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troublemag | September 25, 2017

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ANCA Gallery

1 Rosevear Place Dickson, ACT 2602


23 August – 10 September

Anne & Gordon Samstag Museum of Art

55 North Terrace Adelaide 5000

After Utopia: Revisiting the Ideal in Asian Contemporary Art

Curated by Tan Siuli, Curatorial Co-Head, Singapore Art Museum

Friday 22 September – Friday 1 December 2017

The search for Utopia is a ceaseless human endeavour. After Utopia explores how our ideals mirror our innermost yearnings and that gnawing sense that this world and its realities are not enough. Through an exciting partnership with Singapore Art Museum and the OzAsia Festival, Samstag highlights the diverse artistic practices of South East Asia in an exhibition that draws largely from Singapore Art Museum’s permanent collections.

After Utopia features moving image, installation, painting and sculpture by artists Chris Chong Chan Fui (Malaysia), Donna Ong (Singapore), Geraldine Javier (Philippines), Ian Woo (Singapore), Kamin Lertchaiprasert (Thailand), Kawayan de Guia (Philippines), Maryanto (Indonesia), Miti Ruangkritya (Thailand), Shannon Lee Castleman (USA), Svay Sareth (Cambodia) and The Propeller Group (USA and Vietnam).

A Singapore Art Museum exhibition curated by Tan Siuli and Louis Ho, presented in partnership with the Samstag Museum of Art and 2017 OzAsia Festival.

Geoff Cobham: Already Elsewhere

Friday 22 September – Friday 1 December 2017

Adelaide-based public artist and lighting designer Geoff Cobham has been experimenting with the colour, intensity, angle and movement of light for the past 35 years. Presented in partnership with the Adelaide Film Festival, Already Elsewhere is Cobham’s first major gallery commission. His immersive installation will bring together light, sound and movement—three fundamental elements in moving image—to create an environment of technical and sensory surprise.

A Samstag Museum of Art and 2017 Adelaide Film Festival exhibition.

Ararat Regional Art Gallery

Town Hall, Vincent Street, Ararat, 3377

The towneys watched back
Fernando do Campo
27 September – 29 October 2017

This year marks the 150th anniversary of the ceremonial release of house sparrows from a balcony at the former Bull and Mouth Hotel, Barkly Street, Ararat. ‘The towneys watched back’ is a project by artist Fernando do Campo, who has been researching the histories of house sparrow introductions across the USA, Argentina and Australia since 2015.

As the Ararat Advertiser explained in 1867: ‘On Tuesday morning last a cage of English sparrows arrived in Ararat by coach…The local community of Ararat rejoiced their release … for hours afterwards wherever one or two could be seen knots of persons gathered to watch their movements…’

This project re-releases this narrative into the community of Ararat. Working with local sites and archives, the artist is interested in how we talk about colonial narratives in contemporary Australia. The title of the project also references this article published in the Ararat Advertiser 150 years ago, where, describing this peculiar event and the response by the local community, it states: ‘….Numbers of the burgesses had assembled to get a sight of their ‘towneys’ as they called them…’ This article was then re-published nationally, with many 19th century newspapers quoting the Ararat Advertiser and the significant interest towards the sparrows of Ararat.

The release of the fourteen birds was enthusiastically celebrated, but within 20 years sparrows were reviled as a pest. The sparrow, like other introduced species, can be viewed as a harbinger of coloniality. The life of sparrows parallels the human experience of migration. Acclimatised sparrows reflect back experiences of containment, transportation and incongruity, through to resilience, adaptation and belonging. Through archival research, colonial language, and site-specific artistic interventions across Ararat, Fernando do Campo explores this local narrative and the house sparrow as a potent symbol of colonisation.

The exhibition will be presented by Ararat Regional Art Gallery across the following spaces in Ararat:

Ararat Library
Monday to Thursday 10am – 5:30pm; Friday 10am – 5pm; Saturday 9am – 12pm

Langi Morgala Museum
Tuesday to Thursday, 10am – 3pm. Entry fees apply

Orchid House
Alexandra Gardens, Ararat, viewable daily

Fernando do Campo will speak about the project at its official opening at the former Bull & Mouth Hotel Stables (in the lane behind the Ararat Hotel) on Tuesday 26 September at 6pm. Everyone is welcome to attend.

Fernando do Campo is an artist currently based in Sydney where he is Associate Lecturer at UNSW Art + Design. Since 2015 he also produces work as the HSSH (House Sparrow Society for Humans). Solo exhibitions include: I always hear you before I see you, Praxis Gallery, New York (2017); Figure behind a lake, Australian Consulate General, New York (2015); Come away closer, Northern Centre for Contemporary Art, Darwin (2014). He has exhibited in solo exhibitions in Australia and the USA. He is a John Monash Foundation Scholar, and has received awards from the Australia Council for the Arts, Ian Potter Cultural Trust and Arts Tasmania, and residencies at Cite International des Arts, Paris and BMUKK, Vienna. Fernando has an MFA from Parsons School of Design, The New School, New York. He is represented by Praxis Gallery, Buenos Aires & New York.

Arnold Street Gallery

189 Arnold Street, Bendigo 3550

Bryan Dawe | Meet the Artist | Tangier Illusions
Saturday 12th August 2 – 4pm
Drinks and Nibbles

At this years Bendigo Writers Festival, Bryan Dawe will tell the story about how he came to be a satirist, partnering with the late John Clarke to create their unique style of humour for so long part of our national commentary.

He also shows, for the first time in Australia, an exhibition of artworks called Tangier Illusions.

Bryan Dawe has spent many months in Tangier on his many visits to Morocco where he developed a deep appreciation of its people and culture.

The exhibition, first shown in Tangier in February 2017, is an exciting collection of artistically enhanced images that go far beyond the usual touristic depictions.

Surrealistic, with more than a hint of humour, the photographs delve into the psyche of Tangier: the old bars and cafes inhabited by the famous writers and musicians, the artists, spies, the wealthy, and the smugglers. Against a backdrop of decaying buildings and circus, Bryan honours Tangier’s creative and social past.

These photographic collages reveal Bryan’s love of the visual arts, his fascination for creativity, and his increasing love of a place he now visits more and more – Tangier in Morocco.

Sponsored by Glenwillow and Sandhurst Ridge Wineries

Go to Eventbrite to secure your free ticket

Exhibition Launch
Bryan Dawe | Tangier Illusions
Launch by Elly Varrenti
Exhibition Dates: 10th – 26th August 2017
Launch: Thursday 10th August 2017 6-8pm

We know Bryan Dawe as a writer for stage, screen, radio and print. He has won multiple awards for his work in the fields of comedy, acting and music.

His work, as part of the political satire duo Clarke and Dawe, screened on Australian TV for close to thirty years.

Bryan has held a number of photographic exhibitions, the latest in Tangier, Morocco, in February of this year. That exhibition: Tangier Illusions will be on show for the first time in Australia, at the Arnold Street Gallery, as an umbrella event at Bendigo Writers Festival.

Bryan Dawe has spent many months in Tangier on his many visits to Morocco where he developed a deep appreciation of its people and culture.

Tangier Illusions is an exciting collection of artistically enhanced images that go far beyond the usual touristic depictions.

Surrealistic, with more than a hint of humour, the photographs delve into the psyche of Tangier: the old bars and cafes inhabited by the famous writers and musicians, the artists, spies, the wealthy, and the smugglers. Against a backdrop of decaying buildings and circus, Bryan honours Tangier’s creative and social past.

Sponsored by Glenwillow and Sandhurst Ridge wineries.

Go to Eventbrite to secure your free ticket

Art Gallery of New South Wales

Art Gallery Rd, The Domain, Sydney, NSW 2000

West of the divide
Until October 2017

Showcases Brett Whiteley’s affinity with the land west of Sydney – encompassing Bathurst, Oberon, Sofala and beyond.

Through these paintings, drawings and sculpture, Whiteley has provided us with an iconic translation of his experience of the Australian landscape.

Landscapes are key to our understanding and interpretation of the Australian environment. As one of Australia’s most celebrated artists, Whiteley immersed himself in both urban and rural landscapes and his works depicting and inspired by the vast region west of the Great Dividing Range are some of his most magical.

Whiteley created a recognised visual language and identity for the Australian landscape, whether in intimate studies or large poetic paintings. His works, often including birds, eggs, nests, trees, rocks and rivers, combine elements of abstraction and realism in a lyrical and expressive manner.

Fri–Sun only
Free admission made possible by J.P. Morgan
Location: Brett Whiteley Studio, 2 Raper St, Surry Hills

For education groups: Wed & Thu
Bookings required. Charges apply.

Note: This exhibition will be on display instead of ‘Brett Whiteley: decade – 1970s’ as previously advertised. We apologise for any inconvenience.

Art Gallery of Western Australia

Perth Cultural Centre, Perth WA 6000

Gregory Pryor – Looking Glass
2 September 2017 – 15 January

WA artist Gregory Pryor has created an immersive new work Looking Glass which draws upon his investigations into isolated landscapes of Western Australia. For his WA Now project, Gregory Pryor undertook a field trip to the region of the tragic Esperance bush fires of 2015. By setting himself in amongst the charcoal remains of the devastated terrain and taking a series of 360-degree photographic notations, Pryor formulated the idea for his panoramic work and its overwhelming immersive quality. Similar to the bush’s capacity to regenerate after fire, Looking Glass in some ways can be seen as a reassembled landscape, articulated on 1585 sheets of paper.

Screen Space – Richard Bell
Until 15 September

One of Richard Bell’s most defining works, Scratch an Aussie, is a playful, serious and challenging video piece that explores racism in Australia. Through the use of jokes, mimicry and word association games between a psychiatrist (Bell) and his patients, viewers witness some of the everyday racist beliefs and jibes about Aboriginal people that operate in Australia today.

Bill Henson
16 September – 11 December

This exhibition presents recent photographs by Bill Henson, selected by the artist, and encompassing themes including portraits, nudes, lush museum interiors and transcendent landscapes. The images in this show are drawn from a body of works created between 2008 and 2013, and continue Henson’s sensitive study of the human condition, which he has realised over his forty-year career.

Six Seasons Gallery – Outside: Matters of the heart in Indigenous art

This new permanent space showcases Aboriginal and Torres Strait Islander art from the State Art Collection. The first display, Outside: Matters of the heart in Indigenous art presents art that considers the beauty and importance of the land and environment to Aboriginal people, and touches on some of the practices and rituals that connect people to Country.

Micro Galleries – Sky and Garden
Until 30 September

The second instalment of the Wesfarmers Collection display focuses on the idea of landscape and what contemporary explorations of the theme can show us about our place, tastes and traditions.

Craft & Design Gallery – Resonant Objects
Until 15 October

This display brings together key highlights from AGWA’s furniture collection. Including significant modern and contemporary pieces that look at the ways items made to either support the body or its domestic living and activities, express various philosophies of being and making whilst also existing as artistic statements in their own right.

Bendigo Art Gallery

42 View Street, Bendigo, Victoria 3550

Arthur Guy Memorial Painting Prize
17 June–17 September

Revealing Identity: The Collections of La Trobe University
24 June–3 September

Rona Green: Champagne taste and lemonade pockets
24 June–3 September

Post Office Gallery
61-67 Pall Mall, Bendigo
Vantage point: aerial views of Bendigo
9 June – 13 August 2017

Bendigo Living Arts Space

Living Arts Space at the Bendigo Visitor Centre, 51-67 Pall Mall Bendigo, 3550

9 August – 12 November 2017

An exhibition bringing together fine couture, photography and jewellery designed to inspire and impress.

Bespoke couturier – Briana Hurley-Shaw
Photographer – Joel Bramley
Jeweller – Carol de Graauw

Open 9am-5pm daily (Closed Christmas Day)

Castlemaine Press

Lot 19, 19 McShanag Drive, Castlemaine 3450

Having opened in September 2015, this artist-run not-for-profit initiative continues to offer courses, workshops, gatherings, exhibitions, print exchanges and print-loving events to its members and the wider community. And all on a volunteer basis by a dedicated group of print-enthusiasts! This year is no exception.

Print Studio for Hire

Full members with a good knowledge of printmaking techniques, competence to work by themselves and a proven familiarity with printmaking equipment and studio safety procedures are eligible to hire Castlemaine Press facilities.

All members must complete a free induction session before they are eligible for unsupervised access, with the option of a session working with an experienced studio member if this is considered necessary (fee applies).

Join as a member …
If you’re not already a paid member, now is a great time to join! 

Members enjoy voting rights, access to community workshop facilities for hire (conditions apply), member discounts and opportunities to participate in collective print practice such as print exchanges and member exhibitions. Not to mention opportunities to collaborate and network with printmakers!

Annual membership fee: Full membership $75, Concession $50, Friends $25. Plus a one-off $20 equipment fee for Full and Concession members.

If you would like to become a member of Castlemaine Press contact us at


12 Compton Street, Adelaide 5000


Opening – 5:30 PM – Wednesday, 2nd August

Artist Talks – 6:00pm

Running – 3rd – 19th August 2017

As a kid one of my favourite activities was to lie upside down in the backseat of a moving car and watch how the electrical wire lines moved in and out of sight through the window. Moving lines across a page in space, silent stories are being told. The viewer becomes part of a scene, walking through the visibilities, is invited to play and move within an environment of narrative ambience. A figure might be placed in a particular setting and seen temporarily like in a moving image, capable of being reached only with great difficulty, or not at all. Variable sizes of figurative or object constructions are cut out like props and contrasted or suspended, the black and white version of reality. The falling man off his chair slides out of a Remodernist Jim Jarmusch movie, something happens and he becomes a painter. The saxophone is abandoned, a product of reducing elements, like the cloud erasing the visibility of blue sky. The pickup sticks dropped large like a child plays her game on the floor are elements to stage and contrast this narration. Walking, moving, seeing this phenomenon in the everyday, the town in my shoes as I walk.


Opening – 5:30 PM – Wednesday, 2nd August

Artist Talks – 6:00pm

Running – 3rd – 19th August 2017

“You’re out of sorts so sort it out”

In ‘out of sorting the out of sorts’ Nat Penney questions typical understandings and treatments of disorientation. Where the disorientated or ‘the wanderers’ are commonly categorised as the unstable, requiring systematic medicalisation, she suggests that there’s more to the wandering minds of this estranged collective.

Penney presents the dichotomy of orientation and disorientation as a duality that, when combined in a harmonious union, has the potential to be a source of creative outcome, of reaching new forms of awareness. It’s here that ‘out of sorting the out of sorts’ rests in its state of unrest. The performative installation attempts to recreate states of uncertainty in order to unpack the perils and pleasures of spatial and psychological disorientation.

Combining the everyday object with constructed matter in obscure and foreign configurations of saturated confusion and segmented vision, this place could be fast and jarring when devoured whole but when consumed in fragments and with intention there’s the prospect of pleasure within the pieces. It is the artist’s intention to transport the participator through this unexpected combination of sensory engagers to break down sense of place; to warp, tangle and twist, forcing a search for restructured understandings.

Search for sense, sort the sorts.

By creating this saturated sensory space, she chooses to confront the unsettled and anxious in a demanding act of recognition in an attempt to redirect our relationships with these experiences and allow them to shift us to new ways of thought.


Screening from 8:00pm – Wednesday, 2nd August

Running – 3rd – 19th August 2017

FELTdark is viewable: Wed – Thur: 6pm – 12am, Fri: 7pm – 12am, Sat: 6pm – 12am

The focus of my practice is on objects and spaces on the edges of ownership. My field of practice encompasses video performance and installation. My methods involve utilising play, one take only recordings, making from a child making perspective, travelling, taking risks, humour, searching and collecting. Movement helps structure my own knowledge of the world, space, time and relationship to others. Collecting allows me to gather my thoughts through things. I create performances in public space, on verges and with dumped objects. I’m interested in the tensions that I identify between spaces. This comes from my personal experience of not knowing where to ‘fit’ in the world. In my life this relates to being gay, in a significant age gap relationship, past experiences of homelessness, learning difficulties and abandonment. Putting my body in the work allows me to search for my own language alphabet/code. Finding out what is acceptable and normal as well as the edges of myself. I feel this can be achieved through systems I identify as ambiguous. The space between things allows me to be me in the world and for me to make sense of the world.