Internationally acclaimed, Qiu is considered to be one
of the most exciting artists who has emerged amongst a new generation
of contemporary Chinese artists. Nostalgia is a key element of Gallery
4A's program of international contemporary Asian art and is an event of
the City of Sydney Chinese New Year Festival, which in 2009 coincides
with the Australia Day celebrations.
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Gallery
4A is proud to present Vain Efforts, a solo exhibition of recent work
by MING WONG. This will be Wong's first solo exhibition in Australia.
Timed to coincide with the Sydney Gay and Lesbian Mardi Gras Festival,
Vain Efforts is a key element of Gallery 4A's 2009 program of
international contemporary Asian art. Vain Efforts will also include a
special one-night only screening of key video works by Ming Wong as
part of Gallery 4A's Cinema Alley, an offsite street "cinema"
initiative for contemporary video art.
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Koji Ryui and Huseyin
Sami are both Sydney based artist who have been making work for more
than a decade. Their work practice encompasses performance,
installation, painting and sculpture and they have several points of
similarity. Both are driven by a desire to question our rational
expectation of what a painting, or a sculpture is and how it operates
as a work of art.
For
their project at Gallery 4A, they have made new work that responds to
the site and context of the gallery. The result is two large individual
installation projects that will occupy both levels of the gallery.
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In Winter 2009, Gallery 4A's
focus shifts towards West Asia and the Arab world shedding light on the
ways in which international issues of migration, integration,
assimilation are interpreted and influence the works of contemporary
artists.
Integration, Assimilation and a fair go for All
is a multi-channel video installation that will occupy both levels of
Gallery 4A. It is the latest project in Khaled Sababi's ongoing body of
work to address ideas of contact and conflict. Sabsabi is an artist who
is not only engaged politically, but an artist who offers us different
ways of thinking through relationships and place in the world.
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For
the first time Nightvision displayed a playful and interactive new
media artwork where audience involvement forms a central part of the
piece, showcasing the work of emerging Taiwanese artist Hogi Tsai as part of an ongoing series of new media and animation exhibits.
Each night from 6PM the shop front window of Gallery 4A came alive with pixelated blocks of colour, activated by the
movement of passers-by. A melody of sound chimes as the
rainbow-coloured blocks light up animated by the audience's shadows and
movement.
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Originally born in Central Java in Indonesia, Dadang Christanto's
work has been widely exhibited in Australia, Indonesia, Japan and
throughout the Asia region in some of the most important exhibitions of
contemporary Asian art. His work is a powerful reminder of the human
impact of disaster -
the disaster of war, the trauma of disappearance
and now the impact of the man made mud catastrophe in the Sidoarjo
Region of East Java.
Gallery 4A presented two performances by Dadang Christanto in conjunction with this exhibition.
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'SPEAKEASY' profiles Asian-Australian history entangled with an Aboriginal history of Australia. In this
exhibition, the title refers to the longstanding contribution of
Indigenous and Asian history often overlooked in Australia's colonial
history. This exhibition delves into previously untold stories in
Australia and marks a fundamental shift in thinking about intercultural
relationships, politics and geography.
This exhibition was co-curated by Brisbane-based artist Vernon Ah Kee and Gallery 4A's Director, Aaron Seeto. Vernon Ah-Kee also presented works in the exhibition.
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Sangeeta Sandrasegar's series of silhouettes, ornately decorated and crafted from diverse materials, mythologise culturally proscribed forms of identity by juxtaposing allegorical figures with contemporary social roles. The exhibition premiered a new series of acrylic sculptures that wove their way through the gallery, playing with light and shadow.
Sandrasegar's frequent use of outlines and shadows in her work gives a voice to the identities of people caught on the margins of society. It is in these fluctuating shadows and ephemeral spaces that the ambiguous status of individuals caught in a complex social structures can be unearthed and questioned.
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