Opening Hours

Tuesday – Friday
11.00 – 5.30pm
Saturday
11.00 – 4.30pm

200 GERTRUDE STREET
FITZROY VIC 3065 AUSTRALIA
TELEPHONE +61 3 9419 3406
FACSIMILE +61 3 9419 2519
WWW.GERTRUDE.ORG.AU

exhibitions

MARRNYULA MUNUNGGURR, GANYBU
30.01.2015 – 14.03.2015

Exhibition opening: 6pm Friday 30 January 2015

Marrnyula Mununggurr presents a new body of work, Ganybu — a vast matrix of 252 small bark paintings and one larrakitj, each of which depict the artist's Djapu clan design, the fishtrap that caught Mäna (the ancestral shark) at Wändawuy in North East Arnhem Land. Mununggurr's grids painted in natural ochres reference the topography of Wändawuy itself, striated by billabongs, high banks and ridges, as well as to the architectural structure of the large fishtraps themselves. The grid of the fishtrap, ganybu, is iterated in the negative spaces between the small barks hung en masse on the gallery wall — an invisible or camouflaged grid, as the trap appears to freshwater fish.

 Mununggurr will also undertake a short Studio 18 residency between the 26th of January and the 2nd of February, during which time she will give painting and Yolngu string figure demonstrations.

Mununggurr's exhibition and residency marks the beginning of a new partnership between Buku-Larrnggay Mulka Centre and Gertrude Contemporary, which will facilitate the exchange of artists, curators and exhibitions between the art organisations in Yirrkala and Melbourne.

Discussion with the artist at 1pm Saturday 31 January 2015.

Mununggurr (b. 1964, Yirrkala) is a Djapu woman of the Dhuwa moiety, a senior printmaker and artist at Buku-Larrnggay Mulka Centre. Recent exhibitions include: Making it New — A Survey of Contemporary Art, MCA, Sydney, 2009; 17th Biennale of Sydney — The Beauty of Distance, MCA, Sydney, curated by David Elliott, 2010; Djalkiri; We are standing on their names, Nomad Art, 24-Hour Art, Darwin Festival, 2010; and the Telstra NATSIAA, Museum and Art Galleries Northern Territory, Darwin, 2010. Her work is represented in numerous national and international collections, including the National Gallery of Australia, Canberra; MAGNT, Darwin; JW Kluge Collection, Virginia, USA; National Maritime Museum (Saltwater Country — Bark Paintings from Yirrkala), Sydney; Sydney Opera House, Sydney; University of Woolongong, NSW; Singapore Art Gallery, Singapore; the Holmes a Court Collection, and the Kerry Stokes Collection, both Australia. In 1994, Mununggurr was awarded the Best Painting at Barunga Festival Art Awards, and in 2002 received an Honourable Mention in the Michael Long Testimonial Art Award.

Media release here.

DAVID EGAN, ACTUALLY ENERGY HELP LIGHT
30.01.2015 – 14.03.2015

Exhibition opening: 6pm Friday 30 January 2015 

For Actually Energy Help Light, David Egan presents several different bodies of paintings and text. A new work is painted using pigment from the beautiful yet noxious flowering plant Morning Glory, a climbing weed that competes with cultivated plants by growing laterally, stopping light from penetrating its blanketing surface. This painting changes colour in time, it is a pictorial registration of the decomposing plant matter. Other paintings extend Egan's Painting Playing Cards series (2013–), which invoke a form of decorative artifice introduced to the back of the formerly blank playing card in the nineteenth century to address a social epidemic of card cheating. Asparation Frieze produces a painting of architectural proportions, which cannot be viewed in its entirety from any one vantage, always gesturing to the peripheral. Egan’s written text works produce a meta-fictional space in which the concerns of the paintings criss-cross in a succession of mental images.

Discussion with the artist at 1pm Saturday 31 January 2015.

‘The Czech Magnate, a circular’, a radio play written by Mark von Schlegell ‘in the service of David Egan’, has been produced especially for the occasion of this exhibition. It will be performed and recorded live in the central gallery at Gertrude Contemporary on the evening of Tuesday 10 March 2015.

David Egan, b. 1989, lives and works as an artist in Melbourne. He graduated from a BA in Fine Art, Curtin University, 2011 and a BA in Fine Art (Honors), Monash University, 2013. Solo exhibitions include: Underground Museum Tactic, St Heliers Street Gallery, Melbourne, 2014; Painting Playing Cards, Substation, Melbourne, 2014; Plantings, Adult Contemporary, Perth, 2014; The Yellow Curtain, Institute of Jamais Vu, London, 2012; The unknown by the more unknown, OK Gallery, Perth, 2012; and Seria Ludo, Galleria, Perth, 2011. Group exhibitions include: BLOOD, SUGAR, SEX, MAGIC, Slopes, Melbourne, 2014; Hire a magician to speak on your behalf, he is a great entertainer and the audience is blown away, TCB Art Inc., Melbourne, 2013; and Wilderness Years, OK Gallery, Perth, 2011. Egan has undertaken artist residencies at Perth Institute of Contemporary Art, 2012; Fremantle Arts Centre, 2012; and Amstel 41, Amsterdam, 2013. He has also worked collaboratively with Patrick Miller as Natural Mystery, which existed as an exhibition and project space in their shared residential garage in Perth, 2011–12. Their program culminated with an exhibition at Fremantle Arts Centre, 2013, titled Magical Signs: Exchange and Utopia, that ran alongside the publication of a compendium of the same name.

Media release here.

SARAH CROWEST, RUNNING ORDER
30.01.2015 – 14.03.2015

Exhibition opening: 6pm Friday 30 January 2015

For RUNNING ORDER, Sarah crowEST will show a series of stretched and unstretched paintings alongside digital prints of these works attached to human bodies. An interactive part of this Studio 12 exhibition invites viewers to ring a bell to summon the artist from her adjacent studio, and to become part of a ‘casting call’ or discussion. This may or may not involve dressing-up, image capture and inclusion in the running order for a hypothetical fashion parade.

Several of crowEST’s paintings will be worn by guests at the opening of the exhibition on Friday 30 January, and are available to be worn by visitors throughout the duration of the exhibition.

On Saturday 31 January, crowEST will also hold a studio sale upstairs at Gertrude Contemporary.

Sarah crowEST's recent solo exhibitions include: SELVEDGE, ORDER, RUPTURE, West Space, Melbourne, 2014, A SERIOUS OF OBJECTS, Australian Experimental Art Foundation, Adelaide, 2014, SOFT. HARD. EASY., C3 Contemporary Art Spaces, Melbourne, tumbleweed methodology: a theory of the cycle of things, Craft, Melbourne, 2013, and the inexplicable magnetism of an alien object, Margaret Lawrence Gallery, Melbourne, 2012. Recent group exhibitions include: BETTER, FASTER, STRONGER, Melbourne Art Fair Project Space, 2014, DEEP TIME, TCB, Melbourne, 2014 Assembly: contemporary ceramics, Margaret Lawrence Gallery, Melbourne, 2014, Unsettled Sculpture, Sarah Scout Presents, Melbourne, 2013, and Loosely Speaking, Gertrude Contemporary, Melbourne, 2013. In 2013, crowEST was awarded a New Work grant by the Australia Council, and a PhD by University of Melbourne (Victorian College of the Arts). In 2008 she was a recipient of the Samstag International Travel/study scholarship and spent a year in Lisbon, Portugal at the mysterious Escola Maumaus in the independent study program.

Media release here.