Filtering by: Future
Ted McKinlay
Oct
25
to Nov 3

Ted McKinlay

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Prototype | Ted McKinlay

Opening: Friday 25th October 6.30-8.30pm

Exhibition: 25th October - 3rd November

One stands before Ted McKinlay’s pastel drawings as before an attractive but vexing puzzle. The first look reveals a complex and pleasurable assemblage of line, shape and colour, which gives way to a nagging feeling that you’re not getting it all. This is because the shapes are not always defined and the planes intimate things hidden, as though concealed within a stereogram. What we really see is a painstaking negotiation between the artist and the very terms on which representation is grounded.

McKinlay’s drawings explore an optic space between figuration and abstraction, between the mark that renders something definite and the two-dimensional surface into which it disappears. He brings a single-minded focus to questions of form: How do we break the picture plane? How do spacial properties intersect in the shaping of something? Does light articulate or dissolve? How can an object disappear behind another without pushing it so far back as to lose its relationship to other things? Does colour create tonal depth? (Why do shadows so often have a green or blue hue?)

And from this arise questions of meaning. What is the point of figuration today? Why do we still see ourselves and our architectural structures as belonging to a landscape when our forms of social organisation are antithetical to the landscape as a living system? In the face of climate heating and an incipient mass-extinction how if it all can we move beyond the narrow epistemic lens of the anthropocene? The obvious beauty in these images — their careful arrangement of colour and shape — exposes nagging questions that are resolved in your or my opinion but never in themselves. In a sense these questions are perennial and it’s how McKinlay approaches them which matters. It’s that he grapples with them like a mongrel and refuses to let go. Whether he settles them or not is missing the point.

Safdar Ahmed


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GLOW | The 69 Collective
Nov
8
to Nov 24

GLOW | The 69 Collective

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GLOW | The 69 Collective

Opening: Friday 08th November 6.30-8.30pm

Exhibition: 08th - 24th November

The 69 Collective is an ARI arts organisation. The 69 Collective promotes community involvement in diverse visual art practices that reflect the zeitgeist in their response to contemporary issues, individual expression and group actions. The Association supports artists’ practice and encourages achievement of individual and group goals. Mutual support and assistance between artists, with a view to furthering artistic professional development is encouraged.

Our home is in Collingwood as we originated in an ARI space at 69 Smith Street before the building was sold in 2017. We now operate as an arts collective without walls. The collective meets regularly and hold exhibitions.

Recent exhibitions have been held at Collingwood Gallery, The Black Cat Gallery and Rubicon ARI. This group exhibition at Neon Parlour although not themed references the gallery with the title Glow.

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AMBIGUOUS CHOREOGRAPHY | Cleo Coppinger
Oct
10
8:00 PM20:00

AMBIGUOUS CHOREOGRAPHY | Cleo Coppinger

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AMBIGUOUS CHOREOGRAPHY | Cleo Coppinger

THURSDAY 10 OCTOBER 8-9.30 PM

Ambiguous Choreography is a one night performance which explores how daily moments can be rediscovered in order to become more connected to the present moment and each other. Using the dining table as a set and the gallery as a stage, the performance sets up situations to procure new modes of dining and connection at the dinner table. Objects and instructions provide an ambiguous choreography, and one that is open to interpretation, allowing the diners to take ownership of their experience. 

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Cleo Coppinger is a designer and maker based in Melbourne. Her practice is object oriented, driven by making, curation and collection. Cleo seeks to explore the connection between people and their surroundings, and people and objects. 

With a practice sensitive to the environment, prioritising subtle gestures and minimal impact design, her work is reflective, using annotation, drawing, and written and photographic documentation as a means of working.

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Fa Faye Fa | Mo Flannery | Sebastian Ingram
Sep
20
to Sep 29

Fa Faye Fa | Mo Flannery | Sebastian Ingram

Opening: Thursday 26th September 6.30-8.30pm

Exhibition: 20th - 29th September

Fa Faye Fa

FAFAYEFA

時間,瞬間即逝,並沒有所謂的「現在」,一切其實都只不過是重重叠叠的「過去」,非常虛幻。

沒有甚麼特別的攝影技巧,亦沒有甚麼刻意的主題或理論在背後支持,只是簡單直接地用着?所送的自製針孔相機,去嘗試在永遠前向的時間裡把看見的美麗吸取、定格一一一藍天,白雲,涼風,微雨,咖啡室內的悦耳音樂,橱窗內的聖誕燈飾,街角上的舊鐡罐,家裡收集的玩具,遊樂塲內的歡笑,黃家衛的電影,朋友的面容,繁華的都市,一個人在途上的寂寞與迷惘⋯⋯

曰出。

日落。

轉眼間-天又過去了,疑幻疑真。或許在某個角度,這些零碎的美麗,便是昨天曾經掠過的證據。

A moment, immediately past and gone, the 'present' is merely layers of overlapping 'past', very illusive.Without any specific theme nor supporting theories, just simply using M's home-made pinhole camera to try to; in the forever forward flowing river of time (as how we perceive time); absorb and capsulate the beauty from the everyday ordinary


NIGHTVISION | Mo Flannery

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NIGHTVISION is a series of distinct photographic works that explore the documentation of the urban nightscape of Melbourne.

The series investigates the different modes of representation through the observational documenting of the city using analogue film. It also explores the way that technology autonomously documents the landscape through the appropriated footage of low digital CCTV cameras. Expanding this theme is the multi focal night vision apparatus utilised by police airwing pilots, highlighting the visual representations that encompass a consumerist and surveilled environment.

Mo Flannery is a Melbourne based moving image and photographic artist whose work examines the politics of vision through the intersections of technology and documentary. Her audio-visual works have featured in Film and Video festivals in Europe, North America and the United Kingdom.


untitled [ butchers paper ] | Sebastian Ingram

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Sebastian Ingram’s exhibition untitled [ butchers paper ] are photocopied prints of sheets of paper scrunched, folded, manipulated without intent that give the viewer a series of inflexible and striated images. The rigidness and monochromatic regularity of his medium combined with the intricate play of folds and shadows that seem to compete for space itself, make the works dynamic and reorients the exhibition space into a pataphysical aside.


The plethora of the image in tight confines positions the viewer to enter Ingram’s very process of his work. Being enveloped into his process, the works encourage us to disparage the notion of an accurate copy or to put the very dichotomy of the original and copy aside. In a Baudrillard like manner, Ingram’s show declares that there are only copies of copies, where even the ‘imitation’ can, in fact, precede the original. Being deprived of boundaries, structures and consensus, the image saturated viewer becomes entangled into the replicative process where the concept of the ‘original’ itself dissolves. 

words by: Brenton Hale

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