Exhibition Dates: Opening Wednesday 16 6-8pm until April 2nd.
Malleable Scenario. Marcin Wojcik. Gallery 1.
Reaching ‘the scene’ attempts to manifest the elusive state available only to those who commit themselves to a moment’s endurance. Going alone with eyes set on some enigmatic endpoint on a set course / line / road. In this body of work, the re-constructed scenario’s pits the solitary athlete (a cyclist) against multiple horizons (the scene) in a perpetual pursuit. Here the cast cyclist peddles endlessly forward around a velodrome, up a mountain as well as attempting to chase the unattainable. The aim of the task is to commit and give everything – to practice and exercise through the pain and the zen of repetition. Further, each scenario gestures a depth of the horizon we all chase but what is given instead are abstracted clues, some of which finished with a flat hum of ‘special effects process blue’ – in this case, a colour field used to emanate the act of entering ’the zone’.
Lightweight Heavy. Anna Horne. Gallery 2.
Anna Horne presents a series of sculptures focusing on the balance and opposition between materials in her art practice. Horne’s work emphasises process articulating states of tension and the transience of the material world. In the making of each work principal materials, concrete, plaster and metal are cast in plastic moulds made from things such as beach balls, wine sacks and plastic table clothes. Horne selects commonplace objects for their inherent physical qualities playing with the gravitation created between materials. Each work discovers new limits where unexpected sculptural compositions are formed that attain beauty in the familiar and the functionless.
In the Stadium (the 14 categories). Paula Hunt. Gallery 3.
The 14 Categories of Stadia: a) for football, b) on television, c) where pigs graze, d) having been lit by flares, e) where washing is hung, f) home, g) away, h) archived, i) undercover, j) elephant walks, k) in need of weeding, l) for marching bands, m) the future, n) that when photographed from a helicopter look like a zero branded into the earth.
The stadium is a place where absurdity is repudiated, through sport, while embraced, through politics. Not only a sports arena it is a carnival ground, museum, prison and theatre. It is both local and global, and embodies community, rebellion, farce and fascism (sometimes all simultaneously). ‘In the Stadium (the 14 categories)’ explores the ambiguous nature of the stadium by constructing ambivalent narratives from historical events that have occurred within its boundaries. More info…
This project has been assisted by the generous support of the City of Yarra and NAVA. The Australian Artists’ Grant is a NAVA initiative, made possible through the generous sponsorship of Mrs Janet Holmes à Court and the support of the Visual Arts Board, Australia Council for the Arts.
Inertia. David Attwood and Clare Peake. Gallery 4.
The passing of time is audibly marked by the relentless ticking of the clock, each tick marking a moments passing before this moment is lamented in a following tock. The tick anticipates achievement, production and almost appears in the air as harnessable energy. The tock on the other hand is its sad counterpart – a reminder that none of the anticipated achievements were achieved, deadlines were missed and opportunities quashed. The perpetual tick/tock anthem beats on as both a monument to the past and a marker of the future.
The exhibition Inertia sees Perth based artists David Attwood and Clare Peake present new works that address the passing of time in a futile effort to abscond its passing. Fluctuating somewhere between the bleak and the optimistic, Inertia reflects on the implications of time now past and the ever pending future.
Self Portrait as OkCupid Questionnaire. Carla Adams. Gallery 5.
‘Self Portrait as OkCupid Questionnaire’ is a screen recording of artist Carla Adams typing answers to questions that form part of the ‘match survey’ on dating website OkCupid.com
This work was made at the start of a studio residency at Perth Institute of Contemporary Arts where I set myself the task of finding an online boyfriend and making work in response to the relationship. This video poses questions about how women chose to present themselves online – especially in an environment where the male gaze is so heavily exercised.
Bus Projects, 25–31 Rokeby Street, Collingwood
Opening Hours – Tues – Fri 12 – 6pm, Sat 10am – 4pm