July 2008, “Behind Red Eyelid Blind”
June-July 2008, “The Most Meaningful Art of Our Time/ What Goes Around Comes Around”
images: Top to bottom - Simon Barney, Don’t Get Up (Old Tech 4 and Old Tech 5) 2008/ Simon Barney, Don’t Get Up (Old Tech 4) 2008/ Michelle Hanlin; left to right, So Where the Bloody Hell Are Ya 2008, Cowgirl 2008, No Birds 2008/ Julian Dashper, Untitled (the last second of the last Venice Biennale) 2007, Untitled (the last 15 minutes of the last Venice Biennale) 2007/ Pipilotti Rist, Sexy Sad I (DVD projection stills) 1987
June 2008, “The Figure of Plastic…/Awkward Silence
images: Top to bottom - Anne Kay, The Figure of Plastic; What can be Owned, Borrowed or Thrown Away, installation details. Josie Cavallaro - Awkward Silence (hand etched wine glasses), installation view
May 2008, “Marriage”
April 2008, “Swarm Transfer”
March-April 2008, “Rule”
images include: Red not Blue 2008/ Black not Blue 2008/ Blue and Red not Black 2008
“The weave is loose and appearances are leaking. Inside and outside are now on the same side of the equation, because now there are no sides. And now there is nothing but sides. Space is simultaneously open and closed. Warhol liked to think about space. He said, ‘My favourite piece of sculpture is a solid wall with a hole in it to frame the space on the other side’. Things are inside and outside at the same time. Things seem the same yet different. Same difference”.
(Extract from Tanya Peterson, ‘Same Difference’, 2007).
March-2008, “Headland”
images: Headland (installation view)/ works by - Peter Newman, Mark Brown, Into the Void, Michael Morley/ Mark Brown - Fontana Muse 2008/ Jon Hunter - Collapse 2008, Emily Morandini - Maybe You’re Right 2008/ Into the Void - Golf War 2007-2008, Michael Morley - Petraeus 2008/ Torben Tilly (Minit) - Harmonium 2008/ Vicky Brown - Mastermother 2008/ Vicky Brown - Mastermother (detail)/ George Pizer - Fillet O’ Fish (3 bonus tracks) 2008/ Heil Spirits - Phantom Wrangler 2008/ David Haines - The Door-soundtrack 2007-2008 / Joyce Hinterding - 512k to Blacktown 2008/ Headland behind the scenes (initial sound test)
An exhibition of contemporary experimental music and sound art curated by Scott Donovan and Caleb K and featuring artists from Australia, New Zealand and Germany. Participating artists were asked to supply visual work in the form of limited edition ‘cover-art’ that broadly corresponded to their audio compositions. All tracks could be listened to on head phones within the gallery space. The exhibition sought to provide a range of diverse approaches to experimental audio composition at the same time drawing analogies between audio and visual practices.
February-March 2008, “The Lively Plane”
images: Lisa Kelly - No Street Tree, 2007 + Dennis Tan - Private Space on Constructed Space on Institutional Space, 2007/ Dennis Tan - Lean On, 2007/ Dennis Tan - V Prop (documentation), 2007/ Lisa Kelly - Ashtray; Planter, 2007/ Lisa Kelly - Tree Prop (triangle), 2007
In 2007 Lisa Kelly undertook an Asialink residency in Singapore and met artist Dennis Tan ~ founder and housekeeper of the independent artist space The Other House in Little India. There they grew the makings of a cooperative dialogue grounded in a mutuality of interests and attitude around practice, hosting, talking, walking and urban observation. The joint project ‘1.The Lively Plane’ at the Institute for Contemporary Art, Newtown sees a city swap and cultivation of this dialogue via Tan’s one month visit to Sydney. The exhibition roams around the artists’ material thinking on the constructed environment, relations, building, propping, sculpture, drawing, streetscape and locality.
February 2008 “Green Screen”
images: Martin Healy - Skywatcher (installation detail), 2007/ Martin Healy - Skywatcher (projection detail), 2007/ Anita Delaney - December, 2007/ Mark Clare - The Perfect Human, 2007/ Declan Clarke - Everything Must Finally Fall, 2007
‘Green Screen’, an exhibition of contemporary video art from Ireland curated by Australian video-artist Kate Murphy, recently an artist-in-residence in Dublin. The themes these video works covered ranged from updated reinterpretations of traditional fairytales and abstract meditations on Irish and Celtic landscape to alleged UFO visitation; from considerations of the decimation of Irish state housing to the mock heroism of the figure of the contemporary artist in his studio; from the disappearance of fabled fauna to fictions of completeness expressed in everyday life as compensation for the subjective experience of failure and dissatisfaction. The exhibited works were shown both projected and on monitors.
