An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...
即将于2019年7月13开幕的第二届 Condo Shanghai，联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市，如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城，为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥，《景观/对象WA》（2016）。橡木上固化油墨打印，左: 55.88 × 147.32 cm，中: 121.92 × 152.4 cm，右: 55.88 × 147.32 cm，图片提供：马凌画廊，上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...
Kathy Temin, White Sideboard Garden (2007).
We are warned by Amanda Rowell, in the text that accompanied 'Indoor Gardens', the exhibition of Kathy Temin's latest works, that here 'the animal qualities show themselves. Minimalism is combined with sentimentalism.' The show was indeed a strange, synthetic pleasure garden, a 'cosy nook' where Modernism slipped off its shoes and went walking on the grass – or, at least, shagpile carpet – a plastic paradise of fake fur and pebble-dash décor where the straitjacket of formalism was replaced by a flower in one's hair.
Melbourne-based artist Kathy Temin is best known for her indoor monuments made out of synthetic fur. By toying with the dichotomies of kitsch and formalism, solemnity and playfulness, Temin engages with personal and universal experiences of memory, history, and loss.
Temin first gained recognition for Pet Corner, a performance project staged as part of the group exhibition Wish You Luck at MoMA PS1, New York, in 1998. For the work, Temin recruited non-union actors to perform as a pair of mating koalas. Of the 14 actors who auditioned, only one was Australian and none had seen a koala in person; the performers had to rely on their ideas of the animal's habits to embody a way of being that was completely foreign to them.
Soon after Pet Corner, Temin began a series of works about the Australian pop star Kylie Minogue and the phenomenon of fan culture. Drawing from her own experience as a fan of the star since adolescence, Temin explores the notion of celebrity and the ways in which Minogue's fans express their appreciation for her. My Kylie Collection (2001), the first of this series which was installed at Museum of Contemporary Art, Sydney, took on the appearance of a teenager's pink bedroom that was also an obsessive shrine with its vast collection of CD albums, posters, and magazine covers featuring the star.
That immersive and painstakingly personal shrine can be seen as a prototype of the Holocaust 'monuments' Temin went on to make and for which she is most widely known. Using black or white stuffed synthetic fur, Temin creates large sculptures with a minimalist and kitsch aesthetic that often directly or indirectly refer to her family's history—both her father and stepfather were Holocaust survivors. My Monument: Black Cube (2009), for example, looms like a dark forest, consisting of a 3.55 x 3.7-metre collection of soft and bulbous synthetic fur 'trees'. The work overwhelms the viewer with its solemn presence, the fur's colour connoting both mourning and sexuality. While the overall structure recalls other approaches to Holocaust memorials, such as Sol Le Witt's large rectangular Black Form Memorial to the Missing Jews (1988/1989) and Peter Eisenman's Memorial to the Murdered Jews of Europe (2005) in Berlin, made of thousands of grey stone stelae, Temin's use of fur—reminiscent of the emotional relationship a child holds with his or her soft toys—allows the monument to enter a visual language that is distinctly her own. Embracing the material tension between innocence and tragedy, Temin's monuments embody private and collective psychological spaces.
Temin has occasionally extended her synthetic fur repertoire to other projects, notably Pet Cemetery (2014). For the installation, Temin created a series of mock tombs for deceased pets from orange synthetic fur and concrete. One of the works titled Pet Tomb: Csilla (2014) comprises a concrete cast of a tall upholstered plinth, sitting on top of a thin fur board that peeks out from underneath the concrete's weight. Similarly, Pet Tomb: Tina (2014) is an upholstered fur cylinder topped with a large pompom of shaggy fur. Applying practices that are commonly reserved for humans to commemorate animals, Temin considers the significance of pets in our lives while suggesting such grand gestures are for the satisfaction of the owners. The title of the work possibly takes a sinister turn in its similarity to Stephen King's 1983 horror novel Pet Sematary, in which the refusal to accept loved ones' death results in extreme consequences.
Temin attended the Victorian College of the Arts, University of Melbourne, for her undergraduate and postgraduate studies. She subsequently received her PhD from University of Melbourne in 2007. She is a professor at Monash School of Design & Architecture, Monash University.
Temin's work is held in public collections such as Museum of Contemporary Art, Sydney; National Gallery of Victoria, Melbourne; Queensland Art Gallery, Brisbane; Govett Brewster Art Gallery, Auckland; Art Gallery of Western Australia, Perth; The Ian Potter Museum of Art, University of Melbourne; and Art Gallery of New South Wales, Sydney.
Eavesdropping and State of the UnionThese two shows at the Ian Potter Museum delve back through the centuries but find a strong contemporary relevance. Protests have always made use of urgent and eye-catching design, and that's in full effect at State of the Union, which looks at the relationship between unions and artists with striking results.
New Zealand artist Billy Apple seems to have always been in the right place at the right time. In the early 1960s, he moved from Auckland to London and worked alongside artists who would become leading figures in the Pop Art movement, including David Hockney and Pauline Boty.After that he moved on to New York, and in 1964 he collaborated with Andy...
Auckland Art Fair puts the spotlight on this city as a place to see the best in contemporary art from the Pacific Rim. Dionne Christian asks some of the artists what 'place' means to them — in particular the space they work in.
Art Radar takes a look at some of the highlights from the exhibition featuring more than 100 works and ephemera from the museum's collection and beyond. Every Brilliant Eye: Australian Art of the 1990s, on at the National Gallery of Victoria (NGV) until 1 October 2017, explores diverse cultural phenomena. Ranging from grunge to techno, identity...
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