A History of Wind, chapter 3

My new suite of drawings (A history of Wind, chapter 3) is now approximately 70 % complete. The image below captures one work in progress titled: ,Du'.

The pencil

A fatigued looking 6 sided pencil is accidentally dropped on a 50s wooden table.

The table was salvaged from an inner city school's parking lot. Previously, the school in question specialised in truant students. It now helps students who have recently arrived in Australia to develop their English language skills.

'If you want it- take it' was what the secretary said when we inquired about the table at the school's office in early February/March 2000. As we carried it up the hill, she and I quickly discovered how deceptively heavy its elegant cast iron legs were.

One corner of the table still bears an unknown teenager's favourite band.  
NIRVaNa is firmly scrawled in an irregular mix of caps and uncapped thick black texta letters.

Slightly above the nirvana graffiti, another student has used a white-out texta to communicate their obvious disdain toward another student or teacher. Their hand is confident.
I have always imagined that the lean of their hand communicates how quickly this person machined gunned their message.
Quick- before the teacher turns around.
Three seconds blackboard time.
fack you too.
Their message is incontravertible.

The 6 sided pencil hits the table.
It bounces.
It then hits the table again and rolls.
[It is as if the movement was a pre-ordained instruction.]
Three discreet mini movements.

The sounds of the secondary bounce- and the ensuing roll- is identical to the sound that a wooden dice makes when it hits a table:
sofort/ später/ nächste Woche/ morgen/ gleich/ irgendwann

New events that enable many moving parts to click over

Small and important changes:
1. I am extremely glad and relieved to have secured an ongoing studio that is financially sustainable. This studio follows on from a sub-lease studio that I've had for the last 2 years.
2. Very happy that I have been able to adjust my university work commitments to accommodate returning to German language classes.

I've held back from posting on this blog for a little while. Reason being: I am still processing an unexpected trip that I took in late October/ November to visit art and history museums, private art foundations and galleries in Paris and Berlin. It was very exciting to visit and stay with a friend who had a Cite studio in Paris. Being able to navigate Paris and Berlin in three languages- Polish, German and English- was a joy.

On a more serious note, being able to read the Polish and the German bronze plaques on the Polish War Memorial in Berlin was an extremely moving and very sobering experience. Visiting this monument forced me to think and reflect upon my Mother's family and their repatriation to Poland, from the eastern front, at the conclusion of WW2. Observing the Polish diaspora in Paris and Berlin also caused me to reflect and think upon my Mother's historic decision to emigrate to Australia in the early 60s.

When I left Germany in 2012 I made a pact with myself to start learning German on my return to Sydney. During my 2012 trip it was extremely frustrating to not be able to read didactic panels and labels in art museums. To only see long ropes of letters would not suffice. I made a promise to myself: The next time I returned to Germany I would have language. Like most long term goals, this project will keep me busy for many years. My aim is to achieve C2/ academic language credentials.

On telling my Mother about my trip she suggested that I was now missing one other language, Russian. Like many Poles of her generation, she is fluent in Russian because Russian was a compulsory school subject in Poland after WW2. As time is in short supply, I'm more interested in fine tuning my German and my Polish language skills.

In due course I will upload more details about this trip.

Polish War Memorial, Berlin

Eine Geschichte des Winds

India Zegan

Eine Geschichte des Winds

Canberra Contemporary Art Space, Manuka, Australien

25. Mai – 4. Juni 2017

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Eine Geschichte des Winds ist ein fortlaufendes Langzeitprojekt, das Ende 2015 begann. Tagebuchähnlich befasst sich dieses Projekt mit langsam entstehenden extremen Wetterereignissen, die es zu erklären und zu untersuchen versucht. Das Projekt erkundet die wirkende Kraft und stufenweise Verlagerung von Wissen, das Migranten, Flüchtlinge und Seefahrer beim Passieren unbekannter, fremder Gewässer nutzen. Die Ausstellung steht exemplarisch für den ersten von zwei Teilen dieses Projekts.

Kapitel 1: Der Baum ist nur in den oberen Höhenlagen zu finden (2015–2016) besteht aus sieben großformatigen Zeichnungen. Die Zeichnungsserie vergegenwärtigt eine Seereise. Ein Schiff ist unweit des magnetischen Äquators auf sich selbst gestellt, weil sein Kompass nicht mehr funktioniert. Um uns durch unvertraute Gewässer zu steuern, evozieren diese allegorischen Werke eine enzyklopädische Studie über Wolkenformationen. Die wächserne und stark verdichtete Oberfläche dieser Zeichnungen verweist auf die wachstuchartigen Segel, die Seefahrer einst zur Nutzbarmachung der Windkraft verwendet haben.

Kapitel 2: Echo (2016–2017) umfasst 54 zusammenhängende Zeichnungen, die der Navigation eine zusätzliche Syntax unterstellen: die Echoortung oder akustische Wegführung, in der Orte und Gegenstände mithilfe von akustischen Signalen hörbar werden. Die Zeichnungen dokumentieren die Nachklänge und ihre auditiven Fingerabdrücke und stellen den Verlauf von Zeit grafisch dar.

India Zegan

Mai 2017

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India Zegan ist eine Konzeptkünstlerin aus Sydney. Sie arbeitet in den Bereichen Skulptur, Zeichnung und Installation. Vor Kurzem war sie die Finalistin im Rahmen zweier Kunstauszeichnungen, dem Adelaide Perry Drawing Prize (2017) und dem Fishers Ghost (2016 & 2015). Soloausstellungen: Museum der Väter, Factory 49 (2015); Schwarzes Eis, Factory 49 (2014); Schmatte, First Draft (2004). Ausgewählte Gruppenausstellungen: Scoring Patti Smith, Affiliated Text, Cross Art Books, (2015); Generation F: Feminismus, Kunst, Progressionen, George Paton Gallery, Melbourne University (2015); Anmerkungen für ein Feministisches Archiv in der Zukunft, Affiliated Text (2015); Verkettung, Marrickville Garage (2014), Ungezähmt, Articulate Project Space (2014); Redfern Biennale (2014); Fair Isle, Articulate Project Space (2014); Die Umfragen-Show, Clandulla State Gallery (2014); Näher, Articulate Upstairs (2013); 20/20, Robert Lake und Jon Frum Foundation an der Damien Minton Gallery (2012); Schauplatz/Unsichtbar, First Draft (2003) und Zellen, eine standortspezifische Installation am ehemaligen Kindergerichtshof, Albion Street, Surry Hills (2001). Aufsätze: Lynne Barwick, India Zegans Museum der Väter: https://lawofcontagion.blogspot.com.au/2013/03/

Zegan hat einen BA-Abschluss für Bildende Künste mit Prädikat vom Sydney College of the Arts, Sydney University (1998). Noch während ihrer Studienzeit hat sie mehrere Stipendien erhalten: das John Ewan Frazer Bursary (1997), das Thomas Walker Bursary (1997) und ein AGNSW Basil and Muriel Hooper Scholarship (1996).  In 2015 erhielt Zegan ihren Master in Arts Administration am College of Fine Arts der University of New South Wales (CoFA, UNSW). Zu ihren Künstler-Residencies zählen Aufenthalte im Rahmen der NSW Ministry for the Arts Gunnery Studio Residency (2005/6) und des Bundanon Trust (2005). Andere Förderprogramme umfassen den CoFA GAS Grant (2003) und den NSW Ministry for the Arts Marketing Grant (2000). Dies ist India Zegans erste Soloausstellung in Canberra.

India Zegan

Eine Geschichte des Winds

Canberra Contemporary Art Space

25. Mai – 4. Juni 2017

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Werke:

Kapitel 1:

Der Baum wäre nur in den oberen Höhenlagen zu finden (I) (2015–2016)

Archivarische Aquarellstifte auf archivarischem Fabriano-Papier, 200 g/m²

150 x 103 cm                                                             

Der Baum wäre nur in den oberen Höhenlagen zu finden (II) (2016)

Archivarische Aquarellstifte auf archivarischem Fabriano-Papier, 200 g/m²

150 x 100 cm                                                                                                

Der Baum wäre nur in den oberen Höhenlagen zu finden (III) (2016)

Archivarische Aquarellstifte auf archivarischem Fabriano-Papier, 200 g/m²

168 x 116,8 cm                                 

Der Baum wäre nur in den oberen Höhenlagen zu finden (IV) (2016)

Archivarische Aquarellstifte auf archivarischem Fabriano-Papier, 200 g/m²

150 x 103 cm                                                                                    

Der Baum wäre nur in den oberen Höhenlagen zu finden (V) (2016)

Archivarische Aquarellstifte auf archivarischem Fabriano-Papier, 200 g/m²

150 x 104 cm                                                                                                

Der Baum wäre nur in den oberen Höhenlagen zu finden (VI) (2016)

Archivarische Aquarellstifte auf archivarischem Fabriano-Papier, 200 g/m²

150 x 102 cm                                                                                     

Der Baum wäre nur in den oberen Höhenlagen zu finden (VII) (2016)

Archivarische Aquarellstifte auf archivarischem Fabriano-Papier, 200 g/m²

150 x 102 cm                                                 

                       

Kapitel 2:

Echo #1–54 (2016–2017)

Archivarische Aquarellstifte, Fabriano-Aquarellpapier, 200 g/m²

24 x 32 cm

Chapter III: New work 2017/2018

Glad to be back in the studio working on a new suite of drawings that will form Chapter III on my ongoing long-form project, A history of wind. The idea at this stage is to double hang these drawings when I exhibit them as an immersive drawing installation. My self imposed deadline is August 2018.

When I showed the first two chapters at CCAS (Manuka) earlier this year, one of my unexpected tasks (I sat the show during its two week run) was to regularly let visitors know that there is no painting element to my work.  My grey drawings are executed on top of green drawings which are rendered on white archival watercolour paper. The first image located above documents the beginning of two green drawings which I will layer up with multiple layers of green until the green is deemed off gamut.

Technical notes:
Paper: Saunders Waterford 356 gsm (HP), 100% cotton, acid free
Size: 66x 101.6cm
Archival watercolour pencils (undiluted)

Additional notes: On a recent visit home, I came across my Mother's copy of W.G. Sebald's The rings of Saturn. The photos below documents my Mother's and my copy of this book.

Exhibition documentation: A history of wind, Chapter I & II

Installation shot at Canberra Contemporary Art Space, ACT. Chapter I of this long form project, The tree would only be found at higher altitudes is comprised of 7 large scale works.  Each drawing measures 150cm x 100cm. All documentation: Brenton McGeachie.
[Tip: Click on each image (below) if you would like to see a smaller sized documentation shot.]

Chapter II: Echo is similar to the drawings in Chapter I, in that these drawings are also diaristic, in that they measure a particular time. When I commenced these drawing I originally thought that they might be shown as couplets, as aural fingerprints. However, as the underlying narrative that drove these works unfolded, so did my want to keep pushing the boundaries of this work. There are 54 echo drawings in this chapter. The wind wxx cxxxx hxx vxxxx axxx.

Conceptual rational: A history of wind + updated CV+ notes

India Zegan

A history of wind

Canberra Contemporary Art Space Manuka

25 May – 4 June, 2017

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A history of wind is an ongoing long-form project which commenced in late 2015. This diaristic project proposes and investigates slow-building wild-weather events. It is an exploration of agency and the incremental shifts of knowledge that assist the migrant, refugee, or sailor who passes through unchartered and unfamiliar waters. This exhibition presents the first two chapters of this project.

Chapter 1: The tree would only be found at higher altitudes (2015- 2016), is made up of seven large-scale drawings. This suite of drawings envisions a sea voyage in which a vessel’s compass has ceased working as it nears the magnetic equator. To steer us through unknowable waters, these allegorical works imagine an encyclopedic study of cloud patterns. The waxy and heavily built up surfaces of these drawings reference the oilcloth sails that sailors once used to catch and harness the wind.

Chapter 2: Echo (2016- 2017), is made up of fifty-four interrelated drawings that suggest an additional syntax of navigation – echolocation or acoustic wayfinding – the sounding of location and objects through auditory cues. These drawings document the ensuing echoes and their aural fingerprints; they also chart the trajectory of time.

India Zegan

May 2017

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India Zegan is a Sydney based conceptual artist working across sculpture, drawing and installation. She has recently been a finalist in the Adelaide Perry Drawing Prize (2017) and Fishers Ghost (2016 & 2015). Previous solo exhibitions: Museum of Fathers, Factory 49 (2015); Black ice, Factory 49 (2014), Schmatte, First Draft (2004). Selected group exhibitions: Scoring Patti Smith, Affiliated Text, Cross Art Books, (2015); F Generation: Feminisim, Art, Progressions, George Paton Gallery, Melbourne University (2015); Notes to a Future Feminist Archive, Affiliated Text (2015); Daisy Chain, Marrickville Garage (2014), Feral, Articulate Project Space (2014); Redfern Biennale (2014); Fair Isle, Articulate Project Space (2014); The Survey Show, Clandulla State Gallery (2014); Closer, Articulate Upstairs (2013); 20/20, Robert Lake and Jon Frum Foundation at Damien Minton Gallery (2012); Site/Unseen, First Draft (2003) and Cells, a site specific installation at the Former Children’s Court, Albion Street, Surry Hills (2001). Essay: Lynne Barwick, India Zegan’s Museum of Fathers: https://lawofcontagion.blogspot.com.au/2013/03/

India completed her BVA (Hons) at Sydney College of the Arts, Sydney University (1998). As an undergraduate she was the recipient of the John Ewan Frazer Bursary (1997), the Thomas Walker Bursary (1997), and an AGNSW Basil and Muriel Hooper Scholarship (1996). India completed an MA in Art Admin at CoFA, UNSW in 2005. Residencies include the NSW Ministry for the Arts Gunnery Studio Residency (2005/6) and Bundanon Trust (2005).  Other grants include: CoFA GAS Grant (2003) and NSW Ministry for the Arts Marketing Grant (2000). This exhibition is India Zegan’s first solo exhibition in Canberra. 

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Notes: I'm very glad that I took the gamble to show these works in Canberra. The warm and generous atmosphere in Canberra reminds me of the arts scene in Adelaide where I grew up. I will be uploading installation shots shortly.