Monday, 16 December 2013

2013 Summer icey-pole selection

I've set up this page to record Artists and their respective works that have made this year particularly memorable to me. Sometimes it's the works and at other times its the conviction to push concepts through that has inspired me to make my private musings public. I've attempted to note works and events in chronological order.
I apologise in advance for additional ramblings. Its impossible for me to think about works in isolation.

1. 2013 Redlands Prize at the National Art School- guest Curator Julie Rapp. The entire exhibition reminded me of the old 'Perspecta' survey exhibitions that the AGNSW stopped presenting in the late 1990s. Rapp's solid selection included Elizabeth Day and Cherine Fahd (late 90s works- thankyou) and many more. Coupling emerging with established artists- and established artists with emerging artists- pushed fresh air into a tired set of lungs.

I was particularly moved by Bronia Iwanczek's, Sudden Earth, C type photograph. When I was in Berlin last year, I spent several hours looking and absorbing the Memorial to the Murdered Jews of Europe.  I sat and simply watched the light and people move and weave between the work, it's alleys, its undulating landscape, its greyness and its sheer weight. As the hours rolled on, I went for multiple walks to sit in other parts of the Memorial in order to watch the piece breathe from another location, either within the piece or very close by. I had aimed to return to view the memorial one night: To see it bathed in the blackness of the dead of night. And then to watch the sunrise and the morning light slowly illuminate the work. I will resume looking slowly at the Memorial when I am next in Berlin.

The gravitas present in Iwanczek's work brings to mind two works installed at the Hyde Park Barrack's forecourt for the Sydney Biennale 2006, curated by Charles Mereweather- Miroslaw Balka's The Stop and Milica Tomic's Container. I was fortunate to visit both works on multiple occasions. (I was working part-time in a city book store at the time. So, normally banal lunch hour breaks in the city briefly became gold.) The uncertain and changing winter light and weather conditions compelled me to want to observe how the absence of hard Australian summer light, replaced by softer winter light and weather conditions would affect my responses to both these works. Every viewing allowed me to travel deeper into the work. Iwanczek's photograph represents a missing stanza in Australian art museums collections.

2. Mike Parr Survey, National Art School.
Carolyn Christov-Bakargiev curated a mini- survey of Mike's performances on Cockaatoo Island for the 2008 Biennale of Sydney. Since then, I've been waiting for this survey exhibition for some time. My only misgiving is that, in my parallel and imaginary art universe (where sometimes things make more sense than they do in real life), the AGNSW could have presented a concurrent satellite exhibition- installations and drawings. And a third project partner could have easily presented all the performance video works and/ or new works. Of course I run into Jeffrey Stewart as I am leaving. 

3. Xavier Le Roy, 'Untitled' (2012). This performance piece was presented as part of 13 Rooms, Kaldor Public Art Projects. Working on this project enabled me to watch this quiet performance in my lunch hour in perfect conditions- with no one else in the room. Being alone with this work enabled me to sink into the folds of the work. Special thanks to Carmen who took the piece to another level for me. This work's affect upon me was as strong as the now permanent Bruce Nauman installation 'Room with my soul left out, Room that does not care' (1984) at the Hamburger Bahnhof.

4. Nick Strike's 'October', 55 Sydneham Road. I'd like to see this entire show and/or new works in Melbourne or Berlin.

5. Robert Lake:
Robert & the Frum Foundation's 2013 edition of 20|20 was presented at Breeze Block, Kings Cross, thanks to artist Sean Rafferty. I've lost count of how many artists Robert presented over the course of three weeks- just try to keep track of three exhibition changeovers per week. Robert presented a canny selection of recent graduates, re-emerging and mid- career artists.

6. Unexpected:
a) Emma Wise's participatory-performance piece based on the recent Blue Mountains fire evacuation, as presented in the 'Articulate turns three', Articulate Project Space.
b) Toni Warbuton's participatory object based piece presented in 'Leave it in the ground', Articulate Project Space.
c) Robert Pulie's marionette piece at The Commerical.
d) 'Roomies Project'
e) Petra Gemeinboeck and Rob Saunders' robotic infestation and hoo-haa at Artspace
f) Justin Henderson's Wollongong exhibition

Wednesday, 11 December 2013

'Splice', Articulate Project Space

Photographer: Beata Geyer
India Zegan| 'Museum of Fathers #39: 30 irregular minutes' (1999-2013) at right and Beata Geyer's yellow tongue sculpture. Photographer: Beata Geyer
Splice opens on the Friday 3rd January 2014 at 6pm; with the opening proper on the 10th January.

Artists include: Margaret Roberts, Beata Geyer, Christine Myerscough, Jacqueline Spedding and me.
Exhibition dates: 4-12 January 2014
Opening Hours: Friday- Sunday, 11am-5pm 

Articulate Project Space: 493 Parramatta Road, Leichhardt (directly opposite the orange 'Kennards' building)

For additional information see:;
also see: 7311&type=3

Addendum on 01.01.2014: The conceptual elasticity of Articulate Project Space (APS) and the parameters of this exhibition proposition keep reminding me of an essay that Peter Schjeldahl wrote in 2003. By my estimations, APS falls into the realm of the art laboratory. See Schjeldahl's essay, 'Art Houses': 

Photographer: Felicty Jenkins
Splice@ Articulate Project Space| Margaret Roberts, Christine Myerscough, Jacqueline Spedding, Beata Geyer, India Zegan| Photographer: Felicity Jenkins

06/01/2013: I've submitted 'Museum of Fathers # 39: 30 irregular minutes' (1999-2013) and 'Museum of Fathers #40: Fog drawings' (2013) as my entry point into the Splice project parameters. Now that everyone has installed their works, I am looking forward to making objects that respond to the other participating artists' work.

Special thanks: Richard Crampton and Steven Mori 
India Zegan| Museum of Fathers #40: Fog drawings' (2013) [suite of 5 miniature drawings]| Photographer: Felicity Jenkins

23/01/2013: Additional works made in response to the Splice premise included, 
'Museum of Fathers #41: Raft' (2014)
Materials: plywood, consolidant and found objects. 
Dimensions: 66 and 68.7cm diameter. 
Notes: This is the first of what I imagine will be several sculptural 'Raft' works that are a direct response to Gericault's remarkable painting, 'The Raft of the Medusa' (1818-1819) which is held in the Louvre Museum.

Splice: Margaret Roberts' textile| Beata Geyer string element| Jacqueline Spedding ceramics and branches| India Zegan, grey raft| Photographer: Felicity Jenkins

'Museum of Fathers #42: Slow' (2014)Materials: coloured pencil on archival paper
Dimensions:175x 145cm  on archival paper| Margaret Roberts' floor piece| Photographer: Felicity Jenkins

India Zegan | Museum of Fathers #39: 30 irregular minutes' (1999-2013), Photographer: Felicity Jenkins

India Zegan | Museum of Fathers #39: 30 irregular minutes' (1999-2013), Photographer: Felicity Jenkins

Tuesday, 10 December 2013

Exhibition: 'Closer', Articulate Upstairs

Articulate Upstairs, Sydney
India Zegan | Museum of Fathers: Ghosts: ACR/MEJ #25-37, 2011-2013 | Exhibition: 'Closer', Articulate Upstairs, November 2013, installation overview | Photography: Felicity Jenkins

All works are blind embossed woodblock prints 
Printed on archival 300gsm Magnani Pescia paper, 100% cotton
Plate size: 29 x 23cm
Paper support: 42.5 x 30cm
Framed size: 53 x 42cm
Edition 7 + 2A/P + Printer’s copy
Printer: Nick Summers, Plum Press

The ghost-like, abstracted portraits, at points barely perceptible, have undergone a series of transpositions from sculptures, to photographs, to woodblock plates and now into blind-embossed woodblock prints. The original objects have been sunken into the paper substrate, returning them to their sculptural histories.

Special thanks: Mez Cornford.

Saturday, 7 December 2013

Upcoming group exhibition: Stonevilla Studio Fundraiser

The very funky 2013 Stonevilla Studio Fundraiser exhibition has come around again.

Date: Friday, 20th December
Time: 6-8pm
Venue: Chrissie Cotter Gallery, Camperdown
Address: Pidcock Street, Camperdown (pale 60s single storey building at the end of the street)

This is a great opportunity to pick up a small works- all priced at around $50- by quiet achievers such as Nick Strike, Mishka Borowski, Lynne Barwick and many others. That is, assuming you arrive before the indefatigable and whip smart Mr. Lake. 

I will be submitting a new miniature drawing.
India Zegan 'Night Fog #1-3', 2013| Pencil on archival paper

This fundraiser helps Stonevilla Studios present their annual Sculpture Prize.