c3 June 2018 Exhibition
A Decade of Lingering Gestures – c3 at 10 years
with c3 Projects + Sarah crowEST + c3 Volunteers
This project centres around the accumulation of unseen or hidden incidences, moments, details and labours of community occurring at the gallery over the past decade. Specifically, the project is structured around a covert 10 year durational work set in motion by c3’s Director, Jon Butt, at the beginning of the gallery’s program in 2008. A tangible manifestation of time, labour and chance – unbeknownst to its 1642 participants – the work has been contributed to by almost every exhibitor, installer or volunteer in c3’s history.
Artist Sarah crowEST has been invited to work with c3’s current and previous volunteers to co-create a work that signifies the series of processes that led to its formation.
Since March 2016, Olga Bennet has thought about Romanian modernist artist Constantin Brancusi constantly. But, looking back now, she realises she allowed very little space for Brancusi himself in those thoughts. Instead, she spent a lot of time looking at page 34 from Art of this Century, which included an image of one of Brancusi’s Maiastra sculptures. Metaphorically peeling the image off the book page with a scanner, she has completed the process that another photographer started elsewhere, probably in Venice, nearly four decades ago. Together, they have turned Maiastra into code, trading relatively stable bronze for malleable text – very easy to edit or duplicate, harder to keep intact. Brancusi frequently photographed his own works in the studio, but did accelerated digital aging and the slippery patina of pixels ever enter his imagination?
Fanatic is a new two-channel video work by Melbourne artist Drew Pettifer. The work interrogates notions of fandom, masculinity, desire and celebrity. Shot in high definition night vision mode, the video documents a notable AFL footballer sleeping on one screen and the artist watching him sleep for the duration of a full night’s sleep on another screen. The endurance piece alludes to the obsessive nature of sports fandom in contemporary culture. With shifting technologies and the rise of social media, there is a growing expectation that celebrities will share the intimate details of their lives with their fans, with the mundane sometimes becoming noteworthy simply due to celebrity. This work takes this expectation to the extreme, while concurrently exploring the tension between objectification and identification in representations of contemporary masculinity.
Picturing the Island
Dates are important, and so easily forgotten. In January 2016, Crawford began exploring how her recollections of a childhood in the tropics could be contextualised within Pacific Ocean cultures and their histories, colonialism and the implications of climate change for island nations in Oceania. Could the recollections of a child-of-Empire be presented without re-creating the colony, and how could a work of art explore these differences? Could a re-presented image bring the past to life? Picturing the Island presents the many voices of print culture to mirror the lives of contemporary Kiribati, the notion of home in dangerous times, Crawford’s work as an artist and her childhood in the colonial culture of Ocean Island.
Kirsten Keegan approaches painting as a way to resist the speed of image consumption and image-making. In developing a more intuitive painting practise, she uses very thin paint on porous supports such as silk and paper. Highlighting the agency of pigment and surface, each gesture is cumulative, without the possibility of reversal. This ‘decisive’ yet playful application of colour allows for the unpredictable unfolding of an image. Employing decision-making which alternates between the conscious and the unconscious, the process of painting is one of continually seeking out an image, thus ensuring its instability.
The Space Between
Noriko Nakamura, Marko Radosavljevic and artist duo Chanelle Collier and Joe Wilson. Curated by Siobhan Sloper
This exhibition will present artists who engage in the abstraction of architectural ideas and forms. Architecture psychologically impacts the human psyche, and affects how we interact and use a particular space. The exhibition asks the artists to explore the relationship between humans, art history, and the constructed architectural world. The artists will use their differing and unique cultural and visual histories as a lens through which to reinterpret the architecture of c3 and the Abbotsford Convent. The spatial dimensions of their works will induce a time-based experience of depth and change the immediate spectacle from 'looking at' to 'being in'.