Simryn Gill's methods include photographing, drawing, collecting, altering, casting and writing. The artist presents two works from the MCA Collection, Untitled (Interior) II, 2008, and Carbon Copy, 1998, at the 21st Biennale of Sydney. These works are separated by ten years and use profoundly different material and formal approaches, yet both arise from the close attention Gill pays to the ubiquitous and overlooked, and from her habitual process of harvesting materials and forms from her immediate environment.Read More
Untitled (Interior) II, 2008, is one of five bronze sculptures the artist cast from fissures in dry dams and creeks during the severe drought that affected South Eastern Australia between 2001 and 2009, described as 'the worst drought in 1000 years'. The initial silicon rubber casts were made near Nyngan and Lake George in NSW, and cast in bronze in Bangkok, Thailand, by Apisit Nongbuo, who comes from a family of bronze artists who have traditionally made ritual objects for temples.
Carbon Copy comprises 53 parts, including 26 typed texts and their carbon copies. The words and phrases feature statements by Australian politician Pauline Hanson and Malaysia's former Prime Minister Mahathir Mohamad regarding immigration and refugees. Phrases such as 'Do we want or need any of these people here?' and 'foreign miscreants and parasites' are referenced, as well as words including 'succumb', 'sincere', 'trust me', 'swamped', 'kowtowing' and 'assimilate'. It is not always clear who said what, but collectively the words generate a sense of panic that knows no borders.
Struck by the remarkably similar language used by both individuals, Gill extracted the words and represented them as typewritten and duplicated texts. The words are repeated without spacing and arranged in geometric blocks, creating a kind of abstraction in both meaning and form. The repetition of the typed words also creates warp and weft patterns, such as diagonal lines of the same letters: text as texture, or textile. It is as if these inflammatory phrases have become woven into the fabric of everyday life, and are now almost invisible and impossible to unpick.
Adapted from: Russell Storer, 'Simryn Gill', in Natasha Bullock (ed.), MCA Collection Handbook, Museum of Contemporary Art Australia, Sydney, 2016
Tai Spruyt and Stephanie Berlangieri | Biennale of Sydney Exhibition Team | 2018
At Ishara Art Foundation, curator Sabih Ahmed continues to position art in Asia 'through a prism of complex geographies'.
Everyone I encounter along my journey asks: 'Where are you based?' 'On my feet,' I answer. 'Where are your feet based then?' 'Feet are never based,' I say. This haunting voiceover from [Hiwa
Our mission is not just about art, but also to teach Asians about each other through art, through public programming and other mediums.
Our definition of “world” has so far been largely Europe and America. That is changing even today as we go to the Middle East.
A slew of superstar curators, including ones from the Tate Modern, the Pompidou and the Rubin, are now on board for the upcoming Dhaka Art Summit. The huge biennial of South Asian art, now in its third iteration, will be held in the capital of Bangladesh February 5 through 8, 2016. The show will include commissioned solo works by Lynda...