https://collectivepolyphony.com/in-kind-collective

Something Holding these Bodies In-Kind (30:55)

Artists: Sofi Basseghi • Corinna Berndt • Leila Gerges • Tara Gilbee • Marcela Gómez Escudero • Christine Fontana • Lucy Foster • Josephone Mead • Sarah Rudledge • Nina Sanadze • Tina Stefanou

Curator: Sarah Rudledge

“Something Holding these Bodies In-Kind (30:55)” allows for individual journeys to be drawn through the notion of an artist-collective. An artist-collective is defined as an initiative resulting from a group of artists working together, under their own management, towards shared aims. For this exhibition the artists will consider what current journeys they are on. Through a process of shared creative practice they will begin to dismantle the individuality of their own projects, finding threads of exchange with one another. The resulting work will simultaneously challenge the independence of their own work while considering what an artist-collective can be.

About In-kind Collective (est. 2023)

In-Kind Collective explores ways of making and sharing together — in kindness, through generous and generative exchanges. To ‘In-kind’ is an open invitation; to be attentive to new art kinships both materially and interpersonally, and to find ways to gently support each other’s artistic practices in the current social, political and economic climate.

Concurrently, through these practices of support and empowerment, we begin our work to reclaim notions of ‘in-kind’ in the arts, which is frequently understood as unpaid labour. We ask if giving and receiving—between artists, audiences and materials—can be a means to restore, care for and foster collectivity rather than deplete and exhaust the artist and her practice.

—

Stockroom Kyneton

98 Piper Street, Kyneton 

2 September – 1 October 2023

Opening Saturday, 2 September, 6–7.30pm

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Art School Confidential is an exhibition by current lecturers and teaching staff from Deakin University’s School of Communication and Creative Arts, featuring artworks they made whilst attending art school. Curated by James Lynch, the exhibition celebrates creative discoveries in all their forms and the importance of a creative education experience.

Deakin University Gallery

https://pgav.org.au/Art-School-Confidential~9595

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30 November – 19 January 2023

During my residency at Carss Park I will explore the fluctuation of water and time. Having previously explored this theme in other residencies, I plan to focus on the Georges River as a prime location in which water and urban spaces intersect. Looking specifically at the shimmery reflective light of the river I hope to capture the ways in which it intersects with the ecologies of natural and urban forms.

More details regarding the residency program are here : Carrs Park AIR

Join current Artist in Residence Tara Gilbee for : 

An artist’s talk about her photographic practice and site specific explorations. Sunday 18 December 2022, 2.00pm – 3.00pm 

Ephemeral Photography Workshop. Wednesday 18 January 2023, 2.00pm – 3.00pm

Thank you to Georges River Council and the supportive staff at Hurstville Museum Gallery

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Curated by Danny Lacy, MPRG Artistic Director / Senior Curator
29 May – 22 August 2021

James Newitt, Christian Thompson AO, Harald Vike, Rosie Weiss, Emily Ferretti, Raafat Ishak, Emma Phillips, James Gleeson, Nadine Christensen, Tara Gilbee and others

Surreal Landscapes is a group exhibition that explores the way artists position subtle and strange, absurd and dreamlike interventions within the landscape, abstracting and shifting our reading of the landscape. These interventions often exist around an unusual story or personal narrative and quietly embed political and social commentary within these representations. The show includes newly commissioned work alongside MPRG Collection works and selected loans.

Tara Gilbee The strangest pulse (series) 2018-2019 Hand printed silver gelatin photograph on Bergger fibre paper. Image size variable.

Tara Gilbee The strangest pulse (series) 2018-2019 Hand printed silver gelatin photograph on Bergger fibre paper. Image size variable.

Tara Gilbee The strangest pulse (series) 2018-2019 Hand printed silver gelatin photograph on Bergger fibre paper. Image size variable.

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Mornington Penninsula Regional Gallery presents a special online exhibition featuring new photographic based work by Tara Gilbee. Tara was an artist in residence at the Mornington Peninsula Shire’s Police Point Artist in Residency program in 2018 and 2019. Using solargraphic and pinhole techniques, these powerful and haunting images capture a unique and other worldly perspective of Point Nepean.

This solagraphic series tells the story of the Old Quarantine site at Point Nepean in Victoria through use of arcane recording devises. Forming part of a larger creative investigation undertaken to explore some of its layered histories.

The longitudinal and immersive nature of this work required the artist to take up residence on the site throughout 2018 and 2019.

The devices used gave way to pinhole light recordings whereby the solagraphic record is imbued with the marks of the sun rising and falling (note the sun stripes within the images). The photographic material also registers its own weathering and records the textured surfacing of the elements from its duration at site. The works look to create a unique registration that can reflect the ephemeral elements within the site, dismantling notions of the representative landscape and delving more into temporal ideas of contained time and surface tracing.

Interview with Danny Lacy on sound cloud

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Participating Artists

Karen ANNETT-THOMAS

Ravi AVASTI

Grace B MCARTHUR

Rhonda BAUM

Anita BEANEY

Holly BLOCK

Ariella BLUM

Barb BOLT

Chris BOND

Jessie BOYLAN

Mitchel BRANNAN

Richard BUTLER BOWDON

Jon BUTT

Katie CHANCELLOR

Aaron CHRISTOPHER REES

Peta CLANCY

Dale COX

Hugh DENTON

Rozalind DRUMMOND

Kate ELLIS

Ember FAIRBAIRN

Mark FRIEDLANDER

Danny FROMMER

Tara GILBEE

Sarah GOFFMAN

Wendy GRACE

Kristian HAGGBLOM

Camille HANNAH

Siri HAYES

Penelope HUNT

Troy INNOCENT

Todd JOHNSON

Pia JOHNSON

Anthea KEMP

Nathan LARKIN

Jessica LEDWICH

Violet Aisling MACDONALD

Travis MACDONALD

Jordan MARANI

David MCBURNEY

Ali MCCANN

Janno MCLAUGHLIN

Alasdair MCLUCKIE

Alex MEAGHER

Katie PAINE

Jan PARKER

Lucy PARKINSON

Evelyn POHL

Josh ROBBINS

Tashara ROBERTS

Vin RYAN

Helga SALWE

Sean SAMON

Tracy SARROFF

Anne SCOTT WILSON

Samantha SEMMENS

Benjamin SHEPPARD

Benedict SIBLEY

Madeline SIMM

Penelope SKLIROS

Elynor SMITHWICK

Jacques SODDELL

Jessie STANLEY

Nigel STEIN

Debbie SYMONS

Darren TANNY TAN

Jasmine TARGETT

Kate WALLACE

Kellie WELLS

Doffy WHITE

Anthony ZIELLA

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The Project Space

Deakin University, Geelong VIC

23 October – 6 November 2019

Colour is a vital element within our world and the creative process, functioning beyond the surface, to activate our senses in many other ways. As a code for our eyes and perceptions, it also functions as an invitation or deterrent; as informant or signifier; and as aid to seduction or disgust. At times colour can exceed the visual apparatus, flood it with information and have the viewer grasping to find visual balance.

Each artist in this exhibition has re-framed and remixed colour to enact it’s use as a primary catalyst to amplify its meaning. Colour working in dynamic ways, building strong impulses and cloaking darker meanings. Examining the parallels between an array of visually synthesised surfaces and a type of natural shape shifting found in our environments beyond the exhibition.

Melinda Harper has a long and accomplished practice of applying colour within painting, objects and textile with fierce patterns to create formations of a personal visual code. Creating a world of shimmering colour and visually mesmerizing surfaces.

Narinda Cook works with plasticine to re formulate it into a liquefying and unstable material revealing darker concerns around the toxic excesses of our consumer wastelands.

Tara Gilbee fashions large coloured sculptural forms into a field of abstracted bodily objects with psychotropic painted skins that references mineral, biological or synthetic worlds.

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My artwork from the series ‘A drowned world’ 2018 was selected for consideration and exhibition.

The exhibition featured 96 contemporary artworks from leading and emerging artists across Australia at Wyndham Art Gallery.

Spanning paintings, prints, sculpture, ceramics and photography, Wyndham City’s national, annual Wyndham Art Prize offers emerging artists the opportunity to exhibit alongside established artists with annual prize money attracting top national and local talent.

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A Drowned World 2018 Dimensions Variable. Paper, Wax, UV Paint, Silicone, Perspex, Sound

Victoria College of the Arts – Riding Hall. Photography Simon Strong.

‘A Drowned World’

My artworks utilise a skilled knowledge of material manipulation, taking common materials to move them through a studied practice of transformation. Scale, surface and form interplay to create a focus on materiality and formal relationships. The final installed works from ‘A Drowned World’ imitate a constellation of open readings, bodies, beings, material entities that the viewer can interpret and create a field of possible narratives. This field of bodily objects with psychotropic painted skins references mineral, biological and synthetic values. A type of psychic landscape, infused with energies of attraction and repulsion, absurdity and play.

For this series my focus was to invent and mimic processes of body morphology through various material and immaterial means. Threaded through most of my investigation was a concept of disembodiment. This followed a narrative based on my own sense of displacement, alongside a broader one of the displaced body struggling to reconcile its intrinsic relationship to the broader political and ecological implications of our time.

Christopher Cox has noted ‘that we are now fusions of flesh and machine, wetware and software… we are akin not only to animals but also to vegetables and minerals’. (1) It is undeniable that the evolution of philosophical thinking with its consideration for the body as material and matter, influenced ecologically and influencing ecological states and futures, is an acknowledgement of the precarious nature of our interwoven existence.

The matter of flesh and how it webs itself to form is under consideration within many vital philosophical treaties thus breaking down an essentialist view of nature. So that now we can see matter as a vast continuum, a field of virtual forces and intensities, thresholds and powers that, under particular conditions, is actualized in the things and bodies we know. (2)

(1) Thompson, Nato, and Christoph Cox. Becoming Animal: Contemporary Art in the Animal Kingdom. MIT Press, 2005. ‘Of humans, animals and monsters’ (pg 18)

(2) Herzogenrath, Bernd, ed. Deleuze/Guattari & Ecology. New York: Palgrave Macmillan, 2009.

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