12 FEBRUARY TO 14 MARCH 2016
PROJECT SPACE / SPARE ROOM
Support materials, soft furnishings has evolved through conversation stemming from an interest in artists whose work can be located in a space between art and furniture and/ or art and dwelling. Instead of picturing the domestic or describing the use value of art/design objects, Support material, soft furnishings will attempt to collect, arrange and re-arrange a selection of works that create a tension between surface and function be that the inane, socio-political, psychological or experiential.
17 APRIL TO 10 MAY 2016
Robert Hamilton was born in Edmonton, Canada in 1962. His work focuses on urban environments, the structured worlds that we inhabit and they produce a self-defining context for our lives and experience. Robert's work aims to identify the peculiarities of contemporary living through a process of gathering and re-organising images of the environment, creating a reconstitued version of realism and authenticity.
Robert holds a Diploma of Fine Arts from the Alberta College of Art and Design, a Master of Fine Arts from the School of the Art Institute of Chicago and a second MFA from the Jan Van Eyck Academic in the Netherlands. He is currently Professor of Multimedia at McMaster University, Canada.
16 FEBRUARY TO 20 JUNE 2016
Each year the School of Art Galleries selects some of the brightest students from the Bachelor of Art (Fine Art) program and reproduces their work as a lightbox. Located in the busy thoroughfare of Knox Lane at Melbourne Central, High Lights provides these artists a pathway to exhibit immediately after graduation.
16 FEBRUARY TO 20 JUNE 2016
SITUATE / LIGHTSCAPES
RODDA LANE & LIGHTWELL
An exhibition of works from the past residents of the SITUATE Canadian Indigenous Arts Residency Exchange
8 APRIL TO 12 MAY 2016
PROJECT SPACE / SPARE ROOM
Leftovers is a series of sculptural gestures—or odes—to artists admired or known to Sanné Mestrom, those who have shaped her practice and thinking in profound ways. Through ceramic interventions, Mestrom interrogates the process of art-making, as well as ideas around authorship and value.
17 MAY TO 18 JUNE 2016
Rafael Cilau Valadez is the son of renowned Huichol yarn painter Mariano Valadez and anthropologist Susana Valadez. Coming from Nayarit in Central west of Mexico, Cilau a fifth generation Master Yarn Painting artist has been surrounded by master Huichol artists since childhood. He has done over 90 exhibits in North America, over 30 exhibits in Europe, and 5 in Asia. Now he is becoming a recognized traditional Wixarika medicine man (Marakame), but also travels the world exhibiting, lecturing, and demonstrating the Huicholart of yarn painting, his tradition and symbols. Artist of the year 2015, at Hollywood forever. His work has been featured at the United Nations, at the Museum of International Folk Art, and at events sponsored by National Geographic, Mexico, Riviera Nayarit, Don Julio, and universities like KSU and Harvard.
20 MAY TO 30 JUNE 2016
PROJECT SPACE / SITUATE
11 APRIL TO 22 MAY 2016
Rosalie Favell is a photo-based artist, born in Winnipeg, Manitoba. Drawing inspiration from her family history and Métis (Cree/English) heritage, she uses a variety of sources, from family albums to popular culture to present a complex self-portrait of her experiences as a contemporary aboriginal woman.
SPARE ROOM / 20 May to 30 June 2016
Doublethink explores the concept of ‘black’ or ‘white’ identities for First Nations Aboriginal people and considers this process of defining identity as a conceptual colonisation.
SITUATE / 27 June to 24 July 2016
Beth Harland studied at The Ruskin School of Art, Oxford University, and Royal College of Art, London and completed a practice-based PhD at the University of Southampton. She is Professor of Fine Art and Director of Insight at Lancaster University. She is associate editor of the Journal of Contemporary Painting.
SITE EIGHT / 23 to 30 June 2016
In this exhibition artists map tensions within their past and present personal histories. The works explore notions of personal identity, cultural memory and considers the trans-generational impact of migration and diaspora. All the artists draw from lived experiences, highlighting the importance of building a sense of place and weaving the multiplicity of one’s identity into our wider cultural fabric. Dispersia is an exhibition showcasing a collection of works from artists in the RMIT Masters of Fine Arts program.
PROJECT SPACE / 14 July to 18 August 2016
SITUATE / 6 June to 31 July 2016
oellinger/rainer (Hannah Rosa Oellinger and Manfred Rainer) are an artist duo based in Vienna, Austria.
LIGHTSCAPES Rodda Lane and Lightwell / 21 June 2016 to 13 February 2017
The RMIT Print Imaging Practice studio presents 8 artists from The News Network as part of the 2016 PIP Print Residency. BROADCAST proclaims a mixture of political and personal positions through found images from the news and current affairs. These artists respond to the spectre of global media re-contextualising images using the multiplicity of print production in its many guises. BROADCAST questions whether images created and constructed with print methodologies speak about and record events in a way that enables us to understand these incidents anew.
LIGHTSCAPES / 21 June to October 2016
Spectrum is an exhibition of works from the RMIT Hong Kong Master of Fine Arts Program curated by a student from the RMIT Melbourne Masters of Arts Management Program
SPARE ROOM / 15 July to 18 August 2016
Murmur is an generative spatial installation that draws on sound's mnemonic and affective qualities to place listeners in an ambiguous yet reflective space.
SITE EIGHT / 4 to 12 August 2016
Each year the School of Art awards a number of Honours Travelling Grants to students with the aim of supporting Honours graduates who demonstrate outstanding levels of art practice and academic achievement. Three to four selected graduates are assisted each year through the provision of a grant awarded to undertake overseas travel for the purposes of research. And the awardees are also invited to present new work in a group exhibition in the School of Art Gallery during the year that follows the awarding of their grants.
SITUATE / 7 to 22 August 2016
Johannes Kreidler (1980) has been studying composition, electronic music and music theory from 2000 to 2006 in Freiburg (Germany) and The Hague (Netherlands). Currently he is teaching composition and music theory at the Hochschule für Musik und Theater Hamburg.
Berlin-based composer Johannes Kreidler works in the mode of ‘expanded composition’. His compositions, while musical, are not about music – but rather the systems, economies, and regimes of value that structure music’s place in our world. Pursuing this music/not music approach Kreidler has become a leading figure in ‘conceptualism’, an approach at the intersection of composition and conceptual art. Johannes Kreidler is a guest of RMIT University iAIR and Liquid Architecture supported by the Goethe-Institute.
SITE EIGHT / 19 to 26 August 2016
JOSEPH BEUYS WORKS is an exhibition and roundtable discussion that enables students, the RMIT community and the public to reconsider the impact of the work of Joseph Beuys on contemporary socially engaged art practice.
PROJECT SPACE / SPARE ROOM / 7 to 29 September 2016
ON SITE/IN OFFICE 4 to 10 September 2016
RETURN TO SITE 23 to 25 September 2016
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SITUATE / THE TAIWANESE ARTS RESIDENCY EXCHANGE / September to October 2016
Anabelle Lacroix is an Independent Curator living in Melbourne, and program manager at Liquid Architecture—a contemporary sound art organisation. She has recently presented projects at Mars Gallery (2015), BLINDSIDE (2015) Careof (2014, Milan), Project Space (2014), Arc One (2014) and published critical essays.
She has worked in Melbourne in a number of institutions and independent originations on local and international art projects (Asialink, Banyule City Council, Arc One Gallery) and has taught the curatorial intensive in the Masters of Arts Management at RMIT University. Lacroix graduated from the International Program in Curating Art at Stockholm University (2011), Masters by research in Art History at University College London (2009) and a BA Art History from University Paris X. She is an associate member at RMIT’s Centre for Art, Society and Transformation.
SITUATE / THE AUSTRIAN ARTS RESIDENCY EXCHANGE / August to October 2016
Greg Creek is the recipient of the 2016 SITUATE Austrian Arts Residency Exchange
LIGHTSCAPES Knox Place / 22 November 2016 TO 13 February 2017
Works from the School of Art 2016 Higher Degrees by Research Candidates.
PROJECT SPACE / 7 October to 17 November 2016
SITUATE / 5 September to 17 October 2016
Che-Wei Chen (b. 1986, Yilan, Taiwan) holds an MFA from the Taipei National University of the Arts, Taiwan. Chen’s work encompasses photography, film, text, sound and object.
SPARE ROOM / 7 October to 17 November 2016
Although Neil Emmerson’s art practice is grounded in printmaking, his work engages with the expanded fi eld of
traditional print practice through the use of sculptural and installation formats, alternative materials, new technologies
and the repeated image. His subject matter is political, both in terms of the critical focus it directs towards aspects of
contemporary social and cultural life and its consistent projection of gay experience into the public realm.
SITUATE / THE CANADIAN INDIGENOUS RESIDENCY EXCHANGE / October to November 2016
Brett Graham is one of New Zealand's most exciting and accomplished sculptors, highly regarded for his ability to abstract complex historical and cultural ideas into formally strong and beautiful sculptural forms. Graham places strong emphasis on materiality and surface with the formal simplicity of his sculptural pieces and predominant use of wood and stone.
Graham's work engages in a dual dialogue of Maori and European histories whilst adhering to the modernist emphasis on form and material quality. Although his works may not directly invoke Maori sculptural tradition, they nonetheless speak of that tradition in their titles and concept. His work is accessible at an aesthetic, personal and historical level, enabling both the object and viewer to occupy a common ground.