4A ANNUAL MEMBERS’ EXHIBITION 2011

15 – 23 December 2011

Each year 4A presents the work of our Members to bring diverse practices together, and celebrate their support of 4A throughout the year. It is a unique opportunity for Members to share their talents with 4A’s creative community, and have their work seen by artists, curators, and other industry professionals.

Participating in 4A’s membership program is a unique way to connect with people who share a common interest in contemporary Asian and Australian art and culture.

The artists on exhibition include; Cindy Yuen-Zhe Chen, Robert Bennetts, Shoufay Derz, Helen Yip, Gabriella Courtenay, Jessica Bradford, Leone Burridge, Ayako Muyarajima, Liu Yi, John Lee, Pirapa Prathuangsukh, Tiali Zo, Jaime Khamphet, Kath Fries, Hong Tong, Phatawan Suwannakudt, Goran Tomic, Hyun-Hee Lee, pauline Plumb, Desmond Kok Hui Ong, Baiou Tang, Shuxia Chen, Michael J. Wright, Biron Vailer, Sarah Park, Li Cui, Akira Toyama, Jenny Yajun Wassell, Yiwon Park, Jacqueline Rose, Rone Waugh, Suey McEnnally, Sumugan Sivanesan, Jing Feng, Nicole M Barakat, Naomi Shedlezki, Karl W. Lu, Mandy Ridley, Mary costello, Vipoo Srivilasa, Jason Wing, Fx Harsono, Vernon Ah Kee, Catherine Cloran, Ellen Kent, Jim Peng, Monica Levy, Rhondda Xiao, Shazia Khabim, Digby Duncan, Jason sims, Melissa Ramos, Katherine Corcocra, Yeehwan Yeoh, Mari Kamolvutana, Craig Loxley, Paula Latos-Valier, Pamela See, Janet Haslett, Hidemi Tokutake, Trevor Fry, Chen Ying Ying, Mikyong Jung, Mike Turer, Petra Svoboda, Jayanto Damanik, terri Tang, Claudia Nichelson, Chloe Kang and Peter Fray.


THE DAY AFTER TOMORROW: SHEN SHAOMIN

15 November – 10 December 2011 

The Day After Tomorrow is the first solo exhibition in Sydney in over a decade by renowned Chinese-Australian artist Shen Shaomin. The Day After Tomorrow takes a critical approach to human society and articulates a world in flux, dramatising the impact of human evolution and culture, and the damage inflicted upon the natural world and amongst its own species, in the pursuit of human freedom and progress. Featured are new work created especially for this exhibition including hyper-realistic sculptures of animals presented in mounds of salt.

Originally trained as a woodblock printer during the Cultural Revolution, over the last 20 years Shen has forged an important international career. Shen Shaomin is one of a handful of Australian-Chinese artists who moved to Sydney in the 1990s. Since returning to Beijing, this experience abroad has been a key impetus in his shifts in thinking towards experimental, forward-thinking and audacious work. Shen has presented work across the US, Europe, China and Australia including at the Museum of Art and Design, New York; Biennale of Sydney; Today Art Museum, Beijing; Tang Contemporary, Beijing; Platform China, Beijing; Urs Meile Gallery, Switzerland; Osage Kwun Tung, Hong Kong; Shanghai Zendai Moma, Liverpool Biennial, Groniger Museum, Holland; ZKM Museum Karlrusch and the Millennium Park, Chicago.

 

 

AFTER EFFECT

After Effect

Curated by Olivier Krischer

2 September – 15 October 2011

2 September – 15 October 2011 

What happens when media and technology are no longer new, but the stuff of everyday life? What happens when the technologies we grew up with become trash and treasure? 4A Centre for Contemporary Asian Art presents its new exhibition, After Effect curated by Olivier Krischer, which ponders the complex time and space in which we live. The exhibition includes eight artists from Japan, Europe, America and Australia whose works integrate technology into their practice and demonstrate a shift in our relationship to so-called new media, no longer simply nostalgic nor futuristic, but as an element of everyday experience.

Artists have often oriented their encounter with media technologies and concepts as pioneering explorations of a bright, uncertain future. For the artists in this exhibition, “new media” are no longer new, they are the stuff of everyday life. Technologies we grew up on are now displayed in museums, or found littering op-shops and eBay; as trash and treasure, or just spare parts.

The practices represented in After Effect speak very much to the present—to presence: what it constitutes to be here, now. To create is no longer conceived of as adding space to the known world; perhaps more than ever before creation means giving new meanings to things, proposing alternative arrangements, revisiting abandoned trajectories, and revealing possibilities. This is about finding additional ways of being with/in the same old world.

The artists in After Effect highlight the effective presence of a human subject in diverse media. Their work revisits the inherent contingency of media, not simply as the object of an abstract critical discourse, but rather as the site of renewable social formations.

After Effect includes works by Aikawa Masaru (Japan), Jason Kofke (US), Kawachi Koshi (Japan), David Lawrey and Jaki Middleton (Australia), Mateusz Herczka (Poland/Sweden), Sumugan Sivanesan (Australia), and Kehara Hiroki (Japan).

 



THE WAY YOU LOOK AT ME: NAEEM RANA AND NUSRA QURESHI

8 July – 20 August 2011

The Way You Look At Me, takes place over two floors over 4A with new work developed especially for this exhibition. Central to the show are ideas of looking and being looked at and feelings of invisibility in adopted spaces. The ground floor galleries will come alive with site-specific works, including a digitally printed large scale wallpaper, and a new work by Naeem Rana commissioned specifically for 4A’s front window (the Urdu text translates as: ‘my shadow will be with you’ ) This work is constructed entirely within the digital space, incorporating poetry based on classical Urdu poems to express loss and the experience of living in adopted places.

The exhibition will also include a 13 metre digital print by Nusra Qureshi’s 25 x 1333 cm digital print, combining the eyes of women from Mughal miniature painting, advertising and women from her own circle of friends. The eye is a central motif in her work, one which relates not only to superstition and omens but intimacy, metaphors of love, surveillance and vision, trickling down to the doe eyed heroines in twentieth century Indian cinema.

Naeem Rana and Nusra Qureshi are Melbourne-based artists who trained in sculpture and the Mughal miniature tradition at the National College of Arts in Lahore. Nusra Qureshi is part of a generation of traditionally trained artists who have revived and innovated Mughal miniature painting traditions through the incorporation of contemporary ideas, a transition in scale and new subject matter. Naeem Rana combines traditional Urdu calligraphy, popular culture and advertising within a digital space. Both of their practices reflect on contemporary society, culture and politics.

 


Nusra Qureshi and Naeem Rana have been included in major international exhibitions as well as seminal surveys of contemporary Pakistani Art. Nusra Latif Qureshi has exhibited in the 53rd Venice Biennale, Italy (2009), 5th Asia Paci c Triennial at the Queensland Art Gallery (2006), Fukuoka Asian Art Museum, Japan (2005) Her work has been shown internationally across Europe, US and India and is held in the collection of the MCA Sydney, Queensland Art Gallery. Fukuoka Art Museum among others. In Sydney her work has been shown at Sherman Galleries and Gallery Barry Keldoulis. She completed a Master of Fine Art from the Victorian College of the Arts in 2002.

Naaem Rana trained in the Nastalique style in Urdu calligraphy, traditional techniques passed down from his father. He has exhibited at the OZAsia Festival, Adelaide, UTS Gallery. His work is held in private collections in Pakistan, India, Australia, USA and UK. He completed a Graduate Diploma in Visual Art from the Victorian College of the Arts in 2001.

 

EMERGING PROJECTS: SHALINI JARDIN, TRACY LUFF AND CYRUS TANG

14 May – 25 June 2011

Three solo exhibitions by emerging artists, Shalini Jardin, Tracy Luff, and Cyrus Tang explore the transformative potential of diverse materials including human hair, cardboard and living protozoa. By manipulating these sometimes strange materials, the artists question the fragility of self, family, and the value systems which define ourselves and others.

Sydney based artist, Shalini Jardin, includes live protozoa which interact with images of her own drawings. Based on her readings of vedic texts, these delicately rendered drawings of hybrid human and animal combinations have been scaled down to fit on microscopic slides onto which droplets of living protozoa are added. The installation presents a large-scale projection of these living beings engaging with Jardin’s drawings. The work is playful, and the audience experiences the chaotic interaction between real and constructed forms. Jardin creates a microscopic view of how human, animal and non-animal entities interact and influence our values and belief systems.

Based in Goulburn, Tracy Luff transforms the mundane material of cardboard into beautiful otherworldly objects and environments. Her large-organic forms are both familiar and strange, and enable Luff to transcribe her personal experiences into an environment that an audience can literally walk through. On first arriving to Australia from Malaysia and moving to NSW, Luff became immediately aware of the difference in flora and landscape. Her cardboard forms are in part an emotional response to the constantly changing social, emotional and natural landscapes surrounding her.

Born in Hong Kong and now working in Melbourne, Cyrus Tang’s object-based works usually self-destruct over time due to the fragility of their material. For her exhibition at 4A, includes Momentary Gleam, a length of hair made from combining strands of her family’s hair with her own. Hair is seen as both abject and protecting, and sometimes sexual. It also continues to grow after death whilst the rest of the body begins to perish and decay. Tang’s use of hair is a way to connect with her own family – to understand their separation over distance and the complex emotional ties that bind them. To the artist, this is a symbolic process of purification. Once removed from the solution, the residue hardened around the 4-metre strand of hair forming a jewel-like encasing.

 

CONSTELLATION: SEUNG YUL OH, SOO-JOO YOO, KIJEONG SONG, EUNHYE HWANG

19 March – 30 April 2011

Constellation is a group exhibition bringing together work of four Korean artists who live and work outside of Korea. It is an exploration of experiences of diaspora amongst a 30-something generation of artists. The artists in Constellation are based in Sydney, Auckland and Berlin and explore new communicative possibilities through diverse mediums such as performance, new media, video and drawing. These artists enable us to witness our nuanced relationship with objects, materials, other people and ourselves through playful use of material and form.

Seung Yul Oh transforms childhood memories into surreal large-scale installations. His whimsical works experiment with colour, material and movement as he reanimates toys and games by exaggerating their familiar scale. He presents two oversized inflatables squashed into 4A’s street front gallery. In Rain, a large projected interactive computer game, the audience can create an onscreen kaleidoscope of rain, vegetation, and animals through the speed of their own movements.

Sydney based artist, Soo-Joo Yoo, challenges the traditional definition of drawing as a two-dimensional process. Yoo draws with materials which stretch out from the wall to intersect space, creating sculptural environments.

Kijeong Song, also working in Sydney, employs photography as a means of observing the nuances and intimacies of others’ lives. In her earlier work she photographed couples in intimate settings. Her new work for Constellation is an extension to her earlier practice with a focus on intergenerational relationships. Jajangga is a very personal video work that documents the artists’ nightly ritual of singing her child to sleep.

The exhibition will be opened with ‘It Without A Blink,’ a performance by Berlin based artist Eunhye Hwang. Hwang’s performances investigate communication through public interventions that draw on participatory engagement by an often unexpecting audience. Members of the audience are invited to register their names that will then be orchestrated into a complex arrangement of movement and vocalisation by the artist and an eclectic group of singers and dancers, and performed back to them.

 

EDGE OF ELSEWHERE

SYDNEY. 15 JANUARY- 12 MARCH 2011.

4A Centre for Contemporary Asian Art
15 January – 12 March 2011

Campbelltown Arts Centre
15 January – 17 April 2011

Edge of Elsewhere is a major three-year project that was launched in January 2010 as a partnership between 4A Centre for Contemporary Asian Art and Campbelltown Arts Centre.

The project brings together 13 contemporary artists from Australia, Asia and the Pacific who have each chosen to collaborate with a different local community in the Greater Sydney region in order to create their work including Brook Andrew, Arahmaiani, Richard Bell, Dacchi Dang, Newell Harry, FX Harsono, Shigeyuki Kihara, Jun Nguyen-Hatsushiba, Lisa Reihana, Khaled Sabsabi, Phaptawan Suwannakudt, Michel Tuffery, and YOUNG-HAE CHANG HEAVY INDUSTRIES.

Edge of Elsewhere is co-curated by Dr Thomas J. Berghuis, Lisa Havilah, and Aaron Seeto, and was presented across two venues Campbelltown Arts Centre and 4A Centre for Contemporary Asian Art.

For further information on the Edge of Elsewhere projects, visit our blog edgeofelsewhere.wordpress.com

 

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Edge of Elsewhere is produced by Campbelltown Arts Centre and 4A Centre for Contemporary Asian Art, and supported by the Australia Council for the Arts Visual Arts Board and Community Partnerships, and the NSW Government through Arts NSW.