Paula Wong: Take

23 November – 15 December, 2001

Take is a collection of new video works by Paula Wong produced during her recent studies at Goldsmiths College, on a Samstag Scholarship. The ambiguous imagery in these silent video pieces destabilise the viewer by challenging their sense of the familiar, questioning the processes of vision and cognition.

Paula Wong is a based in Melbourne. She was included in the Moet & Chandon travelling exhibition in 1999 and has exhibited widely throughout Australia, at RMIT University Galleries; the Art Gallery of New South Wales and the National Gallery of Australia.

Aaron Seeto: The one thousand other things

23 November – 15 December, 2001

The one thousand other things is an exhibition by Aaron Seeto, which explores the blurring of plots from B-grade Kung Fu films and stories retold through the family photo album. Using food, specifically 1000-year-old eggs and salt preserved duck eggs, relished Chinese delicacies; Seeto creates photographs using and old salt photographic process. On these eggs, texts from Kung Fu films are interspersed with pictures of distant relatives, plotlines of murder, intrigue and honour, popular Hong Kong cinema and Australian urban domestic environments converge.

Aaron Seeto is an emerging Sydney-based artist. He has been included in exhibitions at Wollongong City Gallery; Casula Powerhouse; Hazelhurst Regional Gallery and he is a participant in the Weather Report Project in The Hague, The Netherlands.

Xiao Xian Liu: From My Other Lives to the Present

21 September – 20 October, 2001

Xiao Xian Liu’s exhibition examines history and race in the context of his Chinese background. Games and The Way We Eat are new works that draw on the difference between what is native and what is introduced to Australia. Playing on famous Australian icons, the artist creates a humourous view of of our sense of identity. In My Other Lives traditional stereographs are incorporated with the artist’s face. This process alters the identity in the picture and contrasts the European with the Asian face.

Xiao Xian Liu is a Chinese artist based in Sydney. He has shown at the National Gallery of Australia and The Moet & Chandon Exhibition Passing Time at the Art Gallery of New South Wales.

Michael Bullock: Rubber Fish (Con Cá Cao Su)

21 September – 20 October, 2001

Rubber Fish (Con Cá Con Su) is an exhibition by Michael Bullock which was made during an artist residency in Hanoi, Vietnam. It features a school of fish made from recycled car, bicycle and truck inner tubes, inflated and suspended in mid-air. The work was inspired by the contrast of social conditions in Vietnam. The fish is also a potent symbol in Vietnamese culture, portraying luck and fertility.

Dong Wang Fan: Descendants

20 April – 19 May, 2001

Descendants is an exhibition by Dong Wang Fan that examines cultural identity and spatial ambiguity. The five paintings in Descendants feature computer-generated objects to represent a kind of futuristic creature with mechanical parts.

Dong Wang Fan is a Chinese-born artist currently living in Sydney. He has held many exhibitions since migrating to Australia including at the Drill Hall Gallery; Australian National University; Wollongong City Gallery; Hazelhurst Regional Gallery; Campbelltown City Art Gallery and Ray Hughes Gallery, Sydney.

Nelia Justo: My Pleasure is Your Tea

21 April – 19 May, 2001

My Pleasure is Your Tea is a series of works by Nelia Justo which explores the relationship between Eastern and Western cultures through an examination of historical trade ties between Europe and Asia in the 15th – 19th Centuries. By incorporating aspects of refined goods with mass produced electronic parts, Justo explores the cultural, sociological and economical repercussions created in trade between two cultural identities.

Nelia Justo is a French-born emerging artist based in Sydney. She has shown at numerous galleries throughout Australia, including the 13th Tamworth Fibre Textile Biennial; Jam Factory, Adelaide; the Institute of Modern Art, Brisbane as well as overseas.

Tim Silver: Untitled (viole(n)t crumble)

22 June – 14 July, 2001

untitled (viole(n)t crumble) is an exhibition of new work by Tim Silver of chocolate moulded Action Man figures. Using the stickiness of sugar as a raw material of commodification, Silver examines the relationship between art and commerce.

Tim Silver is an emerging Sydney-based artist who has exhibited in artist-run spaces in Sydney and Melbourne.

Greg Leong: Singing History Quilts For New Chinese Australians

22 June – 14 July, 2001

Singing History Quilts For New Chinese Australians is an exhibition by Greg Leong which explores the celebrations of the Centenary of Federation through textiles and karaoke. In this series, richly decorated quilts sing Australiana classics that have been translated into Cantonese. These intricately designed quilts combine iconic Australian paintings with references to traditional Chinese textiles to explore an alternative perspective on the recent celebrations.

Greg Leong is a Tasmania-based artist who has exhibited at Tamworth Regional Gallery, Object Gallery, as well as internationally In Kuala Lumpur, Malaysia.

Dani Marti: You Make Me Feel Like Love, Peace and Happiness

15 March – 14 April, 2001

You Make Me Feel Like Love, Peace and Happiness is an exhibition of new works by Dani Marti.

Linda is a teaser and a seducer. Linda is the personification of Marti’s work of highly textural weave. Representing psycho-sexual tension, strands criss-cross to reveal sensual curves that are at the same time stretched taut along the plane. Like magnified swatches of fabric, the works act as conjuring devices, giving the viewer leave to create their own Linda provided it is within the bounds which dictates her persona.

 

linda 216 A4 digital prints, pins on board approx. 350 x 250 x 60 cm. Image supplied by artist.
linda 216 A4 digital prints, pins on board approx. 350 x 250 x 60 cm. Image supplied by artist.

Dani Marti is a Sydney-based artist. He has had exhibitions at the Art Gallery of New South Wales, Artspace, Gitte Weiss Gallery and Gallery 19.

Kate Beynon: Li Ji: Warrior Girl

15 March – 14 April, 2001

Li Ji: Warrior Girl is an animated video and audio installation by Kate Beynon. Li Ji is the modern reincarnation of an ancient Chinese heroine by the same name. As she wanders through Melbourne at night, she encounters new hostilities. But unlike the treat of the maiden-eating python of her past life, Li Ji battles with the issue of being accepted as Australian. Li Ji: Warrior Girl is an exploration into the complex issues of race, identity, migration and belonging.

The Mandala Project

18 January – 3 February 2001

Organiser: The Sydney Zen Centre
Artists: Glenys Jackson, Daniel Bogunovic, My Le Thai, Tim Johnson, Gilly Coote, Brendon Stewart, Sue Murray, Savanhdary Vongpoothorn and members of the Sydney Buddhist community

The Mandala Project is a collaborative work in progress organised by the Sydney Zen Centre bringing Zen, Chinese, Laotian, Tibetan and Vietnamese Buddhist communities together with visual artists. As the mandala gradually takes shape on the floor of the gallery, the design is covered with everyday objects such as beads, beans, rice, flowers, leaves, spices, seeds, coffee and tea. The participants in the project have individual artistic freedom to paint with and layer the colourful and aromatic materials, but in a spirit of mindfulness, will work with what has come before. Each day, as different individuals work on sections of the mandala, the design will unfold organically moment by moment.

Following Buddhist principles, the process of creation will include dissolution, making reference to the impermanence of our lives. A closing ceremony celebrating the mandala’s completeness and destruction will be held Saturday 3 February 2001, 3-6pm with a Buddhist blessing by Subhana Barzaghi, Sydney Zen Centre and guest speaker Jackie Menzies, Head Curator of Asian Art, Art Gallery of New South Wales.

The Mandala Project is an official event of the Sydney Fringe Festival, 2001.

Header image: The Mandala Project [detail], 2001, installation view

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The Mandala Project, 2001, exhibition view

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The Mandala Project, 2001, installation view

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The Mandala Project [detail], 2001, installation view

Megan Keating: Different Reds

20 July – 18 August 2001

In the age of global capitalisation and urbanisation, it no longer seems appropriate to discuss the sublime in terms of the natural world. For instance the sublime can be readily found in the spectacle of public events, such as rave parties, ticket-tape parades and political rallies. In these forums, feelings of unity, heroism and nationalism are unleashed. The conjunction of mass crowds, technology and enthusiastic fervour prescribes a response that is intrinsically caught up in the profusion of the moment. Swept up in this assembly of masses is an underlying current of tension, an uneasiness that implies potential coercion and threat.

The works in Different Reds allude to propaganda devices such as flag waving, military parades and public displays of power. The protagonists in these scenarios are toys, i.e. mass-produced, blandly generic soldiers, cowboys and fighter planes. In this context the reduced monochromatic silhouettes of the figures become nostalgic tokens that belies the innocence of childhood and impose anxiety on the performance of play. In an exhibition of jest they too become vehicles for spectacle, heroism and confrontation. Through repetition proliferation, saturated colour, paper cutting and large-scale installation based works, the objective of Different Reds is to create a sensory excess in the spirit as these public events.

Header image: Megan Keating, Something in the Air, 2001, installation view

megan-keating-different-reds-4Megan Keating, Different Reds, 2001, exhibition view

megan-keating-the-great-marchMegan Keating, The Great March, 2001, installation view

megan-keating-wheel-of-fortuneMegan Keating, Wheel of Fortune [detail], 2001, installation view

Shen Shao Min: Transplantation

23 November – 15 December 2001

Transplantation is a series of paintings by Shen Shao Min which explore the physical and cultural process of migration. The figures in Shen’s monochromatic paintings are created from the forms of flowers, with a rope which encircles and binds these bodies, symbolising the process of migration and living in a new country. The idea of tension and stress are reflected in the work, as different cultures collide, humanity is distorted.

Shen Shao Min has exhibited internationally at the National Gallery of China, Beijing; the Hong Kong University Museum; as well as in Japan and France. His work is held in the collection of the Art Gallery of New South Wales and the National Gallery of China, Beijing.

Kate Cotching: Searching for The Golden Egg

26 October – 17 November, 2001.

The Asia-Australia Arts Centre [4A Centre for Contemporary Asian Art] is pleased to present Searching for The Golden Egg, an exhibition by Kate Cotching, a young emerging artist from Melbourne. Exhibiting in Gallery 4A’s [4A Centre for Contemporary Asian Art] ground floor gallery, Cotching’s exhibition features an intricately designed paper-cut which fills the shopfront gallery space as it spirals and curves around the gallery walls.

Images of discarded rubbish and construction rubble are painstakingly carved into a single piece of paper, increasing in detail as it curves and spirals into itself. Intricately are painstakingly cut, the meticulousness of this gigantic paper-cut is juxtaposed against its subject matter which appear as shadows cast onto the gallery walls. Amidst this beautifully crafted landscape which represents a space and time unable to keep up with its rapidly developing environment, a single figure scratches through the debris, she continues to rummage for things worth saving.

Dacchi Dang: The Boat

26 October – 17 November, 2001. 

The exhibition The Boat consists of a 13 metre wooden boat, reconstructed by Dacchi Dang, built within the space of the gallery and is characteristic of the boats many Vietnamese refugees fled Vietnam on. The viewer is invited to enter into this cramped space to explore something of the experiences of Vietnamese boat refugees.

The reality of such journeys can be heard on recordings and interviews with members of the community, which accompany the exhibition. This oral history provides a potent context for the work. Whereas boat refugees were once considered victims of a devastating war, they can now be regarded as survivors of a phenomenal journey. The oral histories testify the strength and self-determination of this vibrant and dynamic community.

The Boat seeks to generate community discussion through the visual arts on the issues of migration, refugees and the identity of Vietnamese-Australians and celebrates 25 years of Vietnamese migration in Australia.

Header image: Dacchi Dang, The Boat, 2001, installation view

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Dacchi Dang, The Boat, 2001, installation view

img059Dacchi Dang, The Boat, 2001, installation view

img053Dacchi Dang, The Boat [interior], 2001, installation view

Mohini Chandra: Travels in a New World

21 September – 20 October, 2001

Mohini Chandra is a Fijian-Indian artist currently based in London. Travels in a New World consists of an installation of 100 photographs and work on video. The black and white images are of the ‘backs’ of photographs collected from communities of the Fijian-Indian diaspora scattered throughout the world. In her video work, Chandra uses the photo album as a means to revisit the past, evoking images from childhood and half-remembered generations.

Mohini Chandra has shown internationally including Bluecoat Gallery, Liverpool UK, Kampnagel Art Gallery Hamburg, Johannesburg Biennale and Courtauld Institute London. This is her first solo exhibition in Australia.

 

Plant Room

22 June – 14 July, 2001. 

Artists: Sarah Goffman, Lisa Kelly and Carla Cescon

Plant Room is a collaborative exhibition by Sarah Goffman, Lisa Kelly and Carla Cescon that reinterprets our urban environment through an artistic process. Anti-aesthetic locations within buildings such as air vents, garbage disposal areas and power generators become potential sources to be explored within the space of the gallery. Sarah Goffman, Lisa Kelly and Carla Cescon are young emerging Sydney-based artists who have exhibited at artist-run spaces.

Header image: Sarah Goffman, Consumer Portraits, 2001, exhibition view

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Sarah Goffman, Consumer Portraits [detail], 2001, exhibition view

Shilpa Gupta

21 April – 19 May 2001.

Shilpa Gupta is a young Indian artist based in Mumbai whose work explores the complex issues of femininity within the contemporary cultural and spiritual life of India. Developed specifically for the Asia-Australia Arts Centre [4A Centre for Contemporary Asian Art], her installation incorporates video and mixed media. In voicing what is not spoken of, Gupta presents a potent view of feminine issues through three generations of women in her family. This exhibition of Gupta’s work is her first solo exhibition in Australia. She has exhibited in India including the National Gallery of Modern Art, Lakeeren Art Gallery, and the Nehru Centre Art Gallery in India.

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Shilpa Gupta, Untitled, 2000, cloth stained with menstrual blood, video, installation view, 4A Centre for Contemporary Asian Art. Courtesy the artist.

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Shilpa Gupta, Untitled, 2000, cloth stained with menstrual blood, video, installation view, 4A Centre for Contemporary Asian Art. Courtesy the Artist.
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Shilpa Gupta, Untitled, 2000, cloth stained with menstrual blood, video, installation view, 4A Centre for Contemporary Asian Art. Courtesy the Artist.
Header image: Shilpa Gupta, Untitled, 2000, cloth stained with menstrual blood, video, installation view, 4A Centre for Contemporary Asian Art. Courtesy the artist.

New Releases

15 March – 14 April 2001.

Curator: Emil Goh in association with dLux media arts
Artists: Renaud Bézy* (FRA), Lisa Cheung (CAN), Tiago Carneiro de Cunha (BRA), Volker Eichelmann & Ruth Maclennan (GER/UK), Nayia Frangouli (GRE), Anita Fricek (AUT), Shaun Gladwell & Joshua Raymond (AUS), Emil Goh (MYS), Richard Grayson (UK), Karolyn Hatton* (USA), Ritsuko Hidaka (JPN), Eliza Hutchinson (AUS), Yasu Ichige (JPN), Les Joynes (USA), Ben Judd* (UK), Susan Pui San Lok (UK), Caroline McCarthy* (IRE), Kenny Macleod* (UK), Eline McGeorge* (NOR), Hidenobu Mori (JPN), Helena Oest* (FIN), Jeroen Offerman (NED), Joao Onofre (POR), Raquel Ormella* (AUS), Luke Parker (AUS), Saki Satom* (JPN), Second Planet (JPN), Suzi Triester (UK), Go Watanabe (JPN) and Oliver Zwink (GER)

* on display at the Art Gallery of New South Wales

Presented in association with Gallery 4A [4A Centre for Contemporary Asian Art] and the Art Gallery of New South Wales, New Releases, an international survey of original video works orbiting in from over 17 countries curated by Emil Goh. Emil recently returned to Australia from Europe, inspired and armed with works on tape from emerging artists worldwide. Works which encompass animation, non-narrative, narrative, social-documentary, series excerpts and more. New Releases is an association to experience 30 recent works by 33 artists in an off the shelf Video Ezy fashion dLux media arts would like to express its appreciation to Emil Goh for creating a vigorous exhibition of fresh young talent and to Gallery 4A and AGNSW for their generous support of New Releases.

 

The Ineffable

11 February – 10 March, 2001.

Curator: Ramon E.S. Lerma
Artists: Maria Cruz and Victoria Lobregat

This exhibition brings together the work of two Filipina artists, Maria Cruz and Victoria Lobregat, for the first time. The Philippines has a remarkable ability of placing its women at the forefront. Fifteen years after Cory Aquino harnessed ‘people power’ to force dictator Ferdinand Marcos out of office, history repeated itself last weekend when Gloria Macapagal-Arroyo assumed Philippine Presidency after leading a peaceful popular uprising against the discredited Joseph Estrada.

Maria Cruz and Victoria Lobregat were both born in Manila: Lobregat leaving the Philippines at only five years of age, while Cruz completed her tertiary studies prior to migrating to Australia.

Soft Touch

10 February – 10 March 2001. 

Curator: Melissa Chiu
Artists: Gaye Chan and Karen Coull

Soft Touch is an exhibition which brings together two lesbian artists – Gaye Chan and Karen Coull – from different cultural perspectives.

Both artists address in different ways issues relating to the representation of women from a lesbian perspective. Chan’s interest in migration and her place within Hawaiian society offers alternative multicultural considerations to debate while Karen Coull’s work deconstructs Australian vernacular readings of femininity.

Soft Touch is part of the 2001 Sydney Gay and Lesbian Mardi Gras Festival.

My Chinatown

23 January – 3 February 2001.

Curator: Melissa Chiu
Contributors: City of Sydney Archives, King Fong, Diana Giese, Shirley Fitzgerald, Annette Shun Wah, Emmanuel Arroney, Kenneth Kwok & Sabrina Man, ACCA, Helen Pecheniuk, National Library of Australia, Irene Moss, Henry Tsang & Victor Tsang, Angela Chan, Gladys Lim, Jeffrey Ng, Mary Lee & Carlos Ung, CYL, Helen Fong, Howard Choy, Allen Yip, Eileen Lai & Lance Lai, John & Lois McEvoy, Benjamin Chow, Mark Costello, Capitol Theatre, Ruth Chong, Lily Ma, Jacqui Wong & Jackson Wong, The Mandarin Club, Linda Wong, Norma Oong, Bobby Leedow, William Yang, Chris Wong, Choy Lee Fut, Cyril & Milla Vincenc, Cyril’s Deli, Shen Jiawei, Maria Stark Bryan, OVB Ipoh, Melissa Smythe, Intro International, Teresa Cheng & Dominic Cheng, Chinatown Promotions, Martin Kwok, Goon Yee Tong and Nick Mahone

The Asia-Australia Arts Centre will present My Chinatown, an exhibition showcasing Sydney Chinatown over the last 150 years.

My Chinatown explores Sydney’s Chinatown and the local community from an historical and contemporary perspective. Photographs from the City of Sydney archives, dating from the 1890s, reflect Chinatown in the turn of the century. Other photographs from community members provide personal reflections of what it was like to be Chinese-Australian. Photographs of Quong Tart are also included. Sound recordings of interviews with Chinese Community leaders give an intimate history of growing up in Chinatown in the 1950s and 60s. While contemporary portraits of Chinese Australians by renowned photographer William Yang brings Chinatown into today’s relevance.

Header image: My Chinatown, 2001, exhibition view

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My Chinatown, 2001, exhibition view

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My Chinatown, 2001, exhibition view

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My Chinatown, 2001, exhibition view