Tuesday – Friday
11.00 – 5.30pm
11.00 – 4.30pm
200 GERTRUDE STREET
FITZROY VIC 3065 AUSTRALIA
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OCTOPUS 14: NOTHING BESIDE REMAINS
25.07.2014 – 23.08.2014
ZAROUHIE ABDALIAN (OAKLAND), TONY BIRCH (MELBOURNE), TRISHA DONNELLY (NEW YORK), HARUN FAROCKI (BERLIN), AGATHA GOTHE-SNAPE (MELBOURNE), SUSAN JACOBS (MELBOURNE), OTAR KARALASHVILI (TBILISI), ASH KILMARTIN (MELBOURNE), NICHOLAS MANGAN (MELBOURNE), SCOTT MITCHELL AND SASKIA SCHUT (MELBOURNE), LAURIE RICHARDS (MELBOURNE), FRED SANDBACK (USA), ALLAN SEKULA (USA)
CURATED BY TARA MCDOWELL
EXHIBITION DATES: SATURDAY 26 JULY – SATURDAY 23 AUGUST 2014
EXHIBITION OPENING: FRIDAY 25 JULY 2014, 6PM – 8PM
ARTIST TALK: ZAROUHIE ABDALIAN IN CONVERSATION WITH TARA MCDOWELL SATURDAY 26 JULY, 2PM
Nothing Beside Remains activates the entire building at 200 Gertrude Street, and for the first time visitors are invited to explore nearly the entirety of this historic building to encounter works, many site-specific, by thirteen prominent Australian and international artists.
Nothing Beside Remains is the first curatorial project in Australia by Tara McDowell, Associate Professor and Director of the newly founded Curatorial Practice PhD program at MADA (Monash University Art Design and Architecture). It is the fourteenth exhibition in the annual flagship exhibition series Octopus, which provides a forum for new curatorial positions by inviting leading curators to devise an exhibition at Gertrude Contemporary.
The exhibition considers the building that houses Gertrude Contemporary as a living organism, accruing its history over time, with each renovation, addition, coat of paint, and temporary resident. The sprawling three-story brick structure was home to housewares manufacturer and emporium Johnston’s from 1889 until 1957, and the primary visual residue of this former life is the disused, landmark Johnston’s sign on the front of the building. Ash Kilmartin will reilluminate the sign, which hung outside her studio window during her two year Gertrude residency, by mirroring its remaining neon letters in a new work. Nicholas Mangan similarly collapses time by drilling samples of timber from around the building, from which he has produced a core sample of the building striated with its various temporal and physical phases. Two artists showing in Melbourne for the first time include New York-based Trisha Donnelly, showing a new video work, and Oakland-based Zarouhie Abdalian, who will install a new sculptural intervention dispersed throughout 200 Gertrude Street.
The exhibition’s title, Nothing Beside Remains, derives from a line in Percy Bysshe Shelley’s “Ozymandias” that conjures the impermanence and decay of the manmade. The exhibition considers the building’s many former lives, its present, and its future— anticipating the possibility that Gertrude Contemporary will be moving out of the building in the coming years. For An Uncertain Reader, Agatha Gothe–Snape asks Gertrude Studio Artists from the program’s 30-year history to nominate a text that influenced them during their residence. In a performative work that concerns both immaterial labour and access to knowledge, gallery invigilators will read the collated reader during the month-long exhibition, accumulating the collective labour of their reading in the process.
Nothing Beside Remains addresses imbrications between artistic and industrial labour, textile and craft, and mass and artisanal production. American artist Allan Sekula examined the social conditions of labour throughout his career, and in Untitled Slide Sequence photographed employees ending their shift at a San Diego aerospace factory in 1972. In the second half of the twentieth century, 200 Gertrude Street was occupied by various textile manufacturers, paper manufacturers, art suppliers and auctions rooms, so both production and display have coexisted at the site for over a century. This extended period of time, marked by the emergence of industrial, post-Fordist, immaterial and precarious labour, is charted by German filmmaker Harun Farocki’sWorkers Leaving the Factory, which includes moving images of workers leaving factories throughout history, beginning with the first film ever made, by the Lumières brothers in 1895. By contrast, Otar Karalashvili presents photographs of signs posted throughout Tbilisi, the capital of Georgia, by people searching for work, a collective portrait of a city dependent on informal economies.
Susan Jacobs will re-install the conveyor belt that previously functioned on site and has since been in pieces in an upstairs hallway. Two subtle works by American artist Fred Sandback will act upon the space, encouraging a new perspective on a well-known, well-worn site. Archival photographs by Laurie Richards document a nearby Collingwood textile factory in the 1950s. And, Melbourne writer Tony Birch will give a walking tour touching on the Indigenous, immigrant, working class histories of Fitzroy on Saturday 16 August.
Taking advantage of the space’s real estate—and former life as a shop storefront— the front gallery will promote Melbourne’s independent arts publishers and play host to a series of events by various collaborators. Saskia Schut and Scott Mitchell have organised readings by artists, writers, designers, and publishers. The front gallery will subtly respond to the tenor of the texts through alternation of the atmosphere, lighting, time of day, or refreshments. Readings will be recorded and played continuously in the space and will also be archived on the Gertrude Contemporary website.
More details about the schedule of readings and events are listed below.
This project has been made possible by the support of the Besen Family Foundation and the Consulate General of the United States, Melbourne.
Image: Allan Sekula, Untitled Slide Sequence, 1972/2011, 25 black and white slides, dimensions variable. Courtesy of the Estate of Allan Sekula and Christopher Grimes Gallery, Santa Monica
Saskia Scut and Scott Mitchell
The Reading Room will promote Melbourne’s independent arts publishers and play host to a series of events by various collaborators. Saskia Schut and Scott Mitchell have organised readings by artists, writers, designers, and publishers. The front gallery will subtly respond to the tenor of the texts through alternation of the atmosphere, lighting, time of day, or refreshments. Readings will be recorded and played continuously in the space and will also be archived on the Gertrude Contemporary website.
SATURDAY 26 JULY, 2 PM
By Zarouhie Abdalian
SUNDAY 27 JULY, 2PM
GORDON BENNETT: READINGS IN MEMORIAM
Organised by Discipline
Readers include; David Homewood, Helen Hughes, Fergus Binns, Paris Lettau, Lisa Radford, Shelley McSpedden and Irene Sutton.
TUESDAY 29 JULY, 6 PM
WHEN THE MOON WAXES RED: REPRESENTATION, GENDER AND CULTURAL POLITICS (TWO ESSAYS BY TRINH T. MINH-HA)
Organised by West Space Reading Group
Texts available here. All welcome to read and attend the discussion.
THURSDAY 31 JULY, 9 PM
Organised by 3:PLY with readings by Elizabeth Newman, Nicholas Tammens, Fayen D'Evie and Christopher L G Hill
FRIDAY 1 AUGUST, 3 PM
EXCERPTS FROM SHORT STORIES BY LORRIE MOORE
By Gertrude Studio Artist Sarah CrowEst
SATURDAY 2 AUGUST, NOON
By Anna Poletti, Centre for the Book.
WEDNESDAY 6 AUGUST, 6 PM
UN MAGAZINE #8.1 LAUNCH
Edited by Robert Cook and Benjamin Forster and Published by un Projects.
Readings from un Magazine #8.1 by the editors and contributors.
FRIDAY 8 AUGUST, 6.30 PM
WIKIMEMORY MULTIFUNCTION PALACE
Presented by West Space Journal and read by Rowan McNaught and Kelly Fliedner.
SUNDAY 10 AUGUST, 2 PM
UN GERTRUDE PRESENTED BY UN PROJECTS
Readings from past issues of un Magazine on space, location and Gertrude Contemporary.
MONDAY 11 AUGUST, 4.15 PM
MY ART AND BOOK REVIEWS FROM THE LAST 25 YEARS
By Justin Clemens
TUESDAY 12 AUGUST, 6 PM
WHEN THE MOON WAXED RED: REPRESENTATION, GENDER AND CULTURAL POLITICS (TWO ESSAYS BY TRINH T. MINH-HA)
Organised by West Space Reading Group. All welcome to read and attend the discussion.
Texts available on gertrude.org.au
WEDNESDAY 13 AUGUST, 5 PM
WITHOUT (2006 - 2014) A READING FOR 200 GERTRUDE STREET - 28TH JANUARY 2006
By Spiros Panigirakis
THURSDAY 14 AUGUST, 4.30 PM
THERE IS A WAY, IF WE WANT, INTO EVERYTHING
The Poetry of Michael Dickman.
By Bridie Lunney.
SATURDAY 16 AUGUST, ALL DAY
By Warren Taylor
TUESDAY 19 AUGUST, 2 - 4 PM
NE TRAVAILLEZ JAMAIS
By Tara McDowell
WEDNESDAY 20 AUGUST, 5 PM
FLATLAND THE PLAY: A READING
Read by Gabriel Curtin and Nell Pearson, and facilitated by Helen Johnson.
FRIDAY 22 AUGUST, 4 PM - GALLERY CLOSURE
INTERPRETING 'A THEORY OF THE DEICTIC CENTRE' (A POEM BY ELISABETH FROST)
By Susan Jacobs
23 JULY - 16 AUGUST
DATES TO BE ANNOUNCED
READINGS FROM CONTRIBUTORS TO THE EXHIBITION 'IF THIS EXHIBITION WERE A TEXT'
Curated by Ash Kilmartin for Slopes
STUDIO 12: BRIDIE LUNNEY
THERE ARE THESE MOMENTS
26.07.2014 – 23.08.2014
EXHIBITION DATES: SATURDAY 26 JULY – SATURDAY 23 AUGUST 2014
EXHIBITION OPENING: FRIDAY 25 JULY 2014, 6PM – 8PM
There are these moments is an exhibition in the Studio 12 Project Space by Current Gertrude Studio Artist Bridie Lunney.
Rupturing the Pristine
Bridie Lunney’s art practice, comprising sculpture, installation and durational performance, hums on the emotional register somewhere between restraint and release, suggesting a barely withheld kinetic energy. She composes objects in space like a poet selecting words for a stanza – instinctively phrasing alliteration and assonance but refusing rhyme and allowing for discord. Using steel, concrete, glass and leather, her objects reveal the malleability of their physical properties while suggesting sensuous correlations to the human body. These installations, whether activated by the bodies of performers or by the gaze of the viewer, capture moments of tension that are at once intimate and distant, menacing and seductive.
This exhibition, There are these moments, has been designed as a transitive space, a holding bay for a series of objects to be deployed in a suite of exhibitions in Melbourne and Sydney: a solo exhibition at the Gertrude Contemporary project space at Melbourne Art Fair, a curated group exhibition at Platform, the John Fries and Substation prize exhibitions, and the Collins Street Aesop store. The installation in Studio 12 will adapt and change throughout this exhibition, with new objects added and others removed, a process which mirrors the metamorphoses suggested by the objects themselves.
The above text is an extract from the catalogue essay by Eleanor Zeichner, participant in the Gertrude Contemporary – ARTAND Australia 2014 Emerging Writers Program mentored by Anne Loxley.
Bridie Lunney develops works intuitively in relation to site. Durational performative and sculptural gestures suggest psychological shifts and reconfigure hierarchical relationships between architectural space, objects and the body. These altered relationships suggest poetic mimicry of internal psychological spaces, acknowledging the body as a conduit between our cognitive selves and the physical world.
Upcoming exhibitions include There is a way, if we want, into everything, Gertrude Contemporary Project Space at Melbourne Art Fair and John Fries Award, Sydney.
Recent exhibitions include The place where the fire is kept, Phoenix foyer commission, Arcadian Revery for White Night, Queen Victoria Gardens 2014; 'This Endless Becoming' for Melbourne Now, National Gallery of Victoria, Melbourne, 'Drawing Weight' for 30 Ways with Time and Space, Performance Space, Sydney, Propositions in collaboration with Torie Nimmervoll at Gertrude Contemporary 2013; Space, WestSpace and Pieces of Eight; Place of Assembly, Melbourne International Arts Festival;The ceiling has lost it’s solidity, Manysquaremetres 2012; A Condition of Change, Sarah Scout; Suspension Test, Conical 2011; Non-Negotiable, Project Space; Risk Potential Die Ecke, Santiago, Chile 2010 and Once more with Feeling, Margaret Lawrence Gallery 2009.
A Gertrude Contemporary Studio Artist for 2013-2015, Lunney teaches Contemporary Practice, Sculpture and Drawing at Monash Art, Design and Architecture.