2017     2016     2015     2014     2013     2012     2011    
7 December 2015 - 21 December 2015
International biennale @ Port-au-Prince (HAITI)

What happens when first world art rubs up against third world art? Does it bleed?
A Salon des Refusés for the 21st century.

After the Haiti Revolution, the formerly enslaved peasants had three tools for their ‘counter-plantation’ position; the Kreyòl language, the Lakou system and the belief-system and ritual practices of Vodou, a triumvirate of linguistic, territorial and cultural resistance. Laurent Dubois, writing in ‘Haiti: The Aftershocks of History’, notes that, ‘thanks to a remarkably strong and widely shared set of cultural forms – the Kreyòl language, the Vodou religion, and innovative ways of managing land ownership…- they built a society able to resist all forms of subjection that recalled the days of slavery.’

The language of Kreyòl, which was born in the colonial plantations, began as a basic and rough method of linguistic communication between the culturally and geographically diverse populations of the colony. After the slaves revolt Kreyòl became a language of resistance and retreat from the metropolitan state, which continued to use French as the lingua franca of power and capital in Haiti.

Vodou is a creolised religion forged by African slaves and their descendants which is comprised of elements from a wide range of diverse religious practices including many African traditions from the Fon, Dahomean, Kongo, Yoruba, and other African ethnic groups; Christianity and of the indigenous Taino Indians who were the original inhabitants of the region. As Dubois comments, ‘As they suffered together through the trauma of plantation life, Africans and creoles developed their own rituals of healing, mourning and worship.’

The Lakou is a sub-altern land management system in the rural provinces of Haiti which refers to clusters of houses around a yard which house extended and multi-generational families, forms of land management, ownership, co-operative labour and trade practices which attempted to resist the return to the plantations. As Dubois wrote, ‘In order to preserve that control, the Lakou system established its own set of customs to regulate land ownership and land transfers. The state had no part in these transactions, which were overseen entirely by community and family institutions.’

Vodou is a contested theme in studies of Caribbean and Haitian art. Current discourse interrogates both auto-exoticism by Haitians, and the ‘othering’ of outsiders. Important concerns include the appropriation of the impoverished peasant or ghetto culture as an essentially neo-colonialist strategy, and the precarious position of Haitian art in general, trapped as it is between the historically marketable ‘naïf’ or ‘primitive’ Vodou-celebrating tendency, and a contemporary desire to take its place on the stage of the international global art world.

The Ghetto Biennale invites artists and curators to explore what potentials these radical tools, Kreyòl, Vodou and the Lakou, have to offer to the contemporary world.

Curated by Andre Eugene & Leah Gordon.

1 December 2015 - 31 December 2015
Group exhibition @ Billboards all around LA - Los Angeles (USA)

THE BILLBOARD CREATIVE is the antidote to the inbox-choking, often empty and expensive pitches from art expos and pay-for-play venues. We've participated in many fee-based programs and competitions. Some of them were great; some less so.  (Look up Alan Bamberger’s article in artbusiness.com on whether or not art competitions will help your career.) But the bottom line is that many competitions are more about making money than making art. We understand this - everyone has to make a living, but it inspired us to create a program that actually is all about the art.

THE BILLBOARD CREATIVE is a Los Angeles-based nonprofit that takes unused and remnant billboards and turns them into public art. Imagine the impact of original art, in large scale, viewed by tens of thousands of us on our daily commute. Public art, displayed in a quintessential Los Angeles medium.

Curated by Mona Kuhn.

25 November 2015 - 15 July 2016
Group exhibition @ Asia Culture Center & ACC Creation - Gwangju (SOUTH KOREA)

A multiyear research-based project, IMAGINING NEW EURASIA examines the historical precedents and contemporary reconstruction of the continent as a union of Europe and Asia. Informed by the Old Silk Roads and New Silk Roads, the project imagines new relations between East and West, and a renewed identity of Eurasia, through a narrative sequence of three distinctive chapters with different content subject.

Let’s imagine that Eurasia has been completely destroyed, possibly from religious, ethnic and national wars, or even by nuclear war. As a result, unaccountable numbers of cities, towns and villages lie in ruin, and all forms of states, communities and beliefs have vanished. The grandest civilization in the world upon the largest continent on the globe was simply erased. Perhaps the idea of Eurasia was not strong enough to sustain a peaceful co-existence of its parts.

Fortuitously, a new Eurasia could arise from the few specks of our cultural artifacts and memories that survived, here, there and everywhere. But what could they be? And how can they shape new cities, towns or villages?

A project by Kyong Park. Commissioned by the Asia Culture Center – the ACC Creation and Asia Culture Institute. Supported by the Ministry of Culture, Sports and Tourism, Office for the Hub City of Asian Culture, Republic of Korea.

Curated by Jihoi Lee.

12 November 2015 - 22 November 2015
Group exhibition @ Art Est. Art School & Gallery - Sydney (AUSTRALIA)

The GreenWay Art Prize celebrates the precious urban green corridor in Sydney’s Inner West and aims to capture the essence of the GreenWay through visual art.

The GreenWay is an urban green corridor linking the Parramatta River at Iron Cove to the Cooks River at Canterbury. It winds through the heart of Sydney’s Inner West and takes in parts of Leichhardt, Marrickville, Ashfield and the City of Canterbury council areas.

Following the route of the recently extended Inner West Light Rail, the Greenway features bike paths and foreshore walks, cultural and historical sites, cafes, urban bush care sites and a variety of parks, playgrounds and sporting facilities.

The GreenWay Art Exhibition is hosted by Art Est. Art School and Gallery in Leichhardt, and is sponsored by Ashfield, Leichhardt, Marrickville and City of Canterbury Councils, Art Est. Art School and Gallery, Cooks River Alliance and Derivan, maker of fine artist materials.

Curated by Christiane Keys-Statham.

17 September 2015 - 18 October 2015
Group exhibition @ Rookwood Cemetery - Sydney (AUSTRALIA)

Hidden was established to enable the local community to explore Rookwood Cemetery. Rookwood is the oldest, largest and most multicultural cemetery in Australia, and Hidden invites the public to experience the historic and cultural significance of this iconic site.

Hidden – A Rookwood Sculpture Walk is an outdoor sculptural exhibition that steps outside the notion of mainstream galleries and typical outdoor sculpture exhibitions to showcase Rookwood as Australia’s most multicultural site.

Rookwood General Cemeteries Reserve Trust caters for eighty nine different religious and cultural groups and as a result community engagement is a priority for us, as it enables us to understand the needs of the evolving Sydney community.  Hidden was created as a platform for community engagement, and while still remaining respectful of its purpose and place, it aims to de-mystify some of the misconceptions surrounding cemeteries as dark or intimidating settings.

Each year, the exhibition invites artists to respond to the themes surrounding the Rookwood site, including history, culture, remembrance and love.

Featuring: Aaron Anderson, Adam Galea, Al Phemister, Ally Adeney, Amanda Stuart, Ana Young, Barbara Wulff, Edith Perrenot, Edward Willson, Fredrika Rose, Freya Jobbins, George Catsi and Anne Kwasner, Graeme Pattison, Graham Chalcroft, Helen Dunkerley & Linda Swinfield, Hobart Huges, Hurlstone Agricultural High School, Janine Bailey, Jessie Stanley, Karen Golland, Karen Manning, Kate Andrews, Kazuko Chalker, Kenneth Mitchell, Madeleine Challender, Melissa Laird, Mitchell Thomas, Mr & Mrs Brown, Nathalie Hartog-Gautier & Penelope Lee, Pamela Lee Brenner, Penny Ryan, Rachael McCallum, Rachel Park, Ro Murry, Robert Barnstone, Ronald Royes, Stephen Hall, Susan Redropp, Susanna Strati, Thomas C. Chung, Vince Vozzo & Yves Lee.

Curated by Cassandra Hard Lawrie, Dr Lee-Anne Hall & Bonita Ely.

29 April 2015 - 4 May 2015
Solo exhibition @ Buskerud Kunstsenter - Drammen (NORWAY)

Documented as a reflection of daydreams and wanderings, 'Looking For Niceness…', explores this notion through installations and knitted sculptures.

The inflatable compositions which occupy the corners of the space, extends an invitation to the audience to claim each as their own, hiding within an assortment of surprises. Parallel to these are displays of knitted creatures found in nature, held inside petri dishes, baubles and test tubes, distilled as a connection between beauty and sadness. Complementing them are medicinal flasks and milk bottles filled with knitted sweets, speaking of the dichotomy within cure and comfort.  

The brevity of the exhibition, alongside the pricing of individual pieces, is a vital element to this conceptual backstory. Continuing the narrative of a child discovering the world, these artworks speak of capturing moments in life constructed through fleeting gestures and objects.

19 April 2015 - 31 December 2015
Group exhibition @ Satellite Collective - New York (USA)

For over two years, SATELLITE COLLECTIVE, a non-profit arts incubator in New York City, has been playing TELEPHONE, the game in which a message is whispered (and transformed) from person to person. In this case, the message has been passed from art form to art form. The message might become a poem and then a painting and then a film. Each artist was only shown the work directly preceding his or her own, unaware of the original message or the arc of the sequence.

The other twist was that each finished work was assigned to two or three other artists. Instead of progressing a straight line, this game of TELEPHONE has branched out exponentially like a family tree. The experiment produced 315 original works of music, collage, dance, print, film, installation, prose, sculpture, poetry, photography, embroidery, painting, drawing, performance, and even a videogame.

In order to present this project, SATELLITE COLLECTIVE developed an innovative, online exhibition platform that will allow visitors to follow the trajectory of the message as it evolves through a multitude of art forms. On Monday, April 20th, SATELLITE COLLECTIVE will be officially launching the exhibition, making it free and open to the public.

16 April 2015 - 19 April 2015
Group exhibition @ The New Yorker Hotel - Cologne (GERMANY)

The KÖLNER LISTE brings a new and attractive art segment to Cologne and the surrounding area, inspiring art buyers, art lovers and collectors to make new explorations and discover new favourite pieces.

The KÖLNER LISTE will once again be held at DOCK.ONE in 2015, parallel to the Art Cologne and only a stone´s throw away. From April 16th to 19th, the fair for young, fresh art will be presented in a stylish atmosphere across 2000 sqm on the Mülheimer harbour.

The art exhibited ranges from contemporary painting, sculpture, drawings and graphic work to installations, video art and performance. Curator Dr. Peter Funken brings expertise to the fair, ensuring a careful selection of quality exhibitors. The art fair is a “must” for everyone who is looking for exceptional originals.

15 April 2015 - 10 May 2015
Group exhibition @ Scenic World - Katoomba (AUSTRALIA)

Now in its fourth year, Sculpture at Scenic World is delighted to invite artists for Australia’s only rainforest exhibition.

This outdoor exhibition will provide local, national and international artists an exciting opportunity to exhibit their works within the natural splendour of the World Heritage-listed Blue Mountains, including the chance to win the lucrative $20,000 Major Award. Up to 40 works will be exhibited on the valley floor, and a walk along the elevated boardwalks will give visitors the opportunity to view world class sculptures in an unparalleled setting.

It will feature international artists from Germany, Finland, New Zealand, The Netherlands and Japan, alongside Australian artists from Queensland, Victoria, Western Australia, Tasmania, Australian Capital Territory and New South Wales, including five Blue Mountains’ artists.

Curated by Justin Morrissey.

7 March 2015 - 22 March 2015
Group exhibition @ Coal Loader Centre for Sustainability - Sydney (AUSTRALIA)

The North Sydney Art Prize will be held at the iconic Coal Loader Centre for Sustainability in Waverton. This unique site enables broad participation and accommodates the inclusion of drawing, photography, works on/with paper, sculpture, installation and site specific works.

The 2015 curatorial theme encourages artists to consider the overarching principles of the exhibition site at the Coal Loader Centre for Sustainability. The Coal Loader Centre opened in 2011 as a major regional community resource and was transformed from an old industrial site to a place where you can be inspired by best-practice sustainable technology, community gardens, native bush nursery and regenerated parklands.

The Coal Loader showcases innovation and serves as a community hub for Council’s extensive range of environmental and sustainability programs. Located within the bushland of Balls Head Reserve and adjacent to historic Berry Bay, the Coal Loader is a site of both remarkable industrial heritage and environmental sustainability.

The curatorial theme embraces innovation and diversity in contemporary art and provides an entry point into the many conversations about our complex relationship with the world around us. Importantly, it is a timely reminder of our individual and collective responsibility in an increasingly finite environment.

Curated by Alison Clark.