Fashion & Culture
Graffiti paint and oil on Canvas
190 x 150 cm / 74 x 59 inches
TWO OF THE LARGEST
Graffiti paint and oil on Canvas
190 x 150 cm / 74 x 59 inches
Woke Up on Fire, an exhibition of large scale paintings explore the artist’s ongoing interest and romance with the Myths and the cultural significance of Super Heroes. In Lister’s newest body of work, the artist captures the human connection, and our collective fascination with Heroes and Villains; good and evil, and the power they hold metaphorically. Comprised of bold gestures, drips, smears, and comic book colors the painted subjects float on stark white backgrounds as if to be idealized like historical figures hanging in the halls of powerful institutions. The canvases include a type of iconography, relating to each mythologized figure. The words and poetic language compositionally float on the canvas, giving the viewer a raw glimpse into the artist’s thinking, and creative process of working and reworking, mapping the painting, shaping the identity and developing the narrative. These verbal markers are like that of a Surgeon’s notations on human skin, or a mad scientist whose thoughts of an idea run unstoppable across a chalk board as a stream of thinking toward an ultimate place of clarity and resolve.
Lister’s paintings, are both developmental and academic, poetic, yet fundamentally in flux. The larger than life body of work stands as a testament to the over all narrative that has greatly defined the artist’s identity, and his own mission as a solid force in the contemporary art world.
WALKING WITH GHOST
Graffiti paint and oil on Canvas
190 x 150 cm / 74 x 59 inches
Chargrill Charlie’s has created the Bloody Mary Burger to help Australians get back in the saddle the day after Melbourne Cup. This culinary lifesaver will be available for one day only, Wednesday 6 November, in store or delivered straight to the office as part of their Melbourne Cup Hangover Pack, feeding the team with eight burgers, devil wings and wedges.
For the last 30 years, Chargrill Charlie’s has been creating dishes to suit every craving. Now the proudly-Australian, family-run chicken institution has a remedy for the heaviest of heads with their ultimate post-Cup pick-me-up, dripping with their secret finger-licking Bloody Mary sauce. The burger will be available at any of their fourteen stores across Sydney and Melbourne and includes beef, cheese, tomato, grilled onions, pickles and a fried egg. Diners who need an extra kick can purchase a bottle of homemade Bloody Mary Sauce to take home and keep on hand for next time they celebrate a little too hard.
For those who can’t quite muster the energy to venture outside, Chargrill Charlie’s has created the Melbourne Cup Hangover Pack, available to pre-order exclusively through their new online catering service. Delivered straight to your desks, the Hangover Pack is jam-packed with all the things needed to blast the bleary head away, including eight Bloody Mary burgers, a bottle of homemade Bloody Mary sauce, devil wings and wedges.
Chargrill Charlie’s also has Melbourne Cup office parties sorted, with their Melbourne Cup Party Pack, available to pre-order now. Chookas’ fans in Sydney and Melbourne can choose-their-own party packs, hand-picking their famous BBQ or Portuguese chicken, selection of fresh salads, vegetables and bread rolls.
Chargrill Charlie’s opened its doors on the golden shores of Coogee in 1989 and pride themselves on their strong Australian roots. Their clean cooking techniques have made their shop the go-to dinner place for busy families since 1989, while their award-winning recipes have kept people’s mouths watering time and time again.
The Hangover Pack and The Melbourne Cup Party Pack are available for pre-order now from:
The Bloody Mary Burger and Bloody Mary Sauce will be available in-store on Wednesday 6th November.
Companionship in Our Time – Presented in Partnership with The School of Life
Saturday 19 October and Sunday 20 October, 1pm – 4pm | NGV International | Free entry
Inspired by the work of KAWS, this program questions what it feels like to be alone, and what it means to be connected. Participate in an interaction with a friend or stranger that encourages an exploration of companionship, loneliness, connection and communication.
Facilitating this presentation is Daniel Teitelbaum, Faculty Member in The School of Life, as well as a performer, radio broadcaster, teacher and facilitator. Daniel specialises in creating playful, memorable and meaningful experiences for people. Daniel has been a strategy consultant working with social enterprise, the Head of Content at The School of Life Australia and an associate teacher of design at Monash University.
With a background in philosophy, law and theatre studies, in recent years Daniel has focused on play-based professional development for companies, not-for-profits and local governments – using games, toys and theatre to help others develop important skills and ways of working.
Still Together – Presented in collaboration with A–SPACE
Saturday 26 October, 9am | NGV International | Booking required, fees apply
Connect with yourself and the world around you in a unique mass meditation experience inspired by KAWS: Companionship in the Age of Loneliness.
Together with other like-hearted humans, gather underneath KAWS’ largest bronze sculpture to date for a morning of guided meditation led by A—SPACE founder Manoj Dias, accompanied by a live musical performance, followed by an exclusive viewing of the KAWS: Companionship in the Age of Loneliness. Previous meditation experience is not necessary, just an open mind and an open heart.
Meditation from 9.00–9.30am, with exhibition viewing from 9.30am.
Time Out With Art
Monday 28 October, 6pm-7.30pm | NGV International | Booking required, fees apply
Connect with art from the 19th century and take a deep look into one artwork with a facilitated discussion that inspires a personal, sensory and emotional response.
Artwork to be revealed on the night. This program includes a glass of wine on arrival and light refreshments.
Petrina Hicks: Bleached Gothic
The Ian Potter Centre: NGV Australia | 27 September 2019 – 29 March 2020| Free Entry
Petrina Hicks: Bleached Gothic is the first major survey exhibition of celebrated Australian photographer Petrina Hicks. Over her fifteen-year career, the Sydney based artist has gained a strong reputation for her enigmatic and multi-layered photographs.
The exhibition includes more than forty photograph and video works spanning the period 2003 to 2019. Seen together for the first time, Hicks’s shimmering and often hyperreal compositions convey the inherent ambiguity and complexity of the female experience.
In her contemporary art practice, Hicks draws on the aesthetics and techniques she developed during her previous career as a commercial photographer. She recreates the allure of advertising and portraiture in her impeccably pristine images and, at first glance, Hicks’s works can appear to be a celebration of the perfect; a vision of bodily utopianism augmented by her technically pristine lighting and printing. However, on closer viewing the hairline cracks become evident. Hicks draws us towards considering bodily marks – the fading bruise on the flesh, the slight wound on the skin, the tousled hair, the missing limb – as her seemingly faultless models occasionally show the signs of our inexorable transit towards decay.
The tension between seduction and danger, familiarity and strangeness, intimacy and distance are present in many of Hicks’s works. Women, girls, and animals are recurring subjects and Hicks takes inspiration from mythology and art history. In one work, a white snake coiling around a pale arm evokes biblical notions of purity, while a reclining nude cradling aged ceramic vessels is a play on a classical Greek motif. Hicks explores the disquieting power of mythologies and has referred to her own work as having a ‘bleached Gothic’ sensibility, suggesting it possesses mysterious Gothic elements stripped of their characteristic darkness.
Hicks photographs her subjects against simple backgrounds and regularly returns to the same models and motifs. These include the albino singer and performer Lauren, whose ethereal appearance has become one of the most recognisable elements of Hicks’s work.
Also included in the exhibition are five video works that play with the concept of slow time. In these videos, Hicks moves just beyond the two-dimensionality of the photograph, stretching out a single moment in an act of durational photography. Presented side by side, the photographs and the videos appear remarkably similar, but the video heightens the viewers’ sense of unease, transforming what in real life might be a beautiful moment into something menacing when replayed in a measured slow loop.
Tony Ellwood AM, Director, National Gallery of Victoria said, ‘We are proud to present the first in-depth exploration of the work of Australian artist Petrina Hicks, providing audiences unprecedented insight into her work and place in contemporary photography.’
This solo exhibition follows recent major photography surveys at NGV including Darren Sylvester, Polly Borland, William Wegman and Erieta Attali and kicks off the next season of solo exhibitions, showcasing the work of Australian designer Lucy McCrae and photographer Polixeni Papapetrou later this year.
The NGV has published a large-scale and extensively illustrated monograph to coincide with the exhibition, detailing the artist’s work to date and juxtaposing Hick’s work with the poetry of Sylvia Plath.
Petrina Hicks: Bleached Gothic is on display from Friday 27 September 2019 to Sunday 29 March 2020 at The Ian Potter Centre: NGV Australia at Federation Square. Entry is FREE. Further information is available from the NGV website: NGV.MELBOURNE.
David Stephenson – ‘Night for me is emblematic of everything that is good and bad about our modern civilisation. On the one hand there are these glowing jewels that are extraordinarily beautiful but at the same time they suggest many issues around urbanisation, urban sprawl, light pollution and our dependency of fossil fuel energy systems and its contribution to climate change.’
Dona Schwartz – ‘My photos are from the series On The Nest, which shows book ends of the life experience of being a parent, making the transition to a new identify as a parent and to an empty nest. The bedrooms are really important because they tell the story of those parents and those families and the lives that are lived. I would like people to feel reverence and respect for the whole enterprise of parenting. I think it is something we take on as an imperative but it is such a leap of faith.’
Simon Terrill – ‘I am interested in the lure of the crowd and the right of passage of festivals that were a really big part of Australian culture for a decade or so. This image isolates a single figure but is really about the relationship between the individual and the mass, getting lost in that ecstatic madness of the crowd.’
Charles Green – ‘We were embedded with Australian soldiers in Afghanistan as Australia’s official war artists in 2007-2008. We were commissioned to do large paintings but we were carrying about five cameras and what we were seeing was huge geopolitical forces colliding. There was no chance this was going to work out. We were documenting disaster.’
Lyndell Brown – ‘This image has a strange calm that belies the tragedy of the area. The pathos of this image in particular is in the chair staring out to the empty mountainous landscape, which you know is hiding Taliban who will return. The shipping container in this land-locked mountainous country and a military base in the middle of Taliban country was quite incongruous. The golden afternoon light is a counterpoint to the latent violence that underlies the image.’
Civilization: The Way We Live Now
The Ian Potter Centre: NGV Australia | 13 September 2019 – 2 February 2020| Admission fees apply
Civilization: The Way We Live Now is an international photography exhibition of monumental scale, featuring over 200 original photographs by over 100 contemporary photographers from Africa, the Americas, Asia, Australia and Europe. Presented in collaboration with the Foundation for the Exhibition of Photography, Minneapolis/New York/Paris/Lausanne and the National Museum of Modern and Contemporary Art, Korea, the exhibition explores photographic representations of life in cities and journeys through the shared experiences of life in the urban environment.
Looking at the phenomenal complexity of urban life in the twenty first century, Civilization: The Way We Live Now reflects on the ways in which photographers have documented, and held a mirror up to, the increasingly globalised world around us. The selected works create a picture of collective life around the world and document patterns of mass behaviour.
Through eight key themes, Civilization: The Way We Live Now takes a diverse and multidimensional look at what photographers around the world, including the likes of Candida Höfer, Edward Burtynsky, Amalia Ulman, Hong Hao and Richard Mosse, are telling us about the state of early twenty-first century civilization.
- Hive, featuring the work of photographers such as Robert Polidori and Michael Wolf, explores how civilizations press their citizens into cities and the pictorial possibilities offered by the unceasing ebb and flow of crowds, the often precarious plight of the individual, and the spectacular, ever-changing backdrop of the built environment.
- Alonetogether, featuring the work of photographers such as Lauren Greenfield, Pieter Hugo and Australians including Trent Parke and Anne Zahalka, considers how, despite living in such close proximity to our neighbours, an increasingly digitised world is leading to decreasing social interaction, causing an increase in people’s isolation.
- Flow, featuring the work of photographers such as Lee Friedlander and Edward Burtynsky, tracks the visible and invisible movement of people, materials, money and ideas around the world and the impact these systems have on our depersonalised relationship with food, material goods and nature.
- Persuasion, featuring the work of photographers such as Andreia Alves de Oliveira, Sato Shintaro, Amalia Ulman and Alec Soth, looks at the influence of advertising, religion, business and politics.
- Control, featuring the work of photographers such as Ashley Gilbertson, NOH Suntag and Luca Zanier, highlights the reach of governing bodies around the world and our desire to impose increasing structure on how our civilization develops through governments and their armies, surveillance, architecture, education and business.
- Rupture, featuring the work of photographers including Taryn Simon, Richard Mosse, Pablo López Luz, Taloi Havini and Stuart Millar, forces us to confront civilizations failures and blind spots through images of detention centres, the flow of refugees, border crossings and environmental degradation.
- Escape, featuring the work of photographers such as An-My Lê and Olaf Otto Becker questions the sometimes dark side of the pleasure industry for all ages ranging from dance floors, cruise ships and amusement parks to communal sport, outdoor pursuits and the joys of solitude.
- Next, featuring the work of photographers such as Valérie Belin, Michael Najjar and Robert Zhao Renhui, looks to the future but more importantly to the present, where newness and technological advancement have become the norm, investigates the dangers of the speed at which civilization is developing.
Tony Ellwood AM, Director, National Gallery of Victoria said, ‘Civilization: The Way We Live Now is a rich and varied portrait of our times. The exceptional quality of the work included is testament to the talent and vibrancy present in contemporary photography today.’
Civilization: The Way We Live Now has been produced by the Foundation for the Exhibition of Photography, Minneapolis/New York/Paris/Lausanne and the National Museum of Modern and Contemporary Art, Korea, in consultation with the National Gallery of Victoria.
A major publication has been published by Thames & Hudson in parallel with the exhibition.
Civilization: The Way We Live Now is on display from 13 September 2019 to 2 February 2020 at The Ian Potter Centre: NGV Australia at Federation Square. Tickets available from: NGV.MELBOURNE
For now, just want to take everything step by step, and start reaching out to some amazing artists we’d love to work with.
In an unprecedented, world premiere exhibition, the National Gallery of Victoria presents the work of two of the most significant and influential artists of the late twentieth century in Keith Haring | Jean-Michel Basquiat: Crossing Lines. Exclusive to Melbourne, the exhibition offers new and fascinating insights into their unique visual languages and reveals, for the first time, the many intersections between their lives, practices and ideas.
Keith Haring (American 1958–90) and Jean-Michel Basquiat (American 1960–88) changed the art world of the 1980s through their idiosyncratic imagery, radical ideas and complex socio-political commentary, creating an indelible legacy that continues to influence contemporary visual and popular culture today. Each artist is acclaimed for his distinctive visual language, employing signs, symbols and words to convey strong social and political messages in unconventional ways.
The exhibition surveys each artist’s tragically short, yet prolific career through more than 300 artworks, including works created in public spaces, painting, sculpture, objects, works on paper, photographs and more. Crossing Lines provides local and international audiences with a comprehensive insight into each of these influential artists, as well as an understanding of their broader impact, both in the 80s and 90s and continuing today.
Beginning with examples of both artist’s work from the streets and subway stations of New York City, the exhibition presents works from each artist’s first exhibitions, their collaborations with each other, as well as with the likes of Andy Warhol, Grace Jones and Madonna. It continues by presenting some of their most acclaimed artworks, including pieces featuring Basquiat’s crown and head motifs and Haring’s iconic ‘radiant baby’ and dancing figures.
Curated for the NGV by Dr Dieter Buchhart, art historian and curator of recent monographic exhibitions on both Jean-Michel Basquiat (Fondation Louis Vuitton, Barbican Art Gallery) and Keith Haring (Musée d’Art Moderne de la Ville de Paris).
Melbourne International Arts Festival today announced seven new artist commissions and one re-creation of an original art tram to be transformed into eight major mobile artworks on the city’s iconic trams this October.
Designs by Kent Morris, Nusra Latif Qureshi, and emerging artists Vandal, Sophie Westerman, Gene Bawden, Nyein Chan Aung and the Beaconhills Year 3 Collective will be represented in the the public art project, now in its seventh year, which invites artists to propose a design inspired by Melbourne’s trams.
Melbourne Art Trams is a revival and re-imagining of the seminal Transporting Art program which ran from 1978 to 1993 and resulted in 36 hand-painted trams being rolled out across the Melbourne network. The project was relaunched in 2013 through a creative collaboration with Melbourne International Arts Festival, Creative Victoria, Public Transport Victoria and Yarra Trams, and in 2019 is sponsored by Principal Partner Officeworks.
One of the eight designs to be unveiled in October is a recreation of an original Transporting Art work by Lesley Dumbrell, commissioned in 1986. Dumbrell’s design will be on the Melbourne tram tracks alongside seven new commissions from Victorian artists.
Nyein Chan Aung is a an industrial designer and artist who has created The Late Supper, an interpretation of the iconic painting The Last Supper by Leonardo da Vinci. His illustration depicts people having supper, however features unknown customers at Melbourne’s renowned Supper Inn Chinese restaurant instead of Jesus Christ with his apostles.
Kent Morris is a Barkindji man based in Melbourne who believes Australia is currently experiencing the evolution of a collective celebration and acknowledgement of Aboriginal culture and stories. Morris’ artwork is constructed from a single photograph taken while walking on Country. Apart from basic editing, digital information has not been added to, or taken away from, the original photograph.
Vandal is a Melbourne-based mixed media stencil artist, spray canner, paste-up and sharpie marker artist. Her work is set to brighten tram traveler’s day with the colourful Marbaamarbaa garingali (multi-coloured native dog) taking people on their daily adventures around the city.
The Beaconhills Year 3 Collective have represented Melbourne in their tram design as a welcoming place through the gestures of our friends. The class have created a series of body shapes in a similar style to Keith Haring, with a focus on unity and harmony in the community.
Sophie Westerman is a Melbourne-based artist who works with printmaking to create architectural landscapes. Her tram design is compiled from a series of colour etchings titled I think we were friends once, maybe, representing connection but also isolation.
Gene Bawden is an academic and practicing communication designer and her work Yours, mine, ours is a design that celebrates the ambitions for diversity and inclusion within the city of Melbourne. Abstractly represented in the stripes of colour, pattern and geometric blocks, are letters that spell out this proclamation.
Nusra Latif Qureshi references the traditional art of South Asian miniature painting in her design. Her art work features a floral pattern from an antique French textile and pays homage to the title of Melbourne as the Paris of the south. The red in the design celebrates the vibrancy and richness of Melbourne’s cultural life.
Lesley Dumbrell is recognised as a pioneer of the Australian women’s art movement of the 1970s. Her original tram design, painted in 1986 was inspired by a trip to Italy where Dumbrell was drawn by the colour, costumes and music of a festival. For over forty years Dumbrell has been refining her technique of geometric abstract painting, injecting colour, light and emotion into an often precise painting style associated with the Colour Field Painters of the 1960s.
Victoria’s Minister for Creative Industries, Martin Foley said: “These wonderful art trams show off and celebrate some of our most brilliant local artists to the many people who travel through our city every day. Congratulations to those chosen and I hope their work leaves a lasting impression for everyone who sees it.”
Melbourne International Arts Festival Artistic Director, Jonathan Holloway said: “It’s an absolute delight to be able to see these incredible designs taking over Melbourne’s tram tracks. The Melbourne Art Trams are a Festival highlight and I encourage everyone to make a magical memory by riding around the city in one of these works of art.”
Melissa Horne, Minister for Public Transport said: ”Melbourne’s trams are such an iconic part of our city, which is why we’re proud they’re again being used to highlight the work of many talented artists.”
Nicholas Gindt, CEO Yarra Trams said: ”We are proud to again collaborate with the Melbourne Festival and Victorian Government on this much-loved project, continuing our long tradition of supporting the festival. Melbourne locals and visitors alike are fond of both trams and art, so Melbourne Art Trams is the perfect combination to get people where they need to go – in style.”
Jess Richmond, General Manager Marketing, Officeworks said: ”We’re really excited to be on board as the Principal Partner of the Melbourne Art Trams initiative for 2019/20. Officeworks is all about helping making bigger things happen for creative Australians across the country with our huge art supplies range, so it was only fitting that we got behind this initiative that celebrates talented Victorian artists.”
The first tram will hit the tracks on 8 October with the other seven soon to follow and will remain on our streets until August 2020.
A People’s Choice Award will be announced following the release of the trams, with the public able to vote for their favourite tram at festival.melbourne/arttrams
Each artist brings something totally exceptional to the table – from their conceptual execution and technical skill, to their innovation, creative vision and idiosyncratic flair.
Many of the artists invited to this show have never exhibited with us before, and we are so excited to share their work with Australian audiences.
We’d love for you to share coverage of this show!
Ben Lopez, Bene Rohlman, Bren Luke, Brolga , Charlie Immer, Dirty Robot, Eevien Tan, Erlend Tait, Jason Limon, Kerby Rosanes, Kozy, Liam Snootle, Lukifer Aurelius, Mando Marie, Marc Martin, Mark Conlan, Martin Harris, Mary Iverson, Matte Stephens, MC Monster, Nicolas Delort, Nikoo Bafti, ONEQ, Ravi Zupa, Richie Fahey, Sam Bee, Scott Albrecht, Seonna Hong, Shoko Ishida, Thomas Jackson, Vivienne Strauss, Yusk.
Opening Friday, 2 August 2019, 6–8pm
Exhibition runs 2 – 25 August 2019
Outré Gallery, 319 Smith Street, Fitzroy, Australia
Contemporary American artist KAWS, a.k.a Brian Donnelly, is one of the most resonant artists of his generation. In an Australian first, KAWS: Companionship In The Age Of Loneliness is a comprehensive survey of 25 years of KAWS’s oeuvre, full of humour, hope and humanity, celebrating his ability to connect with broad audiences.
The full range of KAWS’s artistic output will be on display featuring more than 100 works including iconic paintings reappropriating pop-culture figures to his more recent large-scale abstract works, and an impressive collection of his celebrated sculptural figures.
KAWS engages with universal feelings of isolation and loneliness through his works, in reaction to the turbulent world we live in today. His larger-than-life sculptures are playful, toy-like figures, however at closer look, they reveal a fragility and darkness in the vulnerable poses of the characters. The exhibition will include a newly commissioned 7-metre bronze COMPANION sculpture GONE, 2019, standing solemnly in a Pietà pose, evoking a sense of sorrow and empathy. On display in the NGV’s Federation Court, this monumental work will be the largest bronze KAWS has created to date.
Born in 1974 in Jersey City, KAWS attended the School of Visual Arts in New York where he received a Bachelor of Fine Arts. He went on to work for Jumbo Pictures animation studio, painting cells for animated series including Disney’s 101 Dalmatians and Doug, and MTV’s cult series Daria.
KAWS began his artistic career outside of the traditional art world during the height of graffiti and street art culture in New York in the early 1990s. During this time, he began to develop his signature motifs, the skull and crossbones, that appeared painted over the beautiful faces of late 90s Manhattan advertising posters in what the artist refers to as ‘subvertising’.
In the late 90s, KAWS began making limited edition toys after visits to Japan and experiencing the collectible market there. His editions soon became cult objects amongst collectors and since then he has produced more than 130 toys.
KAWS’ latest paintings showcase his hallmark use of bold colors and bright lines, transgressing into new creative territory with his hybrid characters now dissolving into fragmented fields of color.
‘Unrestricted by conventional contemporary artistic boundaries, KAWS’s multidisciplinary and evolving practice across contexts and in collaborative ways, is representative of today’s society and the need to connect. He continues to engage new audiences through a common language of vibrant visuals and pop cultural references and characters’ said Tony Ellwood AM, Director, NGV.
Accompanying the main exhibition, KAWS: Playtime is a dedicated playful kids exhibition that KAWS has created, introducing promising young artists of today to his creative approach and artistic methods of integrating pop culture into his work.
KAWS: Companionship In The Age Of Loneliness will be on display from September 2019 – April 2020 at NGV International, 180 St Kilda Road, Melbourne, Australia. Tickets and information are available from the NGV website NGV.MELBOURNE.
23 May 2019: In a dual presentation of Chinese art and culture past and present, the Melbourne Winter Masterpieces series at the National Gallery of Victoria presents China’s ancient Terracotta Warriors alongside a parallel display of new works by one of the world’s most exciting contemporary artists, Cai Guo-Qiang, at NGV International, from 24 May 2019.
Developed and curated by the NGV, Terracotta Warriors: Guardians of Immortality is a large-scale presentation of the Qin Emperor’s Terracotta Warriors, which, discovered in 1974 in China’s Shaanxi province, are regarded as one of the greatest archaeological finds of the twentieth century and widely described as the eighth wonder of the world. The exhibition features eight warrior figures and two life-size horses from the Imperial Army, as well as two half-size replica bronze chariots, each drawn by four horses.
These sculptures are contextualised by an unprecedented Australian presentation of more than 160 exquisite ancient treasures of Chinese historic art and design, drawn by the NGV from leading museums and archaeological sites from across Shaanxi province. These include priceless gold, jade and bronze artefacts that date from the Western Zhou through to the Han dynasties (1046 BC – 220AD). Illuminating more than a millennium of Chinese history, the exhibition showcases the magnificence and authority of the once-entombed figures and reveals, through the intricate display of accompanying objects and artefacts, the sophistication that characterised the formative years of Chinese civilisation.
Presented in parallel, Cai Guo-Qiang: The Transient Landscape features all new art works by international contemporary artist Cai Guo-Qiang inspired by his home country’s culture and its enduring philosophical traditions. Created especially for this exhibition, highlight works include the monumental installation of 10,000 suspended porcelain birds, Murmuration (Landscape), 2019. Spiralling over visitors’ heads, the birds create a three-dimensional impression of a calligraphic drawing of the sacred Mount Li, the site of the ancient tomb of China’s first emperor, Qin Shihuang, and his warriors.
Drawing on Cai’s understanding of ancient Chinese culture and his belief that a dialogue with tradition and history can invigorate contemporary art, he has also created a porcelain sculpture of peonies, Transience I (Peony), placed at the centre of a 360-degree gunpowder painting, Transience II (Peony), both of which were created in Melbourne.
Tony Ellwood AM, Director, NGV said: ‘Thirty-six years ago, in 1982, the National Gallery of Victoria presented the first international exhibition of China’s ancient Terracotta Warriors only several years after their discovery. History will be made again in 2019, when the Qin Emperor’s Terracotta Army will return to the NGV for the 2019 Melbourne Winter Masterpieces exhibition series – this time in a sophisticated dialogue with the work one of China’s most celebrated contemporary artists, Cai Guo-Qiang.’
Of the parallel presentation, Cai said: ‘They are two rivers of time separated by two millennia, each creating a course at their own individual speed across a series of shared galleries. The ancient and the contemporary – two surges of energy that crisscross, pull, interact and complement each other, generating a powerful tension and contrast, each attracting and resisting the other.’
Jeff Xu, Founder and Managing Director, Golden Age Group said: ‘This exhibition will inspire Australian and international audiences to delve deeper into the many rich and diverse facets of China’s heritage. As Principal Partner, Golden Age is pleased to support such an ambitious world-exclusive showing in Victoria, demonstrating our commitment to Melbourne as the cultural capital. We believe this exhibition will leave a lasting impression on this city for decades to come.’
This exhibition was organized by the National Gallery of Victoria, Melbourne, in partnership with Shaanxi Provincial Cultural Relics Bureau, Shaanxi History Museum, Shaanxi Cultural Heritage Promotion Centre, and Emperor Qin Shihuang’s Mausoleum Site Museum of the People’s Republic of China.
The Melbourne Winter Masterpieces presentation of Terracotta Warriors: Guardians of Immortality and Cai Guo-Qiang: The Transient Landscape will be on display from 24 May 2019 – 13 October 2019 at NGV International, 180 St Kilda Road, Melbourne, Australia. Tickets and information are available from the NGV website NGV.MELBOURNE.
Member $24 | Adult $30 | Concession $25 | Child (5-15 years) $10 | Family (2 adults + 3 children) $65
Words From: Monsters & Critics
British professional skateboarder Ben Raemers has passed away at age 28. The popular skater was signed to skateboarding company Enjoi.
Despite a rumor that Raemers committed suicide, an official cause of death has not been released and the claims are unsubstantiated at the time of writing.