Angela Cavalieri explores the art of writing in visual form. In her large-scale, hand-printed linocuts, literary, religious and historical narratives eventually manifest as image. Sources include poetry, music, religious epitaphs and inscriptions on public buildings.
Fragments of experience and narrative find their form in Cavalieri's enlarged, broken and repaired text. Seeing the text as an image, she re-writes that part of history by re-working and integrating the text into forms that reinforce its physical and material presence. The narrative is constantly changing and rediscovering itself and new narratives appear.
Whatever the source, Angela’s inspiration derives from her migrant family background, Italian being her first language. It is this intimate and personal connection that Angela uses to play with the ideas and architectures of language, storytelling and culture.
Recently she has been exploring ‘music as storytelling’, particularly in the use of ‘word painting’ from Monteverdi’s operas and the early poets who inspired his madrigals. CANZONE – Music as Storytelling, a combination of art and music, was exhibited at fortyfivedownstairs Gallery, Melbourne, in association with the 2015 Melbourne Festival, 29 September – 24 October 2015.
The exhibition was a culmination of Cavalieri’s five-year exploration of Monteverdi’s madrigals, developed during a recent residency at La Scuola Grafica Internationale in Venice, a Creative Fellowship at the State Library of Victoria and a previous commission from the Arts Centre Melbourne.
Angela Cavalieri studied at the Victorian College of the Arts, Melbourne, Australia, from 1981-1983. She has since participated in numerous exhibitions. Most recently, in April/May 2015, Cavalieri was invited to La Scuola Internazionale di Grafica, Venice for a residency and exhibition.
Angela Cavalieri's Parole Viaggianti: Travelling Words, curated by Maroondah Art Gallery and LUMA| La Trobe University Museum of Art, Melbourne, 2011 is her most recent touring survey exhibition. Angela has also participated in The Venice Biennale, Italian Pavilion in the World Project, 2011.
Cavalieri has been awarded several prizes including the Manly Library Artist Book Award, New South Wales 2011; the Geelong Print Prize Acquisitive Award, Victoria, 2009 and the Silk Cut Print Award, Victoria, 2000. Her work is held in many public and private collections.
Mouthfeel is a collection of five films curated by Megan Fizell exploring the mouth through its navigation, ingestion and expulsion of edible and non-edible substances. The films aim to evoke a synaesthetic response in the viewer, triggering the sense of taste and touch.
The films are produced and performed by four women artists and one husband-wife duo and include the following:
ELIZABETH WILLING, Lick, 2009
HILLERBRAND & MAGSAMEN, Coffee & Milk: Water Dance, 2005
HANNAH RAISIN, Rose Garden, 2009
MARTYNKA WAWRZYNIAK, Chocolate, 2010
NINA ROSS, The Foreignness of Language, 2011
Megan Fizell (feastingonart.com) is a Sydney-based writer and curator who specialises in the representation of food in the visual arts. She holds a Master of Arts (Art Business) from Sotheby’s Institute of Art - London, a Bachelor of Arts (History of Art) from the University of Michigan, and is currently working on a Master of Arts (Art Theory) from the University of New South Wales researching the use of edible materials in arts practice.
Fizell is the Gallery Manager at Brenda May Gallery, Sydney and her writing has appeared in Artlink, Ceramics Monthly, and Journal of Australian Ceramics among others. Previous curatorial projects include Sugar, Sugar (October 2013) and Art + Food: Beyond the Still Life (October 2012). Sugar, Sugar featured contemporary art made exclusively with sugar by ten female artists.
In 2015 photographer and writer Peta Burton walked around Uluru 100 times in 30 days, photographing as as she went. 70 years earlier Burton's Polish grandmother had held a similar interest in Uluru and had created a painting of the eastern side of the rock. Burton brings together her grandmother's painting and her own work in a photographic-based installation capturing multi-generational impressions of Uluru.
Peta Burton has worked extensively in journalism (TV, print and radio). In 2014 she founded the Trek Series which saw her walk 1014km in 30 days from Cairns to Cape York and raise thousands of dollars for charity. Her Uluru walk began as the Adelaide to Darwin World Record Charity Trek which ended abruptly on its first day and eventually became a feat of bonding and endurance in the desert. The Ochre Cloak is also the name of Peta's forthcoming book documenting her Uluru walk.
Artmart 2016 is a 3-day pop-up exhibition this coming May which celebrates (mainly) local talent and kickstarts the early dry season.
Artmart began in 2015 as a way of drawing attention to Parap as an art gallery hub, with the Northern Centre for Contemporary Art joined by fellow Parap-based Nomad and Outstation galleries to form the Parap Galleries identity: parapgalleries.com.
The ‘mart’ in Artmart embraces our location amidst the well-known Parap Market and promotes the idea of contemporary art as accessible and affordable.
NCCA supports local talent being supported by local patronage, and exhibiting local talent alongside the work of their fellow NT, national and international peers.
Participating artists include: Daniel Coloe (Darwin-Melbourne), John Eaton (Cairns), Liss Fenwick (Darwin/Humpty Doo), Jacky Green (Borroloola), Linda Joy (Darwin), Rita Macarounas (Darwin), Birendra Pani (New Delhi), Rossanne Pellegrino (London), Jason Sellaiah (Wadeye), Angus Titoko (Darwin) & Leigh Zaramis (Darwin) and artists from the Indigenous Jewellery Project representing Ernabella Arts: Niningka Munkuri Lewis, Malpiya Davey, Marissa Thompson, Thomas Tjiliya, Nicole Rupert, Hazel Rupert; Ikuntji Artists: Virginia Ngalaia Napanangka, Walter Jugadai Tjungurray
Exhibition Opening: (Black) Friday 13 May, 6-8pm
Artmart 2016 will be accompanied by two screening sessions commemorating Fistfull of Films (FFoF), the much-loved NT-wide short film festival which last showed in 2014: fistfulloffilms.com.au
Saturday 14 May 12 noon: ‘Clench', a selection of award-winning works from previous 3 FFoFs
Sunday 15 May 12 noon: 'Speakeasy', a selection of animal-themed FFoF works curated by Matthew Van Roden
Screenings in NCCA Screenroom; free
The works in Chronic Manageable Conditions began on a journey where I recovered from a debilitating medical condition.
In order to avoid the grand history of painting, I enjoyed an indulgence in drawing, or making works on paper, partly inspired in this direction by exposure to the graphic work of artists from Jogjakarta while I was living in Indonesia. Drawing, in this project, is direct, responsive, immediate and raw. It is a form of thinking out loud, and can also engage the body in a physical way, outside of the frame. I respond to this immediacy as a metaphor for living in Darwin, compelling us to be in the moment. I observe artists revelling in the margins here, dancing to our own tune.
I prefer a messier subjectivity, something that can contain a multitude of ideas and aspirations, be it identity politics, romantic expression, thought bubbles, dreamscapes, surreal associations, queerness, responses to the street, media and screen life, to the daily complexities of contemporary life. This ability to respond is important to me, against the barrage of info and power operations we are otherwise compelled to ingest. Once I began this project, it took on a life of its own, digging out moments in a contested realm of visions; in some cases digging out old diaries from my art school days for source material.
Recurrent themes seep up in clusters: racial politics, sexual politics and pleasures, (the queering of) native flora and fauna, the body, mortality, my Catholic upbringing, my life as a hyphen – a space in-between. These also reflect an ecology of childhood. I am a war baby, Mum being from North Vietnam and Dad being an officer in the RAAF. A marriage of enemies, apparently, with its own rich baggage.
Andy Ewing has worked as an artist, curator, and arts project manager over the past two decades. He undertook formal studies in visual art in Sydney during the late 1980s/early 1990s and soon after held his first solo exhibition in Sydney. Chronic Manageable Conditions represents his first solo exhibition in a public art gallery and a concerted return to his practice after a long hiatus. His curatorial achievements include Monster Pop!, Museum and Art Gallery of the NT, 2015/15 (co-curated with Fiona Carter), and Territorial, NCCA/Canberra Contemporary Art Space, 2007 (co-curated with David Broker). In 2015 Andy was judged overall winner of NCCA’s Members’ show (Milestone) and of Darwin’s annual Art of Pride exhibition. Andy belongs to an arts collective called Yum Cha Arts, which focuses on multi-artform projects, developing and producing collaborationswith Asian and NT artists. www.yumchaarts.org
In many a Kalymnian household anywhere around the world can be found a proud mantle display of sea sponges. Once the main source of income for the island of Kalymnos, the sponge is both a commodity and a symbol of identity.
Emerging artist and curator Koulla Roussos plays with concepts of fluidity and the concrete, incorporating the iconic sea sponge as a metaphor and tool for interrogating subjective manifestations of identity; asking the question, “How do I materialise my hybrid, fluid subjectivity for the anonymous spectator?”
COnCREtE is an installation based work incorporating sculpture, digital print, video and found objects.
Koulla was born in Darwin. In 1987 she graduated from the University of Adelaide in Economics. In 1993 she graduated with Honours in Law from the Northern Territory University. She was admitted to practice as a Barrister and Solicitor in the Supreme Court of NT in 1995. She is currently a barrister with John Toohey Chambers, Darwin, specialising in criminal law. Koulla is also a practicing artist and curator. She has undertaken postgraduate studies in Art History and professes a keen interest in exploring the ways contemporary art can engage with public spaces and create new understandings of a place. She has curated several exhibitions in Darwin including Monsters from the Black Lagoon (2015), TaNTtrum (with Jonathan Saunders, 2013/2014), Origin of a Species (2014), Flash Art (2013), and a year-long monthly program of arthouse film at NCCA (The Vault, 2015).
Dito Yuwono, The Geography of Here and There
28 May to 25 June at NCCA
Opens Friday 27 May 6-8pm
Following from a 1-month residency in Darwin (in association with Darwin Botanic Gardens) in October 2015,Jogja-based early-career artist Dito Yuwono responds to ‘betwixt-and-between’ ideas of Darwin as Asian/Australian, city/town, natural/built environment.
“I am interested in the issue of spatial history and memory. Space and memory are interrelated. Spatial history is an intertwined memory that is constructed and often reinterpreted. How a geographical space cultivates collective memory, and how each memory of the citizen constructs the image of a place interests me [to] explore the relationship between memory, history, people, and places. By presenting the correlation between those elements, the spatial history of a space and a city can be seen side by side with personal narrative of the citizen.”
In The Geography of Here and There Yuwono explores the location of Darwin in terms of its proximity to Asia, and how NCCA is placed but as an institution and the archived memories of artists who have passed through it.
Dito Yuwono is a young Indonesian contemporary photographer from Mes56 artist collective. He graduated in 2010 from Mass Communication of Atma Jaya Yogyakarta University. In 2011, he co-founded an independent space that aims to build a supportive and positive environment for young artists – Lir Space, Yogyakarta. Dito’s artistic practice is varied between photography, mix-media installation, video, and performance. Dito is especially interested in working with community and recollecting memories to find the link between memory-citizen-history. His work often serves as a form of storytelling using personal approach to subtly grasp the bigger picture of socio-political environment. The artist is now living and working in Yogyakarta. Some of his latest solo projects are “Have We Met?” (2011), “Finding Stillness” (2012), “The Memories of Unidentified Experience” (2014), and “Recollecting Memories: Tukang Foto Keliling” (2013-now).
Lisa-Marie Vassilakoglou, Patience
28 May to 25 June at NCCA
Opens Friday 27 May 6-8pm
Lisa-Marie Vassilakoglou fills the NCCA boxset with a handmade wedding dress; painstakingly embroided with beads, pearls and hand-stitched lace. The dress is a meditation, an example of patience and a reflection on the lives and expectations of greek women within the context of marriage and family; a lesson and a legacy.