News
Heide Museum of Modern Art will present National Gallery of Australia exhibition TERMINUS, a collaboration between New York based visual artist Jess Johnson and Wellington, New Zealand based video maker and animator Simon Ward. Exploring reality as malleable and multiple, the exhibition features five virtual reality artworks situated on a full-scale tessellated floor map and was curated by National Gallery Senior Curator of Contemporary Art Jaklyn Babington. Commissioned by the National Gallery and the Balnaves Foundation, TERMINUS will be presented for the first time in Melbourne at Heide Museum of Modern Art from Saturday 2 November 2019 to 1 March 2020.
Heide Museum of Modern Art will present National Gallery of Australia exhibition TERMINUS, a collaboration between New York based visual artist Jess Johnson and Wellington, New Zealand based video maker and animator Simon Ward. Exploring reality as malleable and multiple, the exhibition features five virtual reality artworks situated on a full-scale tessellated floor map and was curated by National Gallery Senior Curator of Contemporary Art Jaklyn Babington. Commissioned by the National Gallery and the Balnaves Foundation, TERMINUS will be presented for the first time in Melbourne at Heide Museum of Modern Art from Saturday 2 November 2019 to 1 March 2020. It is the first stop of its national tour by the National Gallery of Australia.
TERMINUS is a mysterious universe of alien architecture populated by humanoid clones and cryptic symbols, explored via a network of travellators and gateways, that presents the viewer with a quest into the technological, and through time and space, as they explore five distinct realms.
IMAGE: Jess Johnson and Simon Ward, Terminus 2017 – 18 (still), virtual reality experience in five parts: colour, sound. National Gallery of Australia, Canberra. Commissioned with the assistance of The Balnaves Foundation 2017. Purchased 2018
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Petrina Hicks: Bleached Gothic is the first major survey exhibition of celebrated Australian photographer Petrina Hicks. Over her fifteen-year career, Hicks has gained a strong reputation for her enigmatic, multi-layered and beautiful photographs. The exhibition includes more than forty photograph and video works spanning the period 2003 to 2019. Seen together for the first time, Hicks’s shimmering and often surreal compositions convey the inherent ambiguity and complexity of the female experience.
Drawing on mythology and art history, Hicks’ works rely almost exclusively on the ethereal nature of her models (including an albino cabaret dancer, snakes and an award-winning hairless cat) and are imbued with the tension between seduction and danger, familiarity and strangeness, intimacy and distance.
Petrina Hicks: Bleached Gothic is the first major survey exhibition of celebrated Australian photographer Petrina Hicks. Over her fifteen-year career, Hicks has gained a strong reputation for her enigmatic, multi-layered and beautiful photographs. The exhibition includes more than forty photograph and video works spanning the period 2003 to 2019. Seen together for the first time, Hicks’s shimmering and often surreal compositions convey the inherent ambiguity and complexity of the female experience.
Drawing on mythology and art history, Hicks’ works rely almost exclusively on the ethereal nature of her models (including an albino cabaret dancer, snakes and an award-winning hairless cat) and are imbued with the tension between seduction and danger, familiarity and strangeness, intimacy and distance.
This free exhibition is showing at the NGV Australia until 15 March 2020.
IMAGE CAPTION: Petrina Hicks Australia born 1972, Serpentina II 2015, from The Unbearable Lightness of Being series 2015, pigment inkjet print, 100.0 x 100.0 (image). Collection of the artist, courtesy Michael Reid, Sydney; and This Is No Fantasy, Melbourne © Petrina Hicks. Courtesy of Michael Reid, Sydney; and This Is No Fantasy, Melbourne
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Olympia: Photographs by Polixeni Papapetrou is the first major museum retrospective of Australian photographer Polixeni Papapetrou (1961–2018). Drawing from the NGV Collection and the artist’s estate, the exhibition comprises photographs of the artist’s daughter Olympia. From her birth (1997) until her mother’s death last year, Olympia played a central role in Papapetrou’s image-making, variously assuming the complex roles of model and muse, collaborator and champion.
Olympia: Photographs by Polixeni Papapetrou surveys twenty years of Papapetrou’s practice and includes works from her best-known series, as well as images never before displayed in Melbourne.
Olympia: Photographs by Polixeni Papapetrou is the first major museum retrospective of Australian photographer Polixeni Papapetrou (1961–2018). Drawing from the NGV Collection and the artist’s estate, the exhibition comprises photographs of the artist’s daughter Olympia. From her birth (1997) until her mother’s death last year, Olympia played a central role in Papapetrou’s image-making, variously assuming the complex roles of model and muse, collaborator and champion.
Olympia: Photographs by Polixeni Papapetrou surveys twenty years of Papapetrou’s practice and includes works from her best-known series, as well as images never before displayed in Melbourne. Influenced by her PhD on the work of nineteenth-century English author Lewis Carroll, Papapetrou’s work explores the representation of children in historical and contemporary settings and their role in society, the complex stereotypes surrounding childhood and, later, issues of identity and the individual.
This free exhibition is on at NGV Australia until 15 March 2020
IMAGE CAPTION: Polixeni Papapetrou, The debutants 2009 from the Between Worlds series 2009, inkjet print, 105.0 x 105.0 cm, Private collection © The estate of Polixeni Papapetrou, Michael Reid Gallery (Sydney) and Jarvis Dooney (Berlin)
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From 5 October to 21 December 2019, Anna Schwartz Gallery will present Never the same river, a landmark, large-scale group exhibition of work by over 50 visionary Australian and international artists spanning the 1980s to the present. Never the same river is an exhibition of works of art across timeframes, acknowledging that the ways in which artists engage ideas and produce work does not necessarily follow a linear path. The exhibition draws from the exhibition histories of four galleries – Melbourne’s United Artists (1982—1988), City Gallery (1988—1993), and Anna Schwartz Gallery, in both Melbourne (1993—present) and Sydney (2008—2015).
From 5 October to 21 December 2019, Anna Schwartz Gallery will present Never the same river, a landmark, large-scale group exhibition of work by over 50 visionary Australian and international artists spanning the 1980s to the present. Never the same river is an exhibition of works of art across timeframes, acknowledging that the ways in which artists engage ideas and produce work does not necessarily follow a linear path. The exhibition draws from the exhibition histories of four galleries – Melbourne’s United Artists (1982—1988), City Gallery (1988—1993), and Anna Schwartz Gallery, in both Melbourne (1993—present) and Sydney (2008—2015).
Never the same river elaborates the themes, ideas, beliefs, and passions that have motivated the artists in their struggle to work within and against established conventions. Many works directly engage the political and social contexts of their time, and are redefined by the present tense.
The exhibition will be designed in collaboration with award-winning architecture firm, Denton Corker Marshall, who designed the gallery at 185 Flinders Lane in 1993.
Image: Shelley Lasica, Dress, 1998, a costumed performance in collaboration with designer Martin Grant. Photo Kate Gollings.
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