1 February - 18 May 2019
Curated by Jake Treacy
BLINDSIDE SATELLITE SCREENS AT BUNJIL PLACE, NARRE WARREN; HARMONY SQUARE, DANDENONG; LIVERPOOL, SYDNEY
SCREENING + ARTIST RECEPTION | TUES 14 MAY at DANCEHOUSE as part of the HUMAN RIGHTS ARTS & FILM FESTIVAL 2019
Each set of videos runs for about 20mins.
1 | Hoda Afshar - 5 minutes, 17 seconds
Justine Youssef + Duha Ali - 4 minutes, 17 seconds
Lucie McIntosh (red lagoon) - 3 minutes
Leuli Estraghi + Joe Joe Orangias 10 minutes, 10 seconds
2 | Angela Tiatia - 12 minutes, 12 seconds
Tane Andrews - 1 minute, 56 seconds
Walter Bakowski - 5 minutes, 30 seconds
Lucie McIntosh (i still believe in paradise) - 3 minutes
3 | Nikki Lam - 3 minutes, 24 seconds
Sean Miles - 3 minutes, 48 seconds
Blake Lawrence - 14 minutes, 50 seconds
Hoda Afshar, Tané Andrews, Walter Bakowski, Léuli Eshraghi + Joe Joe Orangias, Nikki Lam, Blake Lawrence, Sean Miles, Lucie McIntosh, Angela Tiatia, Justine Youssef + Duha Ali
Pearlescent Verse is a screen-based exhibition presented through the channels of SATELLITE, a project broadcast through BLINDSIDE.
This curated suite of videos explores the shared experiences surrounding water – how its flux of space brings us closer together, and at times may dislocate. Bodies of water become liquid fields of poetry and politics, surging rivers of connectivity, sharing founts of knowledge, and offering a wellspring of healing. In the work of twelve contemporary artists, water carries nourishment and transformation, bringing about unity and understanding through the fluid frameworks of identity, gender, culture, and memory.
The Pearlescent Verse speaks of social, ecological and spiritual narratives, and meditates upon the fragility of nature, human migration and the impacts of climate change. Screened across several public spaces in Australia, this exhibition promotes the richness of exchange and storytelling, respecting the Traditional Owners of the land and waterways.
Jake Treacy is a curator, writer and poet whose practice employs numinous acts through exhibition-making, performativity, and the spoken and written word. He is a University of Melbourne graduate with a Master of Art Curatorship (2017) and Postgraduate Art History (2013) who has previously co-directed an artist-run initiative, sat on grant advisory panels, and written published copy on numerous contemporary arts practices. His recent thesis examines ways of constructing liminal experiences in order to incur healing, promoting inclusivity and community, and exercising the therapy of art.
Manisha Anjali is a poet, painter and performer. Working with women of Oceanian and Indian histories, Manisha’s work is concerned with the hallucinatory dream states they experience as they navigate their folklores, rituals and decolonisation. Manisha’s pan-Pacific works have appeared in publications Mascara Literary Review, Seizure, IKA Journal and Blackmail Press and Lor Journal. A recipient of a Wheeler Centre Hot Desk, Manisha seeks to work with immigrant communities and encourage poetic and dramatic expression. Her debut poetry collection, Sugar Kane Woman, is available at www.manishaanjali.com
Hoda Afshar (born 1983, Tehran. Lives and works Melbourne) explores the nature and possibilities of documentary image-making. Working across photography and moving-image, the Melbourne-based artist considers the representation of gender, marginality and displacement. In her artworks, Afshar employs processes that disrupt traditional image-making practices, play with the presentation of imagery, or merge aspects of conceptual, staged and documentary photography. Recent exhibitions include Khalas, UNSW Galleries, University of New South Wales, Sydney (2018); Waqt al tagheer: Time of Change, ACE Open, Adelaide (2018); and Behold, Centre for Contemporary Photography, Melbourne and Horsham Regional Art Gallery, VIC (2017/2018). In 2015, Afshar received the National Photographic Portrait Prize, National Portrait Gallery.
Tané Andrews (b. 1986) is an artist based in Sydney, Australia. His practice explores transience, transformations, and hybridizations within the natural world. Working with perishable organic materials including; flowers, living cocoons, wood, and water, as well as more durable products such as pearls, marble and bronze. Andrews’ artwork involve repetition, process, and a demand for meaningful contemplation. In 2007 he completed a Bachelor of Arts (Art) with First Class Honours at Curtin University, Perth. Andrews has exhibited nationally and internationally since 2011. Solo exhibitions include: Lying in Wait,
Wellington St Projects Sydney (2016), The Collector, Venn Gallery Perth (2015) and Silent Distortions, Venn Gallery Perth (2014).
A graduate of the BA of photography at PSC, Walter Bakowski (born in Melbourne, Australia, 1996) is an emerging artist practising in performance art, documented through the photographic and moving image, the written word and installation. To date, Walter's work explores dialogues between art and spirituality, the sacred and the unseen - discovering the nuances of queer self in practice. Walter has been awarded as an exhibiting finalist in the Moran Contemporary Photography Prize and CLIP award. And has been part of numerous group shows at recognised contemporary art institutions including; Museum of Contemporary Art Australia, Centre for Contemporary Photography, Perth Centre for Photography and Seventh Gallery. Their work is held in private collections across Melbourne, Sydney, Paris and New York City, and in the public collection at the National Library of Australia. Walter’s recent body of work ‘Endure’, has recently been exhibited as part of a selection of group shows at institutions including Museum of Contemporary Art, Centre for Contemporary Photography and Seventh Gallery, creates discourse around the role of the spiritual ritual in facilitating the act of queering spaces.
Léuli Eshrāghi + Joe Joe Orangias
Léuli Eshrāghi (ia/ū pronouns) is an artist, curator, writer from the Sāmoan archipelago, Pārs plateau, Guangdong delta and other ancestries. Léuli completed a PhD in Curatorial Practice at Monash University in 2018 and is the inaugural Horizon Postdoctoral Fellow with the Initiative for Indigenous Futures at Concordia University beginning in 2019. Ia holds qualifications in Indigenous arts management, francophone Great Ocean literature, Indigenous studies and cultural studies. Ia makes performances, installations, writing and curatorial projects centred on embodied knowledges, ceremonial-political practices, language renewal and Indigenous futures throughout the Great Ocean and further afield through expanded kinships. Ia exhibits and publishes regularly, and serves on the Aboriginal Curatorial Collective (Canada) board.
Nikki Lam’s practice explores the complexity of belonging through the exploration of self, memory and space. Working primarily with video, performance, text and installation, she is interested in exploring the translations of hybrid identities, often through studies of rituals, language and representations. Born in Hong Kong (1988), Nikki's work has been shown at Underbelly Arts Festival, SafARI, Firstdraft, BUS Projects, The Ferry Gallery (Bangkok, Thailand), Galleria Marcollini (Forli, Italy), and toured around the world with Over View International Festival of Video Art. Her most recent curatorial projects include Frames of Seeing (2017) at Nite Art, Flygirl by Caroline Garcia (2017), Screen as a Room (2016) at THE SUBSTATION and Channels Festival (2015).
Blake Lawrence was born and raised in Palmers Island, Northern NSW, across the lands of the Yaegl, Bundjalung, and Gumbaynggirr nations. He lives and works on the lands of the Gadigal people of the Eora nation, in Sydney. These lands were stolen and never ceded. He extends his deepest respect to their traditional custodians, and their elders: past, present, and emerging. Lawrence studied at the Sydney College of The Arts and has exhibited nationally at Firstdraft, Seventh Gallery, C3 Contemporary, The Walls, and Verge Gallery. He has presented performance work in Brisbane’s Spring Hill Reservoirs, Sydney’s Carriageworks, the Museum of Contemporary Art, and the Art Gallery of NSW.
Lucie McIntosh is a visual artist and curator based in Naarm (Melbourne), Australia. Lucie completed a Bachelor of Art (Fine Art) (Honours) with First Class at RMIT University in 2015. Lucie has a deep commitment to the independent arts community and has volunteered her time to a number of not–for–profit and contemporary art projects. She is currently a Director and Program Curator of BLINDSIDE, an independent, artist–run space based in the heart of Melbourne. Lucie's exhibition and research based practice explores process of signification and, more specifically, in how the process of signification might be made visible through the content of an artwork. Her practice emphasises the inherently plural and personal nature of meaning —reminding us of, and celebrating, our agency in its creation.
Sean Miles (Ngati Raukawa) is a cute queer trickster artist living as an uninvited guest in unceded Kulin nation territory.Their multi-disciplinary art practice spans across performance, photography, video, installation and sculpture.
Angela Tiatia explores contemporary culture, drawing attention to its relationship to representation, gender, neo-colonialism and the commodification of the body and place, often through the lenses of history and popular culture. Tiatia's work has been included in a number of important institutional exhibitions, including After the Fall, National Museum of Singapore (2017/2018); Personal Structures, 57th Venice Biennial (2017); Eighth Asia Pacific Triennial of Contemporary Art (APT 8), Queensland Art Gallery | Gallery of Modern Art, Brisbane (2015/16); as well as Tūrangawaewae: Art and New Zealand, Toi Art, Gallery of the Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand (2018). She is represented by Sullivan + Strumpf in Sydney, Australia.
Duha Ali + Justine Youssef work across multiple disciplines through their collaborative practice, including video, installation, text and performance. Their practice is site-responsive and attentive to their respective origins in South-West Asia. The work is rooted in research into moments and places which allow them to move through questions surrounding post-colonial rhetoric, feminist lenses, and diasporic and material exchanges.
IMAGES |HODA AFSHAR Remain, 2018, three-channel digital video, 5:00min | TANÉ ANDREWS The Static of Nature, 2017, single-channel digital video of south sea pearl, porcelain, electronic device, motor, wood plinth, 1:56min. Footage: James Aiken. Music: Tane Andrews. Editing: John Scarpias | WALTER BAKOWSKI Embrace: A River Runs Through, 2019, single-channel Colour HD Video | NIKKI LAM Still... what is left, 2018, two-channel video installation and performance, 3:24min. Sound Design: Supina Bytol and Beatrice Lewis. Cinematography: Scott Heinrich | BLAKE LAWRENCE A Cathartic Action, 2016, digital video, 15:00min. | ANGELA TIATIA Holding On, 2015, single-channel High Definition video, 12:11min. cCurtesy the artist and Sullivan + Strumpf |LÉULI ESHRAGHI + JOE JOE ORGANGIAS, Golden Flow of the Merri Yaluk, 2015, single-channel High Definition video, 10:10min. | SEAN MILES Pohutu, 2018, Single-channel digital video | LUCIe McINTOSH, Red Lagoon, 2017, Single-channel video, Continuous loop (∞) | JUSTINE YOUSSEF + DUHA ALI, Body/Cartography, 2018, Three-channel video, 4:00 min. | Images courtesy the artists and Sullivan + Strumpf.