FRONT GALLERY
Point Now
Now (Sally Tape and Candice Cramner)

MIDDLE GALLERY
Tender Clay
Anna John with FLAG

SIDE GALLERY
A Mime Routine of A Horny Octopus
Making Soup on A Jumping Castle
Timothy P Kerr

ARTIST FLOOR TALK
Dates TBC.

Sally Tape & Candice Cranmer

Now begins Sally Tape Now Point Now Candice Cranmer End.

An installation considering the nature of a collaborative unit Now (pseudonym for artists) and the type of time that pertains to the present Point (exhibition title).

Anna John with FLAG

Tender Clay is a re-staging of an exercise that took place at the Yvonne and Arthur Boyd Trust at Bundanon, under the guidance of myself and the Future Local Association Group (FLAG). The task presented at Kings is an extension of a particular aspect of my sculptural work of the recent past exploring the potential themes of art capital and production in the contemporary context. The small clay ‘chips’ – as they have come to be known – were initially inspired by physical representations of tender. As we sit in the space and turn clay into smaller, non-representational, gestural pieces of clay, the artists and audience might both have the opportunity to reflect on what art making really is, where it leads to, art capital and its relationship to other areas of social context etc. In the spirit of FLAG we have distributed letters to many members of the Melbourne creative community in the hopes that they will join us in work and conversation. However it should be noted: if one enters the gallery and wants to participate, they can.

Bios

FLAG was initiated by Agatha Gothe-Snape, Jess Olivieri and Kenzie Larsen in 2009 with the intention to build both a stronger sense of community and a more robust culture of critical dialogue within this community – through a series of events and projects. The first major project for FLAG was the aforementioned residency at Bundanon with 19-odd other creative persons – each of which were asked to bring an ‘offering’ to the group, some kind of activity that would bring the participants together and focus on the task at hand. This is how Anna’s involvement with FLAG began, as is the case with most of the FLAG artists participating in the Kings show. These are Agatha Gothe-Snape, Brian Fuata, Emma Ramsay, Eugenia Lim (Melbourne), Jess Olivieri, Mitch Cairns, Sarah Rodigari (Melbourne) and Stuart Bailey.

Anna John works predominantly in sculpture and sound. Her work contends with themes of process, chance and perception. Her studio work is an ongoing investigation in material and its association with the body and the wider world. Anna plays music regularly in the collaborations Holy Balm and Knitted Abyss. Her work will be included in the group show Friends at TCB and has an upcoming solo show at Locksmith Gallery (Sydney) in December.

Timothy P Kerr

Over the last 20 years scientific advances have proven that Youtube addiction is a chronic, debilitating, and often relapsing disease. Long-term addiction causes a variety of health problems, the effects of which are irreversible and can include various eye diseases, bruising on the brain, shadowing on the lungs, and appendicitis. As with many other problematic addictions there are financial, behavioral, social and political components that affect the wider community as well. However there is a range of effective treatments. Proven to be the most beneficial thus far is the re-introduction of dial-up Internet. This video work specifically addresses the issues that Youtube addiction can and has caused within our society.

kingscommittee@gmail.com

We apologise for any inconvenience.

See you soon,

King ARI committee

FRONT GALLERY
Larger Than the Room
Andrew Atchison

MIDDLE GALLERY
Kings x Kings 2010
Kings ARI curated exhibition

SIDE GALLERY
The Half-time Report
Luke Perillo

ARTIST FLOOR TALK
Saturday, August 14, 4pm.

Andrew Atchison

For his solo exhibition Larger Than The Room Melbourne artist Andrew Atchison has created a body of video and spatial works exploring identity, space and memory, concepts larger than any structure – physical or philosophical.

Kings X Kings 2010

slapdash
a big love-in
pooling resources
team ARI spirit
nepotism
thrown together
friends
thanks heaps guys
whatever works
risk taking
committment
who cares a lot
filling in gaps
connect the dots
don’t dot the i’s
doesn’t matter anyway
last minute
chaos
loose connections
happy accidents
critical consciousness
flashdance

Luke Perillo

When people are unhappy they can spend time going over what has led to such dissatisfaction. We seldom give ourselves time to review our progress as individuals with regards to our goals, relationships, careers etc.

The Halftime Report is an exercise in self-awareness. A scale model stadium scoreboard containing a mirror, invites the audience into the gallery and towards the scoreboard where they will be met with their reflection. The size of the structure establishes a focus on the viewer’s eyes. It is at this point they will either acknowledge or ignore themselves.

When the time with mirror is up, the participant will turn around to see miniature fans cast in plastic either affirming their presence or ridiculing their efforts from the bleachers.

Although in this instance, like the models, the time spent self-aware is small, it is my intention that the audience allows themselves to be lured to that moment and to know that victory is taken when giving themselves the time to appreciate how far they have come.

Bio

It is important to me that the processes and chosen materials used in my work appear understandable and accessible to the audience. I exercise ways of occupying space combined with personal narrative and a neutral sense of humour.

FRONT GALLERY
Golden World (the Wall and the Door)
Benedict Ernst

MIDDLE GALLERY
Annal Beads
Chantal Fraser

SIDE GALLERY
Psychopompistic
Marcel Feillafe

ARTIST FLOOR TALK
Saturday July 10th, 4pm

Benedict Ernst

Golden World (the Wall and the Door) is a single artwork made up of five panels. These panels, each the size of a large door, placed together span the entire wall of the gallery. They are part picture, part documentation of performance, part sculpture, and part immersive installation. They contain the artist’s life’s collection of gold foil chocolate wrappers (carefully framed). Each of these panels is methodically divided into an intricate matrix that allows a subtle pattern of gold upon gold to be observed. This pattern could mirror the gold leaf patterns on traditional Japanese screens or the compulsive discipline of a scientific display. Within the matrix a horizon line may be seen. A landscape is perhaps discernible, if not as pictorial representation then as behavioural documentation of the compulsive and repetitious behaviour that belies a worldview.

Golden World (the Wall and the Door) sets out to explore the interface between behaviour, psychology and landscape carrying a backpack full of Desire and two saddlebags of Repulsion and Seduction. If time permits we might make rendezvous with an understanding of the inherent separation located within our current cultural understanding of our ‘Environment’.

Bio

Benedict Ernst is a Sydney born, Melbourne based artist.
He has exhibited widely in a range of galleries on Australia’s eastern seaboard over the last ten years.
In 2011 he will undertake a Masters of Fine Art at Monash University exploring sculptural representations of landscape and research into historical philosophies of garden design. www.benedicternst.com.

Chantal Fraser

Conjoining the annals of travel and tourism, this series shapes the parochial views of the tourist as subject.

A series of performative frames, presented as photographic stills, showcase a collection of neckpieces (Ula) from the artist’s Samoan family – gifts of significance, ceremony and value – alongside a collection of metallic beads thrown from the balconies of Bourbon St, New Orleans during Mardi Gras– an herogenous ritual that rewards the female tourist more beads on the exposing of breasts. The work explores the creation of cross-cutlural connotations and representations through silhouette and the embodiment of adornment, and more significantly cultural adornment. 

Reinterpreting the significance of adornment the work presents and plays with the disparate meanings of what it means to receive such objects from these heavily tourist promoted regions through flamboyancy, titillation and parody.

A series of 6 large performance stills sit contrast to a suspended and heavily embellished headdress.  The metallic embellishment attracting the audience in a similar vein to that of a tourist’s memento.  Small pockets with contain disposable cameras and ‘token keepsakes’.  The audience is invited to ‘take a piece’ of the exhibition with them I providing, in exchange, the audience leaves a ‘holiday snap’ taken on the camera.

The developed ‘holiday snaps’ will be produced as postcards.

Bio

Chantal Fraser is a Brisbane based multi-media artist with a BFA (Honours) from QUT.  Fraser has exhibited nationally and internationally at institutions such as La Cité internationale des Arts, Paris and Les Brassuers in Belgium.  This year Fraser was a finalist in the Churchie Emerging and Moreton Bay Regional Art Awards. 

Marcel Feillafe

The Psychopomp is a figure from history whose role is to act as a guide from one realm to another; from life to death, or consciousness to sub-consciousness. You will be accompanied by this figure through space, and transcend banality.

It will unfold in the meeting ground between an installation, a performance and a sound piece. Similar in form to that of temporary quarantine tents erected in emergency situations, these structures are seen at times following catastrophic events or natural disasters. This image is a base, a fertile ground from which to explore the changing, transient states in human life and consciousness.

Liminality is a central theme in this work; a threshold between states. The enclosed structure is a vehicle to create a ritual-like state where transformation occurs, and divisions can be broken down. By extending the entrance of the gallery space to the exit, Feillafe metaphorically extends a moment normally passed over, given little or no thought. Once suspended in this moment, the intention is for the mechanics of liminality to be revealed.

Bio

Marcel completed a Bachelor of Fine Arts with Honours in 2008 at the VCA, Melbourne. His work is primarily installation. Mediums have evolved from, ready-made and found objects, to more elaborate constructions made from domestic and industrial materials as well as performing experimental compositions. He draws inspiration from a variety of artists such as Jason Rhoads, El Lissitsky, and Robert Smithson.

Come and have a listen as local sound artists
White Altar (w/ Pissypaw + Omen), Dan Bell and Eko Eko Azarak
overrun the gallery.

Wednesday, 30th June 2010

Note that it’s an early gig (6-9pm), and it’s gold coin entry, so have a couple of bucks saved up.

There’ll be a beer and a good time waiting for you.

More on White Altar.
More on Eko Eko Azarak.
More on the Flash Night event series.

Opening Friday June 4th, 6-8pm

FRONT GALLERY
Inhabiting Ritual
Michelle Sakaris

MIDDLE GALLERY
The Domestic
Hannah Courtin-Wilson, Jacqui Shelton,
Kylie Bawdon & Ashlee Hope

SIDE GALLERY
A Taming
James Carey

ARTIST FLOOR TALK
Saturday June 12th, 4pm

Michelle Sakaris

Inhabiting Ritual is an installation comprised of photography, video and site specific performance that explores the characteristics shared by conceptual art and the observance of religious ritual. Specific rituals are displaced, void of their original purpose and given new meaning through their performance in the context of art. Sakaris’ interest lies in the function of ritual as a means for recapturing wholeness in displaced and disintegrating communities. As a second generation Australian, the experience of being simultaneously an insider and an outsider in the Greek orthodox community informs her art practice.

Bio

Michelle Sakaris completed a Bachelor of Fine Art with Honours at the Victorian College of the Arts in 2009. She has been involved in a number of solo and group exhibitions including Blake Prize (2009) National Art School Gallery, Light Is Like Water (2008) George Paton Gallery, Infinite Spectrum (2006) Yarra Sculpture Gallery.

Hannah Courtin-Wilson, Jacqui Shelton,
Kylie Bawdon & Ashlee Hope

The Domestic is a photographic, video and object based exhibition responding to domestic space, and exploring the re-animation and re-presentation of the complex temporality of past events. Placing raw memories held within objects into new contexts, a skewing of memories within the domestic occurs.

The works represent presence through absence, using objects directly relating to the domestic; the objects speaking of human interactions and their existence within the environment.

Questioning the function of the snapshot both as a changeable time based object and as a depiction of a truthful domestic space, there is a collective conscious at play within the works; a familiarity and a sense of nostalgia.

Bio

Kylie Bawden is an emerging Melbourne based artist who works primarily with photomedia. She has previously shown work in Melbourne and Launceston.

Hannah Courtin-Wilson is a Melbourne based artist, musician and obsessive collector exploring the fields of photomedia, neurology and video art.

Ashlee Hope completed a Bachelor of Fine Arts at Monash University in 2009.

Jacqui Shelton is a Melbourne based artist whose work involves a consistent exploration of the polarities of identity and exposing ‘the self’ as a non solidified being in its environment.

James Carey

A site-specific project will be undertaken in a soon to be demolished, residential house. Through a series of interventions and manipulations to the house, a body of documentation including photography, film and a collection of sculptural ‘artefacts’ will be collated.

A Taming is an exploration and comment on how certain forces contribute on the one hand to comfort, security and respite, whilst on the other hand vulnerability, loss and anxiety.

As Melbourne’s population grows, much debate surrounds the notions of housing
(un)affordability and how this threatens the domestic life for Melbournians. Urban sprawl, increased density and gentrification are examples of these threats as well as opportunities for some. There exists, through the inevitable process of urban renewal and gentrification, moments where intervention and manipulation of appropriate sites can occur.

Bio

James Carey is a Melbourne based artist who explores the complexity of relationships between body, site, intervention and discourse. His work has been shown widely and is currently a PhD Candidate in the Architecture & Design School at RMIT University, Melbourne.

Brad Haylock presents a on-off event as part of our Flash Night series.
(Click poster to enlarge.)

Opening Friday May 7th, 6-8pm

FRONT GALLERY
Film That Will End in Death
Trevor Flinn

MIDDLE GALLERY
Candlelight Protestival
DongWoo Kang

SIDE GALLERY
After the Rainbow
Soda_Jerk

ARTIST FLOOR TALK
Saturday May 8th, 4pm

Trevor Flinn

Film that will end in Death is an experimental documentary film that follows a variety of individuals as they discuss their passion for, and relationship to, risk. Influenced by Errol Morris and akin to Louis Theroux’s disarmingly naive interviewing technique, Dunkeld artist Trevor Flinn focuses on a number of individuals who live in, or pass through, his part of regional Victoria. The resulting multi-channel video installation explores the idea of risk from a range of styles and perspectives, unraveling the complex nature of the subject.

The inspiring tales told within Film that will end in Death hint at universal, all encompassing truths about existence. Interspersed with these are passages of 8mm film and expressionistic sections of evocative video imagery, which hint at a darker, less rational side to these activities.

Film That Will End in Death is a unique experience; the essence of DIY documentary making by an emerging filmmaker who has created an eccentric vision of regional risk-takers.
Presented as part of the 2010 Next Wave Festival.

Bio

Trevor Flinn grew up in the small western Victorian town of Dunkeld, where he spent his childhood and secondary school years before leaving to pursue tertiary study in Melbourne. After completing a Bachelor of Fine Art (Sculpture) at the VCA in 2004, Trevor returned to Dunkeld to attempt to establish an arts practice whist working as a laboratory technician. In 2007 Trevor was accepted as one of Next Wave’s regional Kickstart artists, and in 2008 he presented his multi-media, collaborative project, The Puma, The Stranger and The Mountain, which went on to tour regionally thanks to NETS.

DongWoo Kang

None of the media outlets in Korea reported on the ‘candlelight protest/festival’ that happened in Seoul on New Years’ Eve 2008, despite there being more than 100,000 people in attendance.

Political protesting is a highly risky activity in Korea. By contrast, festivals, which are typically understood to be celebrations, have minimal risk. DongWoo Kang’s multi channel video installation hints at the possibilities and the limitations of these new social movements in Korea, where extremely serious celebrations have hit the streets…

Through a combination of footage gathered from news, internet, and amateur sources, Kang’s exhibition explores the complex ways that media control and second-hand video sources mediate our current notions of protest and democracy, and our participation in the social and political systems that shape us.

Bio

Dong Woo Kang was born in South Korea, 1984. Kang holds a Bachelor of Fine Art and Master of Fine Art from the Victorian College of the Arts. Solo exhibitions include ME at West Space, and Unidentified Characters, Seventh Gallery. He has exhibited in group exhibtions Disorientated Communication, VCA student Gallery and Making Conditions of Love, Mars Gallery.

soda_jerk

Originally commissioned by Next Wave for Next Wave Time Lapse,
Federation Square pulled After the Rainbow (2009) from exhibition on their outdoor cinema screen due to concerns over the work’s deliberate copyright
infringement. Comprised entirely from found audio and visual material,
Soda_Jerk’s sample-based practice knowingly breaches copyright law to
promote the need for legal reform. Now thoroughly at home under the
umbrella of the Next Wave 2010 Festival theme ‘NO RISK TOO GREAT’,
viewers have the chance to see the work they weren’t allowed to see at
Federation Square. Opening May 7, Soda_Jerk’s new video will screen on a continuous loop at KINGS ARI.

After the Rainbow is a single-channel video remix which investigates the
temporal dimensions of cinema. Through a re-imagining of the initial
sequence of The Wizard of Oz (1939), the fantasy world of cinema and the
reality of Judy Garland’s sad life collide in much the same way as the
worlds of Oz and Kansas in the original film. Instead of taking Dorothy
to Oz, the twister transports a young, hopeful Judy Garland into the future
where she encounters her disillusioned adult self. This is Soda_Jerk’s
second installment in ‘The Dark Matter Cycle’, a series of video remix
works that mobilise the conceptual framework of time travel to examine
the relationship of recorded media to alternate realities and the passage of
time.

Bio

Soda_Jerk (Dan & Dominique Angeloro) are Sydney-based artists who work exclusively with found footage. Their work has been exhibited at the Art Gallery of NSW, the Museum of Contemporary Art and has screened internationally in the Czech Republic, Germany, Scotland, the Netherlands, Mexico and India.

The Kings Artist-Run Initiative is an arts hub in the heart of Melbourne. Three purpose built exhibition spaces house an ongoing program of art, forums and events.

Proposals can be forwarded to
KINGS ARI
LVL 1/171 KING ST
MELBOURNE
VICTORIA 3000

For more information view Proposals.

The MOVEable Feast

A nomadic experience of two creative expressions in one shared space. The collaborative and contrasting consequences of such a joint experience…

…the MOVEable Feast.

Thursday 29th April 2010
6:00 – Kings Artist Run Initiative – The John Taylor Electric Guitar Quartet
7:00 – Secret Space – Xani Kolac
8:00 – Brood Box Gallery – NMIT Laptop Orchestra + works by Ed Bechervaise

Tickets – $18/16
Bookings essential – phone 0417 364 314