11 September 2012

2 cities, 1 night: London and Sydney

Thursday 13 September 2012:

For those in London, head to Constructed Scenario: The Third Space at 4 Wilkes St, London E1 6QF, where new works in painting, sculpture and installation by artists Claudia Djabbari, Merike Estna (below) and Annie Hémond Hotte will be presented along with text-works by the curators Catherine Borra and Juste Kostikovaite.

As the press release states: 'Between space, shapes, objects, and made up contexts the artists offer us a scenario investigating the limits between what is and what might be.' Rather than describing or analysing the artworks presented by Djabbari, Estna and Hotte, the curators' texts function as works in their own right - so beside rather than on top of the artists' pieces. This is an excerpt from Borra's beautiful text (which can be downloaded here):

The outside of the hide is camouflaged with local grasses that grow on its roof, while the wooden sides will maintain their natural colours in order to prevent any visual disturbance – in line with the behaviour of the watchers. It is an essential module, that is repeated throughout the reserve, testifying to the silence of the spectator, that looks over a show that is not made for entertainment but for the show itself. The ideal it tends towards is the exclusion of the unnecessary, as the perfect hide would be an empty hide.


The private view starts at 5pm and goes until 9pm but if you can't make this Thursday, the show runs through Sunday 23 September 2012 and is open every day!

For more information on the show and those involved, visit constructedscenario.eu.

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For those in Sydney, Thursday sees the opening of Photo-Sculpture pictures, objects and paradox at MOP (2/39 Abercrombie St. Chippendale, NSW 2008), featuring artists Criena Court, Michaela Gleave, Gemma Messih, SuperKaleidoscope (Kim Fasher & Sarah Mosca) and Marian Tubbs (below).

The press release says that 'the conceptual framework for P-S emerged from a conversation between the artists, regarding the changing nature of photographic representation. The discussion prompted questions concerning notions of authenticity, reality and observation and the paradoxes inherent in the presentation of photographs.' It will be exciting to see these artists exploring the function of photography (in the expanded sense of the term) within each of their practices, particularly considering the diverse interests, experiences and approaches of the included artists.


An excerpt from writer Amelia Groom's accompanying text, 'Photo-Sculpture, Pictures, Objects and Paradox':

I remember looking through an issue of Cosmopolitan magazine, when I would have been about twelve. There was a double page spread showing a football player, naked, reclining on a grass field, holding a football over his cock. I scrutinised the outline of the football, trying to peek what was behind it. I tilted the magazine at various angles, trying to see the flat image from the side. As a last resort, I turned the page over, in case the back of the printed matter revealed what was on the surface fully obscured. Predictably enough, all were futile attempts at experiencing something two-dimensional as something with depth. Since I was dealing with nothing more than pigments arranged on a plane, the ball was not covering but replacing. For the sake of the image, my football player had been castrated.


The Photo-Sculpture opening goes from 6-8pm but if you can't make it, the show runs through Sunday 30 September 2012.

For more information on the show and those involved, visit: mop.org.au.

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