media kit too much of me - Monash University

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MEDIA KIT TOO MUCH OF ME 7 PATHS THROUGHT THE ABSURD, (WITH DETOUR)* Artists’ Biographies Kirsty Hulm Kirsty Hulm works with text, performance and sculpture. Her narrative drawings employ allegory, quotation and a typewriter with a ribbon and keys. She constructs elaborate scenarios only to pull them apart, creates perfect circles as homes for abstracted architectures and imagines cloud studies from liquid paper in shades of cream upon cream. With her moleskin notebooks, flesh coloured modelling compounds, scrapbooks and matchsticks Hulm embraces the provisional, the study and the potential for failure. Her works move between various emotional registers: wry, romantic, pedantic, angry, self aware and self deprecating. She can make you laugh with a comma. Hulm was born in 1985 and lives and works in Melbourne. She completed a Bachelor of Fine Arts (Honours), Monash University, in 2008. For Melbourne's 2008 Next Wave Festival, Hulm presented Imagine Me & You, I Do, a twopart installation, on the façade of St Paul’s Cathedral as well as in-store at Alphaville, Flinders Lane, Melbourne. Her work also featured in Next Wave’s Nightclub Project: Pure Pleasure and Everybody’s Free, two one night only events held at The Men’s Gallery and Billboard Nightclub. Hulm’s group exhibitions include Proposition 4 Proposition, curated by Angela Bletas at C3 Contemporary Artspace, Melbourne, 2008; The Craft Exchange Salon, curated by the Safari Team at 25a Eastment St as part of the 2008 Melbourne Fringe Festival; an installation for Penthouse Mouse, a 2008 L’Oreal Melbourne Fashion Festival initiative curated by Kate Hannaford; I’m Not Looking Forward to the Future Very Much: An Exploration of Pessimism in Art, curated by Carl Scrase at Runt Gallery, Monash University, and Project Fluoro, curated by Emma Davis at Dante’s, Fitzroy, 2004. Ronnie van Hout Ronnie van Hout’s work explores the self in its many different guises, as well as the artist’s own personal history and memories. Van Hout has created numerous versions of himself: with wild grey hair holding a pair of small birds, as a painter/ monkey and a dog/sculptor. We were offered the opportunity to step into a room in van Hout’s memory in Sleepless 2008, a 2/3 replica of the bedroom he shared with his brother as a child. For Too Much of Me, this duplication of the artist is extended in the new work, Doom and gloom 2009, with a pair of pyjama-clad van Hout figures, as well as three small coffined doppelgangers from the End Doll series of 2008. Van Hout was born in 1962 in Christchurch, New Zealand and lives and works in Melbourne. He attended the School of Fine Arts at Canterbury University between 1980 and 1982, where he majored in film. In 1999 he received a Masters of Fine Arts from RMIT University, Melbourne. Since the mid 1980s, van Hout has exhibited extensively in Australasia and beyond. In 2005, van Hout was awarded Laureate Artist by the Arts Foundation of New Zealand. In 2008, van Hout presented solo projects Bed/Sit, Artspace, Sydney, Australia; A Loss, Again, Te Papa Tongarewa Museum of New Zealand, Wellington, and the outdoor sculptural project R.U.R., at the Melbourne Art Fair, Melbourne, Australia. Other recent solo exhibitions include Ersatz, Kunstlerhaus Bethanien, Berlin; I’ve Abandoned Me: a Ronnie van Hout Survey, initiated by the Dunedin Public Art Gallery, Dunedin, which toured to venues in New Zealand and Australia from 2003-5 and Only the Only, Art Gallery of New South Wales, Sydney, 2001. Ronnie van Hout is represented by Darren Knight Gallery, Sydney, Hamish MacKay Gallery, Wellington, Ivan Anthony Gallery, Auckland and Uplands Gallery, Melbourne. Laith McGregor Laith McGregor’s works are exacting and exaggerated. He draws from photographs and the familiar, capturing the finest details of faces which include his own, his father’s and other family members. McGregor draws on expanses of fine rag paper with cheap disposable biros. A blurry fuzz of blue biro delicately describes an engorged and pendulous beard extending from his father’s chin. Hair, a great marker of masculine virility, when found in the ‘right’ places, is an ornament of absurd puffery in McGregor’s work, as well as a form of protective veil. McGregor employs strategies of caricature, he makes us smile, but his portraits are more searching in what they reveal with this excess of hair. McGregor has recently returned to Melbourne after a period living in Brisbane. He completed a Bachelor of Fine Art (Honours), Victorian College of the Arts in 2007. He has held solo exhibitions at the Institute of Modern Art, Brisbane, 2008; TCB Art Inc., Melbourne, 2008; Helen Gory Galerie, Melbourne 2006 and forthcoming in 2009; and Alliance Française, Melbourne 2005. McGregor’s work features in I Walk the line: New Australian Drawing, Museum of Contemporary Art, Sydney and was also included in the Keith & Elizabeth Murdoch Travelling Fellowship exhibition, Margaret Lawrence Gallery, VCA, Melbourne, 2009. In 2008 Laith McGregor was the winner of the Robert Jacks Drawing Prize at the Bendigo Art Gallery. Other group exhibitions in 2008 were at Westspace, Helen Gory Galerie, all in Melbourne, and Sullivan and Strumpf Gallery, Sydney. Laith McGregor is represented by Helen Gory Galerie, Melbourne and Sullivan and Strumpf Gallery, Sydney.
MEDIA KIT TOO MUCH OF ME 7 PATHS THROUGHT THE ABSURD, (WITH DETOUR)* Stuart Ringholt Stuart Ringholt has a fine sense of the dead-pan. For Too Much of Me he has devised a waiting room installation of chairs made from cut-off bath tubs. At first glance they have the appearance of mass-produced generic modernist furniture, but in shades of green, pink and white they are recognisable as the retreats of once-soaking bodies, repurposed for the tedium of a generic waiting room. In his performance works and writing, Ringholt has often focussed on emotional states such as anger and embarrassment, as well as the incidence of psychological trauma more broadly. In his photocollages, Ringholt makes subtle amendments to existing books that often render the self as uncanny, double, displaced or unseeing. Ringholt was born in Perth, Australia, in 1971 and currently lives and works in Melbourne. Recent solo exhibitions include Low Sculpture, Anna Schwartz Gallery, 2008; ACCA at Tolarno, Melbourne, 2007; Studio 12, Gertrude Contemporary Art Spaces, 2006; and Backfence Jokes, Display, Prague, 2005. Ringholt’s work has been presented in a number of curatorial projects and group exhibitions including Revolutions – Forms that Turn, Biennale of Sydney, 2008; Lost and Found: An Archaeology of the Present, Tarrawara Biennial, 2008; Zonal Marx, VCA Gallery, Melbourne, 2007; and New 05, Australian Centre for Contemporary Art, Melbourne, 2005. His recent performance projects include: Anger Workshops, Art Gallery of New South Wales, Sydney, 2008; Untitled, Monash University Museum of Art, Melbourne, 2005; Rubbish Bin, Holsevice Street, Prague, 2005 and Funny Fear Workshops, Studio 5, Gertrude Contemporary Art Spaces, Melbourne, 2004. Stuart Ringholt is represented by Anna Schwartz Gallery, Melbourne and Sydney. WorkmanJones Jason Workman and Patrick Jones have collaborated as WorkmanJones since 2004. Workman lives in Brooklyn, New York and Jones in Daylesford, Victoria. Their practice is ephemeral, performative, and mostly occurs in public. Lowbudget, or no-budget, their works are understated, sometimes comic and gently, but seriously, anarchic. WorkmanJones find creative potential in our shared social spaces, where art and the business of life are able to converge. Their performances offer moments of respite, lightness and humour, as well as challenging our expectations of public behaviour. In the city, they adopt the suit as a uniform, only to behave curiously, subversively, amidst their many near clones: they sit and lie despondently on the ground; they set up their own laneway café with flasks of coffee, milk-crate stools and a gas stove; they dance in the street and perch on fire hydrants like bored, oversized crows. In women’s suits and stockings they hang from tram-stops; cartwheel down laneways and undertake sequences of slowfrozen movements: ‘freedragging’ as they call it. In their daily jeans and t-shirts they move through a series of impromptu movements figured against the local industrial architecture. Through the way they inhabit space WorkmanJones aim to re-contextualise the everyday and expand our sense of what is possible. Jason Workman was born in 1970 in New Zealand. He has a Bachelor of Arts in Visual Arts from RMIT University as well as a nursing degree from AIT, Auckland Patrick Jones was born in 1970 and has his Masters of Fine Arts from the College of Fine Arts, University of New South Wales. WorkmanJones recently exhibited in New Social Commentaries, F.J Foundation Acquisitive prize, Warrnambool Art Gallery, their works have been screened at the Center for Maine Contemporary Art, Rockport, Maine, 2008; Elsewhere Artist Collaborative, Greensboro, North Carolina, 2008; Infradig ii Daylesford, Victoria, 2007; Contention or Consensus, Gasworks, Melbourne, 2006; and 45, Poetry readings / Filmscreening, Trentham, 2006. Erwin Wurm The work of Erwin Wurm combines philosophy, art, politics, spirituality and everyday life with a keen sense of the absurd. In the photographic series Instructions for idleness we witness the artist following his own directions: sleep for 2 months, think about the void, be indifferent about everything, stay in your pyjamas all day. Too Much of Me will also feature works from the ongoing series of One minute sculptures, where visitors to the gallery are invited to follow the artist’s instructional drawings, for instance, to pose in the indicated stance with a series of books Take your most loved philosophers. Wurm’s instructional works invite us to take action, but also to find moments of stillness, reflection and silliness. Wurm was born in 1954 and lives and works in Vienna, Austria. Wurm graduated from the Academy of Applied Arts and Academy of Fine Arts in Vienna in 1982, and the Mozarteum in Salzburg, in 1979. Wurm has exhibited extensively internationally since 1981. He has presented exhibitions at the Peggy Guggenheim Collection, Venice; Palais de Tokyo, Paris; Galerie de l’Uquam, Montreal; and the Centre National de la Photographie, Paris, as well as numerous other venues. Recent solo exhibitions include The Artist Who Swallowed the World, Kunstmuseum St Gallen, Switzerland, and Deichtorhallen Hamburg, Hamburg, Germany, 2007-8. Initiated by the Yerba Buena Centre for the Arts in San Francisco, the survey exhibition I Love My Time, I Don’t Like My Time: Recent Works by Erwin Wurm toured venues in the USA from 2004-7. In Australia, Erwin Wurm: Glue your Brain, featured at the Museum of Contemporary Art, Sydney in 2005-6 and, in 2003, Wurm’s One minute sculptures were exhibited in Melbourne as part of the visual arts program of the Melbourne International Arts Festival. Erwin Wurm’s representatives include Gallery Xavier Hufkens, Brussels, Belguim and Gallery Thaddeus Ropac, Salzburg and Paris. Samuel Beckett & Buster Keaton FILM 1965 21 minutes Writer: Samuel Beckett O: Buster Keaton Director: Alan Schneider Samuel Beckett’s FILM will screen in the circular vestibule entry to the gallery. Silent except for a single ‘Shhhh!’, this black and white short film features Buster Keaton as O, a man who tries to evade an all-seeing eye: E. Based around Bishop Berkeley's principle 'to be is to be perceived’, Keaton's very existence conspires against his efforts. FILM was directed by Alan Schneider and screens courtesy of Evergreen Review and Barney Rosset. Samuel Beckett, FILM 1965, Black and white, 35mm, 22 minutes Directed by Alan Schneider Starring Buster Keaton Courtesy of Barney Rosset and Evergreen Review
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