"You cannot travel on the path, Before you have become the path itself." —Gautama Buddha
This exhibition is the first since my retrospective at the Latvian National Museum of Art in Riga last year for which I have produced new work. After Riga I wondered: What Now? In the last 15 months I have tried to make sense out of what happened then and my subsequent journeys on the various roads to nowhere – to remote places like Albuquerque, Santa Fe, Taos in the United States; to Hamilton and Dunkeld in Western Victoria; to Césis, Sigulda, Tartu and Tallinn in Northern Europe. Also I have tried to distil the essence of my personal experiences during this period such as joy, exultation, pride, gratitude, surprise, Déjà vu, coincidence, loss, anxiety, amygdala hijack, injury and the imminent event of a death in the family. A victim of what is infinitely close at hand.
However, here I also give thanks (as is inscribed on an ancient rock on the shores of Sirius Cove):
"TO THEE INVISIBLE GOD.
—Imants Tillers , 4 September 2019
Imants Tillers (born 1950) is one of Australia's foremost contemporary artists whose practice spans four decades. Since 1981 Tillers has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently his paintings have been concerned with place, locality and evocations of landscape. On these multiple panels Tillers juxtaposes layers of imagery and text drawn from a great many sources of influence and inspiration. The result is a convergence of ideas and a multiplicity of references that cite art – including other artists' work – history, literature, politics, society and the artist's personal history.
Tillers represented Australia at the São Paulo Art Biennial (1975), Documenta 7 (1982) and the 42nd Venice Biennale (1986). Tillers has held solo shows at the Institute of Contemporary Art in London (1988), National Art Gallery in Wellington (1989), and National Gallery of Australia in Canberra (2006). Tillers' international reputation was consolidated through participation in group exhibitions at the Guggenheim Museum in New York, Los Angeles County Museum, Los Angeles, Bridgestone Museum of Art, Tokyo and Stedelijk Museum in Amsterdam. Tillers regularly takes part in the Sydney Art Biennials (1979, 1986, 1988, 2006) and is the recipient of multiple notable awards – Osaka Triennial Prizes (Gold in 1993, Bronze in 1996, Silver in 2001), Beijing International Art Biennale (2003), and the top Australian art award for landscape painting, the Wynne Prize (2012, 2013).
In 2018, the Latvian National Museum of Art, Riga hosted a major retrospective of his work titled Journey to Nowhere. Also to coincide with this exhibition the Juris Podnieks Studio in Riga produced a feature-length documentary on his life and work: Thrown into the World.
Imants Tillers has been represented by Roslyn Oxley9 Gallery since 2008.
A void lurks through and behind the cosmic window of Roberto Bolaño’s final words of 'the savage detectives' polyphonic travelogue; an abyss outlined by a progression of empty spaces, devouring one another, like the lives of poets in pursuit of immortality and transcendence; such is an interrupted cycle, a circularity in question, a loop in cul-de-sac, operating through gaps and incompleteness, in-between the galaxies, 'a disproportionate ocean of emptiness'. Suspended in a vacuum, within a potentiality and under a pressure of a deficit and lack, we rehearse an alphabet of errors and imposed excess; spasm, not breath; absence, not expectation; towards the visceral, the visceral realism.
'I am an unfinished poem', declares Sophie Podolski. 'True imagination', Bolaño Completes with sarcasm, 'is that which destroys, elucidates, injects emerald microbes into other imaginations'. The visceral realism is 'a love letter, the demented strutting of a dumb bird in the moonlight, something essentially cheap and meaningless', or in other words, 'a philosophy of the remainder, of remains, of incomplete burials, of forms of life animated by forces of death (and vice versa)', an ultimate (and probably most vicious) circulation of mental and corporeal matter, a flow of disconnected particles in a disenchanted universe of a failed science. disfunction and disbelief levitate, challenging a void of a desiring machine; longing, forgetting, disappearing resist the system and the substance. Fulfillment and alienation oscillate in a vertigo of contradictory sensations.
This exhibition doesn’t take circulation for granted though; it questions the everything flows mantra. it rejects circularity too; we ain’t perfect. The linear system has failed (us); we inhabit a pause, an interruption, a disconnection. Lines do not meet as we live parallel lives; lives that do not match, passwords that keep expiring, invalid codes that take over the everyday routine; air gets toxic, fluids explode. We’re erased subjects. 'I’m a chattering blackbird', Podolski chants, 'I’m a puddle of oil—I’m a child sitting on the floor waiting to be rewarded... (we are never more than assistants of the void).'
In close collaboration with the Calder Foundation, New York, Pace will inaugurate the 3,600-square-foot first-floor gallery with a focused exhibition dedicated to Alexander Calder. The exhibition will examine the breadth of the artist's practice beginning in the mid-1920s and leading up to his creation in 1931 of the mobile-an unprecedented form of kinetic sculpture that created a true rupture in the trajectory of art. From his gestural 'Animal Sketchings' and massless wire portraits of the 1920s to his abstract oil paintings of 1930 and the swift progression to motorised objects and hanging mobiles, this exhibition will capture the remarkable transition from potential to actual energy in Calder's work and underscore his relentless pursuit of the vitality and life force in art.
The artist's premiere exhibition with Pace in New York will take place in the new building's second floor gallery. The exhibition will showcase a series of new large-scale paintings that continue Hollowell's investigation of bodily landscapes and sacred iconography through allusions to the human form. Drawing inspiration from artists like Agnes Pelton, Georgie O'Keefe, and Judy Chicago, Hollowell's works abstract the most intimate parts of the human body into primal shapes, such as the mandora and the lingam, in an examination of sexuality, conception, birth, and motherhood. In each work, the artist utilises colour and dimensionality-at times manipulating the canvas with three-dimensional forms-to amplify the phenomenological presence of her corporeal compositions.
The third-floor gallery will be dedicated to an exhibition of new work by David Hockney. This exhibition will present a 24-panel panoramic drawing and four additional individual drawings. Capturing the arrival of spring in Normandy, these works emphasise Hockney's ability to unite multiple spatial and temporal experiences of a place into a single image. Influenced by such disparate sources as traditional Chinese scroll painting, contemporary time-based art, and the medieval Bayeux Tapestry, produced in England and housed nearby in Normandy, these new works showcase Hockney's continued experimentation with the representation of space.
Ocula presents comprehensive online access to its art gallery members' upcoming, current and past contemporary art exhibitions. Visitors gain unique insights into the art exhibitions at top art galleries in Asia, Australia, North America, South America, Middle East and Europe. Ocula's art gallery members includes galleries such as Tina Kim Gallery in New York, the Taka Ishii Gallery in Tokyo, David Zwirner and Victoria Miro galleries in London, Simon Lee in London and Hong Kong and Almine Rech in Paris and Brussels. Ocula provides useful information about each gallery's history and past, current and upcoming art exhibitions, artists and artworks. With a commitment to the exposure of exhibitions at both established and emerging galleries, the exhibitions featured on Ocula are both geographically and thematically expansive, and include photography exhibitions, painting exhibitions and conceptual art exhibitions. Ocula member galleries are found in over 50 cities around the globe and include many of the most prominent art galleries in Asia, Europe, the Middle East and the Americas. Exhibitions are the very vehicle through which art is shared with the world, presenting art in a hybrid public private space, and enabling a dissemination of ideas through those that visit it. An exhibition enables art to be juxtaposed and contextualised thereby also promoting new thoughts that may not have originated with its original making, but now form through the ideas and minds of people who experience it. The very practice of exhibiting art has a long and fascinating history which is in many ways as relevant to how contemporary art has unfolded. Historically exhibitions have questioned the very nature of art, igniting debate on what art is. Perhaps one of the earliest and most well-known exhibitions to question and protest the process of selection in the exhibition format was in the Salon des Refusés of 1863, which displayed those artworks rejected for the official Salon in the Palais d'Industrie. The impressionist artists also were able to make their mark by staging art exhibitions outside of the mainstream art institutions, thereby triggering a re-thinking of what art can be. By following exhibition history, a collector or curator (or other art enthusiast) can begin to form a more in-depth understanding of an artist's practice and the gallery's programme. Many galleries now see their spaces as being absolutely necessary to the need for their artists to exhibit their art and share their ideas, and to this end many museum quality shows take place in galleries today. Some galleries also are beginning to invest in online art exhibitions, and where relevant Ocula works with these galleries to drive attention to such exhibitions too. There is no better way to experience artwork than in the space the artist selects to show the work in, but where doing so is an impossibility, Ocula provides a possible alternative.