24 JULY – 2 AUGUST
CLOSING EVENT: WEDNESDAY 31 JULY

ENTRANCE GALLERY
Unknowable?
Bethany Joyce

In Unknowable? an interactive installation explores the possibilities and limitations of self-perception.  A common contemporary narrative is that the answer to many of life’s questions lies in truly knowing ourselves. This interactive artwork questions that idea by demonstrating the possibility of never really ‘seeing’ yourself. In this constructed experience a tantalising glimpse is all that is possible.

The sheer passage of time may create differing and sometimes contrasting layers of someone’s identity. The assumption of varied and competing roles, the impact of experiences, the influence of social context, and the possibility of protective self-delusions all potentially cloud the vision of someone attempting to truly know themselves. A partial understanding of self may be all that is truly possible. This limitation may be a common thread that unites us. Are these glimpses enough?

This is the first solo exhibition of Bethany Joyce, who is currently undertaking a Graduate Certificate of Visual Art at the Victorian College of the Arts. Reoccurring themes in her work reflect an ongoing interest in identity, interpersonal conflict, transience and feminism. Her love of painting and drawing is complemented by her growing curiosity in the wide range of mediums embraced in contemporary art. Bethany was awarded the Drawing Prize in the 2018 Dora McRae Winter Intensive group exhibition.

IMAGE: Bethany Joyce, Unknowable? Interactive installation piece-wood, paint, web cam, USB extension cord, laptop, media player, 2018. Photograph by Amanthi Lynch

MAIN GALLERY
06:00/18:00
Scotty So

06:00/18:00 is an exhibition that reflects the resolution of Scotty So’s research into ideas of the hybridity of living space. Inspired by his experience of relocation from the urban environment of Hong Kong to Melbourne’s suburbia, So looks into the road trip, the backyard party, and the signposts as means of representing the transition from urban to suburban. In order to challenge conventional experiences of place, the artist brings in installations and sculptures of reconstructed and repurposed outdoor objects. Alongside these objects, So brings a sense of play into the white cube of the gallery space.

With the displacement of the repurposed objects, So hopes to create a cinematic uncanniness, reflecting the alienation and senselessness that comes with translocation – from urban to suburban, and back again. By making strange the daily objects which normally encapsulate a sense of joy, familiarity, and time, So hopes the visitors can experience a sense of timelessness and spaceless-ness through the manipulated recognisable scenario.

Scotty So is an artist interested in the sense of camp and irony through appropriated objects and identities. He works across mediums, using painting, photography, 3D printing, site-specific installation, video, and sound to provoke humour and irony on the construct of the identity through appropriations of already known objects and site. Born and raised in Hong Kong, So is currently  a BFA Honours student at the Victorian College of the Arts. To date, So has presented two solo exhibitions and taken part in several group shows; including charity exhibitions about social housing issues and queer rights in Greater China.

IMAGE: Scotty So, FORTUNE AND PROPERITY. LED lightbox and rock chips, 2019

 

7-16 AUGUST
CLOSING EVENT: WEDNESDAY 14 AUGUST

ENTRANCE GALLERY
The Emission of a Succession of Repetitive Beats
Evan Whittington

The Emission of a Succession of Repetitive Beats extends Whittington’s research into the way that music and dance occupy, respond to and create space. A repetitious set of aluminium poles are arranged throughout the gallery, their regular alteration and re-configuration constituting a performative engagement with the gallery space that is reflective of the way music and dance occupy space through repetition.

IMAGE: Evan Whittington, The Emission of a Succession of Repetitive Beats. Oil paint on anodised aluminium, 2018

MAIN GALLERY
Don’t Let the Bastards Grind You Down
Curated by Lisa Jacomos and Cathryn Ross

Don’t Let the Bastards Grind You Down is a new exhibition examining social justice and political activism through zines and other self-published materials.

Curated by Lisa Jacomos and Cathryn Ross, this exhibition brings together self-published materials by Melbourne and New York City artists which explore political issues central to life in each city.  By presenting materials gathered in Melbourne and New York City together, this exhibition explores the commonalities and differences within activism, and seeks to capture the defining characteristics of what it means to be politically active in each city.

For the duration of the exhibition, George Paton Gallery will be transformed into an activist reading room where visitors are invited to browse the collection, meet, or just relax. Visitors are encouraged to contribute to the exhibition by using available materials to create badges and zine pages on issues that are important to them.

For more information on the project, visit https://thebastardzinecollection.com/

IMAGE: Nicky Minus, Women on Strike. Printed tea towel, 2018

 

21 – 30 AUGUST
OPENING EVENT: WEDNESDAY 21 AUGUST

MUDFEST

The 2019 Mudfest Arts Festival Visual Arts Program is curated by Clare Ellison Jakes, and will present the work of thirteen artists across multiple venues.

GEORGE PATON GALLERY
Regeneration
Maya Britbart, Meezaan Muzaffer, Brendan Pinches, Jordan Sibley

The cross-disciplinary exhibition Regeneration features emerging student artists from Mudfest Arts Festival. From different backgrounds and experiences, artists respond to the dire need for radical change amongst the frightening reality of our contemporary world.

IMAGE: Jordan Sibley, Humanoid-Wolf. Mixed media, 2019

MARY COOKE A + B
Jeanette Chan, Ramsay Mahony, Charanka Thavendran

SYSTEM GARDEN
Opening Event: Thursday 22 August, 5 – 7pm
Kaijern Koo, Madeleine Minack, Raisa Mclean, HeeJoon Youn

IMAGE: HeeJoon Youn, unlearn everything. Oil on wood panel, 2018

WESTERN EDGE BIO SCIENCES BUILDING
Natasha Salkin

For more information on Mudfest visit https://umsu.unimelb.edu.au/studentlife/arts/mudfest/

 

4 – 13 SEPTEMBER
CLOSING EVENT: WEDNESDAY 11 SEPTEMBER

ENTRANCE GALLERY
That Time I was a Telemarketer
Olivia Floate

We have all received multiple dreaded phone calls from a telemarketer, but have you ever thought about being one? Produced over a six week period while working in outbound electricity sales, Floate’s suite of text-based illustrations reflect on the repetitive, demeaning and time consuming nature of entry level work.

IMAGE: Olivia Floate, “I Absolutely Hate and Detest Unsolicited Calls”. Coloured pencil, coloured texta and biro on A4 paper, 2015

MAIN GALLERY
hous
Jemi Gale, Rumer Guario, Jennifer Mathews and  Brayden van Meurs
Curated by Jemi Gale

How can we unsettle a contemporary ideal of the home? The object of the home holds a powerfully emotional latency; a personal and political quality that imbues our lives with a level of sensory and psychological attachment. Our homes provide us with a sense of security and fulfillment and without a fixed home -a sense of detachment and displacement. A life can contextualise a space, and a body can be measured by its dwellings. The exhibition hous presents a collection of sculptural works that use tactile materials to interpret the theme of home, presenting an abstracted, disassembled view of shelter.

IMAGE: Rumer Guario + Jemi Gale, all houses should be round. Acrylic paint and spray paint on found fabric, 2018

 

18 – 27 SEPTEMBER
CLOSING EVENT: WEDNESDAY 25 SEPTEMBER

Public Broadcasting Part I: Politics, Art and Student Unionism
Collaboration between by Projects and the George Paton Gallery

Public Broadcasting Part I: Politics, Art and Student Unionism is a collaborative project between the George Paton Gallery and Bus Projects. Responding to the institutional setting of the George Paton Gallery the exhibition features a selection of socially-engaged films by artists, protest artefacts and banners from the Union archives, and a selection of locally relevant documentaries spanning almost 40 years. The exhibition will extend to the Rowden White Library through a host of reading, viewing and listening lists that continue the exhibition’s themes.

IMAGE:  ‘The State of the Union’, directed by Gary Newman.  Still from documentary, 2003

 

9-25 OCTOBER
OPENING EVENT: THURSDAY 10 OCTOBER
Opening event and launch of publication, The Union Building – a pictorial documentation

Architecture as…
Nick James Archer, Kari Lee McInneny-McRae, Simone Nelson, Siii Projects, MSD students
Curated by Alex Walker and Sebastian Haeusler 

This exhibition explores the historical and affectual influence the Union House building has had upon those who enter it. Perhaps one of the last opportunities to encounter this strange architectural hybrid, ‘Architecture as…’ is an interlinking tapestry of artwork, design and experiential passage through what is, was and could be before the building is demolished forever. Featuring works by emerging artists, designs for future spaces by MSD students alongside historic plans reanimated with digital technology, this exhibition is Architecture as… an experience.

IMAGE: Johannes van Rijnberk, Spolia drawing of Union House building ground floor
Digital image, 2019

Supported by MSD and Curatorship studies University of Melbourne, ACP Projects through SSAF and Arts Programs, UMSU

 

 

PAST EXHIBITIONS 2019

20 FEBRUARY – 1 MARCH
uncomfortable
Isabella Froebel, Jamie Harrop, Ariane Jaccarini, Taylah Kelly, Kaitlin Linke, David Lowe and Zea Rous
Curated by Kara Rodski

Through notions of beauty, authoritative power and surveillance, identity, food, body parts, and politics, seven artists explore the presence of the uncomfortable that is hidden and interwoven in our everyday lives. Seeking to provoke unsettling and uneasy feelings or reactions through exposure to familiar yet foreign or displaced aesthetics, we invite the audience to confront the uncomfortable.

IMAGE: Taylah Kelly, I am beautiful (detail). Digital colour print, 2018

 

6-15 MARCH
ENTRANCE GALLERY
Snapshots of Simultaneity
Anna Kennedy

This project compresses static social media images from one year into a single moving image. Transforming this model of time narrated as a series of images, into an algorithmic model based on measuring a personal relation to each image (memory) and using that relationship as a new dimension within the film. The film replicates the function and cognitive behaviour of memory (fading in and out, its exemption from time and its relativity), while also commenting on our digital avatars as a substitution for our own memory.

Anna Kennedy, Snapshots of Simultaneity (detail). Digital video still, 2018

MAIN GALLERY
Project of Colour
Po Han Kung

This portrait series celebrates the existence, resistance, and persistence of People of Colour communities whose representations are often compromised or politicised. Through a collaborative process, the creator/photographer of this series and his participants explored the multifaceted construction of their identities, sharing personal stories of conflicts, negotiation, and harmony.

Po Han Kung, Olivia. Digital photograph, 2018

 

20-29 MARCH
The Gnomon Experiments #3
Lucia Rossi

The Gnomon Experiments #3 record and map an abstract notion of space and time in relation to systems of measurement and representation. Using the sun and a range of constructed apertures as a frame-of-reference, the works question our perception of reality and our sense of being located within a wider universe.

With thanks to the Faculty of Fine Arts & Music Stuart Black Memorial Scholarship

Lucia Rossi, Gnomon #1 Expansion (detail). Microscope slides and acrylic paint, 2018

 

3-12 APRIL
undoing (or collegially suggested obstructions)
VCA second year Photography students

We all have ways of doing things, whether these are evident to ourselves, or not. In this exhibition, pairs of second year VCA Photography students analyse each other’s works for patterns or repeated elements. From here they suggest to the other to either reverse, eliminate or change one element to create a quiet sort of havoc for the maker. Once the works are made, the colleague will then install the other’s work in the gallery, potentially undoing some of the intentions of the maker/artist.

Sanja Pahoki and Kiron Robinson, obstructed doorway
Digital image, 2018

 

1-14 MAY
 The Union Art Collection: Recent acquisitions 2016-18 and selected works
Tia Ansell, Lauren Brown, I-yen Chen, Miles Davis, Lauren Dunn, John Elcatsha, Jemi Gale, Guy Grabowsky, Casey Jeffery, Caitlin Patane, Sam Petersen, Carol Porter, Red Planet/Another Planet, Belinda Reid, Ben Stephens, Julia Stewart, Kenneth Suico, Marcus Volz, Evan Whittington and Chaohui Xie

Each year The Union Art Collection acquires new works from University of Melbourne students via commissions, and graduate exhibitions for display in spaces around the Student Union. This exhibition is an opportunity to display and celebrate our most recent acquisitions in the space of the George Paton Gallery.

This exhibition has been installed by Masters of Curation students in an installation workshop mentored by artist/installer Simon McGlinn.

Catalogue #122: Kenneth Suico, LAYER CUTZ (detail)
C-type photograph, 2015

 

MAY 29-1 JUNE
GEORGE PATON GALLERY
A Lonely Crowd
Directed by Xanthe Beesley with collaboration from UHT’s Writer in Residence Emma Hall

Performances on 29, 30 May and 1 June.

Is it lonely in here? Or is that just me…
A sort-of dance work and talkfest of inaction about being lonely in a truly crowded world.

GUILD THEATRE
Equidistant Objects; A Cagean Experiment
Sandie Bridie, Melanie Irwin, Freya McGrath and Reis Low
Performance 30th May 5.30-6.15pm

Informed by John Cage’s seminal ‘happening’ Untitled Event, 1952 (later known as Theater Piece), Equidistant Objects is a non-narrative, cross-disciplinary project that will be performed in the Guild Theatre.