The GPG PROJECT SPACES CURATOR’S PROGRAM focuses on curatorial practice in alternative spaces. The program pushes for risk taking and experimentation. It prioritises projects that address the public space of Union House, and its context within the University of Melbourne. Each exhibition runs for one month across all three alternative spaces, with a closing celebration the final Wednesday of the exhibition.
Please come and chat to us about your ideas!
PROJECT SPACES DIMENSIONS – please click on links below:
GPG PROJECT SPACES
Union House, The University of Melbourne
VITRINE Chillout Café, Ground floor
EXPERIMENTAL ART SPACE Level 2
WEST GLASS CABINET Level 2
AliaS, Anith Mukherjee, Spit Arioli, Camille Ham, Milo Riekstins, and Michael Kennedy
Curated by Jemima Gale
“But I dragged myself out of bed and took my emotions to the studio and made art out of them. And I have never been happier with a body of work as I am with this record.” – Kesha
The beauty of thought
WEST GLASS CABINET
EXPERIMENTAL ART SPACE
these r my mums hair extensions from when she had alopecia but she doesnt have it anymore so she gave them to me. i tried to bleach them and dye them orange but it didn’t come out like i wanted. here is my most liked instagram pic printed on satin, please buy it for 30 dollars
i work at a call centre and make art while i’m on the phone which is everything in this installation. an inability to focus on one task at a time means i’m constantly fidgeting and like shoutout to fidget spinners but instead using art as a instinctive outlet for feelings and reactions, and an exercise for my brain and my hands. creating instinctively is rough and chaotic and for the most part rewarding. navigating severe mental illness is learning vulnerability and art gives me the space to do that in a messy, disorganised, somehow humorous way through weird cartoons and faces.
An Instagram account created in April 2016, when I first began exploring the medium of digital photo collage and glitch art as a means of expressing the emotions I could not describe. Over the following 17 months, the style has evolved with different techniques and iOS apps for processing but the content has stayed the same – a coping mechanism for my innermost feelings, dissected, arranged, and viewed by hundreds of strangers.
Autumn, 2017. Acrylic paint and mixed media on found wood
My first mental breakdown facilitated the creation of multiple paintings. I would discover concepts I had little memory of and expand on them later, resulting in often frantic and intense works involving written words and layers of multimedia texture.
Under the theme of HATCH, this year Mudfest asks the question “How do we respond to an increasingly frightening world?” Throughout August, responses to this question are presented in the GPG Project Spaces.
In the Experimental Art Space, Hui Qin (Hq) Chan’s United Branches forges a common message of love and hope between the world’s major religions.
In the West Glass Cabinet, a short poem by Peter Salvatore is displayed that helps audiences escape the drudge of the university semester.
In the Vitrine Space, Anastazja Harding explores the interrelationship between different cultures, and the importance of accepting and appreciating cultural diversity.
Mudfest nurtures, encourages and supports new and innovative arts practices among students. Presented every two years by the University of Melbourne Student Union, Mudfest provides students with the unique opportunity to be a part of a festival environment that encourages cross-pollination with other disciplines and approaches, as well as fostering an environment of inclusion, and development. In 2017 Mudfest will maintain the initiative of showcasing works that are environmentally sustainable and accessible to people living with disability, encouraging artists to share their work in an inclusive and ethical environment.
21-26 August, 2017. HATCH. Discover more of the Mudfest program at mudfest.art
New Botanic Drawing
New Botanic Drawing (‘NBD’) was a lunchtime course run by UMSU with artist Andrew Seward. Over nine weeks a range of materials, techniques and lively approaches were introduced in order to address the many challenges of drawing plants from life.
Classes providing tuition in the use of various drawing media and watercolour were alternated with classes that invited students to apply skills to new concepts and contexts. For example, one class utilised a herbarium devoted to ruderal (‘weedy’) species as subject matter for drawing. The herbarium inspired a collaborative watercolour drawing that reflected surrealist notions of chance, hybridity and Goethe’s poetic ideas about plant metamorphosis and a universal plant form the ‘urpflanze’. The student’s artwork stands in contrast to – but perhaps also in oblique agreement with – the taxonomic conventions of the ‘Type’ specimen at the heart of orthodox scientific collections. In another class, students copied directly from artworks included in the exhibition Not As The Songs of Other Lands at the Ian Potter Museum of Art. Although focused on examples of plant depiction, the exhibition’s silent theme – of the violence and dispossession wrought by European settler societies on Indigenous cultures and communities in Australia and North America – came to be heard very clearly by the students and led to serious discussions in later classes about the value-laden status of all images and artworks.
In the last class students made drawings intended to be a gift for an undisclosed recipient. This conceptual framework allowed questions of meaning in art making to be explored as the purpose and ethics of public exhibitions of privately made work were considered.
With the demands of study, work and just being a young person today NBD was a chance for a group of regulars (and a few drop-ins) to learn creatively and work peacefully together each week. These are the impressive results of just that little bit of time.
CLOSING EVENT: Wednesday 29 March 5 – 7 pm
Orientation celebrates the start of a new academic year for students at the University of Melbourne and uses their movement through Union House to visually activate this artwork as they pass by.
Displayed works in the GPG Project Spaces are layered, monochromatic prints on paper and transparency film which animate with moiré patterns as the viewer moves past.
Influenced by the Vitrine nature of the GPG Project Spaces, and indebted to help and advice from the University of Melbourne’s Brain Centre Imaging Unit, the works are inspired by scans of pre-motor activity within the brain, an area of study directly linked to the conscious control of our own movements… but also with connections to the deep philosophical question of free will.
David McBurney is a New Zealand born, UK educated, Irish-Vietnamese artist living in Melbourne. David holds a BA in Advertising from RMIT University and currently teaches into the graduate course of Visual Communication at Swinburne University.
McBurney’s current work looks at the moments of physical and intellectual transfer that occur within visual communication, and asks if these identified moments can be used to deliver new encounters between the maker, the materials and the audience.
2016 GPG PROJECT SPACES
2016 Project space 1 Man who never threw anything away
2016 Project space 2 Investigative Space
2016 Project space 3 Creative Arts
2016 Project space 4 Aya Hamamoto
2016 Project space 5 David Borg
2016 Project space 6 Ideas Show PLATFORM
2016 Project space 7 Sarah Werkmeister
2015 GPG PROJECT SPACES