces,
15 February – 14 July 2019
of the body, a feeling of the feminine, exhibition curated by CAT and TMAG. waddies, baskets and kelp water
a feeling of the sublime, and how This exhibition was supported by a carriers, as well as contemporary
MATT COYLE, JOEL CROSSWELL,
they might be as much located in the catalogue with texts by Dr Mary Scott, works inspired by these traditional
ANDREW HARPER curating RODNEY
physical world around us, as within our Andrew Harper, Jane Stewart and arts and crafts. Bonnie Harper was
FEBEY and ANDREW CLIFFORD,
own emerging psychological terrain. Michael Edwards. supported to deliver and coordinate
TOM O’HERN, LUCIENNE RICKARD
Lucy Bleach – catalogue excerpt the Tasmanian stall where Verna
Curators: Jane Stewart and Michael
Nichols was the feature artist.
Edwards
Shotgun was a partnership project
between DETACHED, Mona and CAT. We are proud to share our unique
Location: Tasmanian Museum and
stories of home, culture and survival
Art Gallery
through these works – some of these
cultural practices have continued for
Drawing is at the heart of Dirty Paper thousands of years, others thoughtfully
and the title stems from a quote by 2. WaPa: Darwin Aboriginal
and passionately revived after the
the 19th Century critic John Ruskin Art Fair invasion of our homeland, Lutruwita.
who once provocatively claimed that DAAF website copy for
'all good drawing consists merely of 9 – 11 August 2019 walantanalinany palingina
dirtying the paper delicately’. The
Tasmanian artists featured in this TAKIRA BROWN, TANYA HARPER, walantanalinany palingina (country
exhibition created and curated new HANK HORTON, JANETTE all around: welcome) and the DAAF
works in response to the Tasmanian JAMES, ALLAN MANSELL, VERNA Project was generously supported by
Museum and Art Gallery (TMAG) NICOLS, BONNIE STARICK, LIZ the Alcorso Foundation, the Darwin
collection. Matt Coyle, Joel Crosswell, TEW, LUANA TOWNEY, NERRISA Aboriginal Art Fair, the Australia
Tom O’Hern and Lucienne Rickard WATERFIELD, LILLIAN WHEATLEY Council for the Arts Chosen initiative
are well known for their innovative Curator: Tony Brown and Contemporary Art Tasmania.
approaches to drawing. After Coordinator: Bonnie Starick
extensive tours of TMAG’s collection
and meeting curators from various Location: Darwin
disciplines, they each chose to
respond to objects such as dioramas, The WaPa program is an ongoing
moths, megafauna models and partnership with the walantanalinany
sculpted busts. In addition, Andrew palingina guiding council working with
Harper chose to focus on two little support from CAT.31
Shotgun
Report
Industry access, critical engagement, significant weight amongst industry
new work professionals, artists and audiences
broadly.
Through an intensive individually
designed program of high- While much of the Shotgun 7
level industry access and critical program occurred in 2018 it partly
engagement, Shotgun provides select ran concurrent with Shotgun 8
Tasmanian artists with the support to in 2019, enabling some overlap
progress their practice. Two Shotgun of resources. A new stand-alone
editions occurred across 2019: Shotgun website chronicling
Shotgun 7, Increase Productivity by each edition of the project was
Grace Herbert (May 2018 – April 2019) developed through funding split
and Shotgun 8, dark maria by Eloise across both projects - www.
Kirk (January – October 2019). shotgunonline.net
Shotgun’s reputation has increased Shotgun 7 was a return to the
steadily since its inception in 2010 longer program model of previous
with Shotgun 7 and 8 incurring a editions. Grace Herbert participated
IMAGE: Shotgun 7: Increase Productivity, 2019. Installation detail, hot desk. Photo: Nadia Refaei
marked escalation in national interest. in mentoring, meetings in Hobart
Many of the industry professionals and Melbourne with industry
involved across the previous editions professionals, public programs, a
have a great fondness for the project workshop, commissioned texts,
and continue to act as ambassadors high-level technical support and brought to Tasmania to consult with on making’ way with respected
- spreading the word through their the presentation of new work Herbert: Linda Dement (NSW), Helen cyberfeminist artist, Linda Dement,
networks. Shotgun 7 marked the developed through the program Hughes (VIC), Alexie Glass-Kantor not only advising Herbert but also
second year of Mona’s involvement presented in the CAT Gallery, 16 (NSW), Jasmin Stephens (NSW), working with her to develop the
with the project. The combined March – 21 April 2019. The exhibition Janet Burchill and Jennifer McCamley Bod Pod software.
involvement of major private Increase Productivity was very (VIC). This was the first time a
organisations Mona and DETACHED well regarded. Six highly esteemed Shotgun artist and mentor have Eloise Kirk’s Shotgun 8 program
along with CAT gave the project interstate arts professionals were worked in a collaborative ‘hands- culminated in the presentation33
of dark maria in the CAT Gallery, 27 not impossible to replace. As
September – 27 October 2019. The we move into a particularly
program has bolstered Kirk’s practice uncertain public funding period
by providing her with a set of new it is extremely unlikely that CAT
skills and advancing her critical art can increase its current financial
thinking. The program consisted of contribution to the program.
numerous meetings with members Without some outside support
of the Shotgun curatorium and seven it is difficult to see how Shotgun
respected mentors: Sally Smart can continue in its current format.
(VIC), Lucy Bleach (TAS), Daine Conversely, reflecting on the niche
Singer (VIC), Craig Judd (NSW), value Shotgun has provided to
Alex Pittendrigh (VIC), Chris Bush Tasmanian artists: industry access,
(TAS) and Jason James (TAS). CAT critical engagement and new work
negotiated for Kirk to receive a free opportunities – it is equally difficult
studio space at the University of to see how CAT can afford not to
Tasmania, School of Creative Arts continue the program.
and Media through the AIR residency
program. This enabled the artist to The program operates through a
move from her small home studio in flexible exhibition and curatorial
Brighton to a larger centrally located model that will enable a period
space at the art school that allowed of inactivity without adversely
for an increase in the scale of her impacting on the Shotgun brand.
new Shotgun work. The Shotgun 8 This period of inactivity will be
program was the first iteration of used to imagine possible variations
the project to formally include skill to the model, investigate new
development. Kirk spent several partnership potential or determine
months at the Derwent Valley School an appropriate public end to
of Creative Woodwork with private the program. While the future of
tutorage from Chris Bush. Shotgun is unknown, the history of
the program is impressive. Shotgun
Shotgun 8 was the final program has been a highly profiled and
under the highly successful public valued contribution to Tasmania’s
and private collaboration between contemporary arts culture.
DETACHED (2010 – 19), Mona
(2017 – 19) and CAT. With the end
of the DETACHED, Mona and CAT
partnership, the Shotgun project
is currently in a period of stasis.
The financial and human resources,
and the organisational imprimatur
that DETACHED and Mona brought
to the project will be difficult, if
IMAGE: Eloise Kirk, Shotgun 8: dark maria, 2019. Installation detail. Photo: Rèmi Chauvin35
Touring Touring Program grounded in their own lives; the places
they inhabit; their ideas, hopes, dreams,
Exhibitions fears and passions.
Program Major flooding in Townsville caused
Report the exhibition to be relocated in a
temporary gallery in the town centre
at short notice. The non-standard
The Partnershipping Project venue, previously a department
store, made the installation of the
SELENA DE CARVALHO, KARLA exhibition challenging. The goodwill
DICKENS, RITCHIE ARES DONA, and hard work of Umbrella Studio
ROB DOUMA, PENNY EVANS, LISA staff, the artists and curators enabled
GARLAND, DAVID MANGENNER the exhibition’s public display to
GOUGH, JAMIN, JOAN KELLY, GREG be realised in the most difficult of
In 2019 CAT toured The but did not attract enough venues
LEHMAN, GREG LEONG, ANNE LORD, circumstances. The Partnershipping
Partnershipping Project to for a tour to be viable. Another
GAIL MABO, ARIS PRABAWA, BRIAN Project later traveled to Lismore,
Umbrella Studio Contemporary Salamanca Arts Centre exhibition,
Arts in Townsville, Queensland. ROBINSON, OBERY SAMBO, DAMIEN opening in December. The statistics
Eyes as Big as Plates was also
This was the first tour venue for promoted for touring. The Plimsoll SHEN, HIROMI TANGO, VANGHOUA included in this report refer only to the
The Partnershipping Project. The exhibition Systematic received a ANTHONY VUE, SERA WATERS December 2019 period.
exhibition faced considerable Contemporary Touring Initiative Curator: Professor Emeritus Pat Hoffie
challenges due to a major flood grant and will begin touring in 2020. AM. Associate Curator: Rosemary Miller Venues: Umbrella Studio
event that forced a change of Contemporary Arts (Townsville QLD),
venue at late notice. Due also Tin Camp by Warren Mason was The Partnershipping Project includes Lismore Regional Gallery (NSW)
to the highly unusual nature of accepted onto the program in 2019 twenty regional visual artists working
this exhibition, the continually and will be developed further for on an exhibition that evolves over The Partnershipping Project was a Burnie
changing line up of eight artists at touring. Mason was also successful two years, with local artists joining Regional Art Gallery exhibition toured by
each venue all exhibiting in eight in being awarded a Tasmanian the exhibition at each tour venue. Contemporary Art Tasmania. The project
small boats which are freighted in Aboriginal Arts Mentorship to The project was centred around the was assisted by the Australian Government
a customised shipping container. develop the project with guidance question ‘as on-line experiences take through the Visions of Australia program,
The Partnershipping Project then from CAT staff. up more time in our lives, do our the Australia Council, its arts funding
toured to Lismore Regional Gallery, relationships to place still matter?’ and advisory body, and through the
New South Wales, where it opened Contemporary Art Tasmania Exhibition
in December 2019. The artists come from a broad range of Development Fund.
cultural backgrounds and experiences
In 2019 the Plimsoll Gallery and their works challenge stereotypes
exhibition, Pandemic was about what living in the regions of
promoted for touring but did Australia might mean. They have been
not attract enough venues to inspired by their global experiences
undertake a tour. The Salamanca and outlook to make changes in their
Arts Centre exhibition, Proof of local communities, as well as offer new
Life was also promoted for touring insights. Each artist produced new work37
Exhibition
Development
Fund
The Contemporary Art Tasmania
Exhibition Development Fund (EDF)
exists to assist galleries and arts
organisations with the development of
exhibitions for touring; and encourage
innovative proposals for state and
national touring exhibitions; encourage
proposals that will significantly
develop professional skills of
individuals associated with or working
within the initiating arts organisation
and provide avenues for Tasmanian
artists and curators to be promoted
both within the state and nationally.
The CAT Touring Committee assesses
EDF applications. In 2019 two
applications for EDF were supported:
Wayfaring curated by Dr Zoe Veness
for the Plimsoll Gallery and Untouched
Wilderness curated by Erin Wilson for
Devonport Regional Gallery.
IMAGE: David mangenner Gough, Te Waka a trawlwoolway, 2018, tanned kangaroo hides,
handmade rope, rock, wood, hand-prints on hull, video. Photo: Angela Little39
Public
1. Unspoken Rule: series of events presenting large-scale installations
at the Encounters sector at Art
Basel, Hong Kong. The description
Program
20 & 22 February 2019
of Glass-Kantor’s methodologies
STEVIE S. HAN and approaches to curating across
Report Curator Talks: CAT Members’ Exclusive
and Youth Arc Event
multiple platforms was particularly
well received.
Unspoken Rule curator, Stevie S. Han Alexie Glass-Kantor was brought
delivered two audience specific Curator to Tasmania through the Shotgun 7
Talks supporting the exhibition: a CAT program. Shotgun was a partnership
Members’ Exclusive and Youth Arc project between DETACHED, Mona
Event. Each guided tour included an and CAT.
overview of the curatorial premise and
Increased activity within the 2019 been filled twice-over with the an open discussion of the presented
Public Program was a reflection calibre of contributors a significant artworks. The exhibition examined the
of the collective contribution from draw-card for participants. CAT shifting sense of political and cultural
across all areas of the organisation. partnered with the Devonport agency that finds urgency with many
11 events were delivered with three Regional Gallery to present the contemporary artists.
of these comprised of multiple workshop with support from
sections: Unspoken Rule (2), Np423 the National Gallery of Australia. 3. Anthropocene Noir
(6) and Chado (2). Audience The one-day event was aimed
numbers increased by 649 against at professional level gallery staff 3 May 2019
2. Shotgun 7: Approaches to
the previous year to bring the total and volunteers with participants
number of program participants in travelling from throughout Curating in a Global Context ERIN LINHART, EMILY PARSONS-
2019 to 1481. CAT strove to enhance Tasmania to attend. LORD, EVA NILSSEN, DEXTER
audience engagement with the art 21 February 2019 ROSENGRAVE, ELISSA WILSON
and ideas of our time through two The ardent artist support for the Artist and Curator Talk
distinct Public Program streams: organisation was particularly ALEXIE GLASS-KANTOR
stand-alone events and those that evident in The Roaring Forties Curator Talk CAT Curatorial Mentorship
support other CAT activities. A event. CAT Studio Residency artist, recipient Eva Nilssen spoke with
diversity of program formats was Julia Drouhin generously initiated An engaged audience gathered at the presenting artists (above) who
on offer throughout the year and the project which capitalised on her CAT to listen to Artspace, Executive each offered a précis of their work
it was pleasing to see a resurgence French and Tasmanian networks. Director, Alexie Glass-Kantor speak prior to the exhibition opening.
in workshops, the majority fully The Roaring Forties attained the about her extensive curatorial practice, The discussions included Nilssen
subscribed. highest public program audience publishing and recent residency expressing her curatorial viewpoint
numbers across 2019 with 80 projects. She provided insights on on the current geological age of the
The Art Handling & Display Workshop people gathered in the CAT Gallery working with international artists across Anthropocene and gave opportunity
enabled CAT to deliver a major and 683 engaging online. generations to develop collaborative for the artists to speak to the
public program in the north-west of projects in independent spaces, large audience about their diverse
the state. Places at this high-level collecting institutions, biennials and perspectives on the impact of human
specialist industry event could have festivals, as well as her experience of activity on the planet.41
4. Shotgun 8: The 5. Art Handling & Display
Choreography of Cutting
13 August 2019
12 July 2019
MICHELLE BERRY, MARK
SALLY SMART COLEGRAVE, SCOT COTTERELL,
Artist Talk JOEL ARTHUR
Workshop
Sally Smart is known for her large-scale
cut-out assemblage installations and This major industry focussed
increasingly, performance and video. workshop was presented in
Her practice engages identity politics Devonport.
and the relationships between the body,
thought and culture including trans- Freelance conservator Michelle
national ideas that have shaped cultural Berry focussed on the methods of
history. Smart discussed her most examining and documenting changes
recent work, The Violet Ballet from The to artworks and other loaned objects
IMAGE: Dexter Rosengrave, Brunch with the Birds (a performance for the camera), 2019.
Choreography of Cutting series. This while they are in the care of the
Video still. Courtesy of the artist. This public program was presented through the 2019 CAT
installation and three channel moving presenting organisation. National
Curatorial Mentorship.
image work continues Smart’s enduring Gallery of Australia Preparator, Joel
fascination with the avant-garde dance Arthur discussed the approaches
company the Ballets Russes (1909- and protocols used by the National
1929), known for its experimental Gallery of Australia when handling, opportunity for conversations and 6. Np423: series of events
choreography, costume and theatre preparing and installing works networking built into the program.
design. of art. Mona Time-based Media 17 - 25 August 2019
Manager, Scot Cotterell provided A partnership event presented by
Sally Smart was in Tasmania courtesy an overview of the key concepts Devonport Regional Gallery and CAT DYLAN SHERIDAN
of Shotgun 8. Shotgun is a partnership relating to Time-based Media and with support from National Gallery Workshops and Artist Talks
project between DETACHED, Mona Audio-visual artwork handling and of Australia.
and CAT. installation within his thorough and This popular series of events
clear presentation. The overall role of provided an opportunity for a range
museum and art exhibition lighting of audience groups to gain insights
was described by Tasmanian Museum into Dylan Sheridan’s working
and Art Gallery lighting expert, practices and engage with his
Mark Colegrave within his practical non-human performing machines.
demonstration of the procedures Set within the gallery exhibition
and protocols of lighting collection Np423: empty orchestra, Sheridan
objects, artefacts and artworks as examined aspects of contemporary
well as light-sensitive material. Each sound practice including what makes
presentation was followed by a motorgenic exhibition work - motors
valuable Q&A session with additional and control. Participants were also43
able to take part in the Listening The Roaring Forties was co-
to Light sessions where they produced by the Structures Sonores
were encouraged to expand their Baschet Association, FAIR_PLAY
understanding of sound. and Contemporary Art Tasmania.
The project was assisted by the
Australian Government through the
Australia Council, its arts funding and
advisory body during a three-months
residency at the Cité internationale
des arts in Paris, France.
7. The Roaring Forties
31 August 2019
DINAHBIRD, BLENNO DIE
WURSTBRUCKE POVERA, EMILE
BOUDGHENE, ANGELIQUE
8. Shotgun 8: dark maria
BUISSON, PIERRE-YVAN BLONDET,
4 October 2019
MARCO DAPIC, JULIA DROUHIN,
FREDERIC FRADET, MICHAL
MITRO, JONATHAN POULET, ELOISE KIRK, KYLIE JOHNSON
JEAN -PHILIPPE RENOULT, LEA Art Forum
RODGER, DEXTER ROSENGRAVE,
MARTIN ROY, VALERIE VIVANCOS, Shotgun 8 artist Eloise Kirk spoke
DYLAN SHERIDAN, EMILY about the development of her
SHEPPARD, TARAB, SONNETT exhibition dark maria. Kirk collected,
Live Stream Performances divided and then reassembled images
and materials, pitting the precious
Artists from France and Tasmania against the precarious. The work in
were brought together through dark maria is explicitly elemental,
The Roaring Forties temporary FM offering an aesthetic response to the
radio and online streaming concerts. interval between beauty and disaster,
Organised by Julia Drouhin, the event straddling the periphery of the
was an audio conversation between romantic and the surreal. Shotgun
the Structures Sonores Baschet barn coordinator Kylie Johnson prefaced
(where Drouhin was mentored during the Art Forum with an introduction
a residency in Paris, France), and to Shotgun and Kirk’s customised
Dylan Sheridan’s exhibition Np423b: program of high-level industry
empty orchestra at CAT. access, production assistance and IMAGE: Dylan Sheridan, Np423: empty orchestra, gallery view, 2019. Installation.
critical engagement. Photo: Rémi ChauvinYou can also read
