30.05.2015 bis 31.07.2015 - TONSPUR_display
Behavioural Modernity: Emily Jones and Clare Milledge
Alle Termine im Überblick
• Tage mit Vorstellung
Eröffnung: Sa 30.05., 19h
Ort: ARTISTIC BOKEH
Behavioural Modernity is the first exhibition in a two-part program at Artistic Bokeh exploring changing politics of representation and ethics of care in curatorial practice, necessitated by an increasing blurring of boundaries between the human, the technological, and the planetary.
On object mountings loaned from the nearby Museum of Ethnology, currently closed as it is transformed into the Weltmuseum, Various Relics of a Bright Future by Clare Milledge are presented with work from Emily Jones’ ongoing project The Draining of the Mesopotamian Marshes of Iraq.
Together, these artefacts and elements point towards classificatory schemas and unified origins, to examine ordering tropes of demarcation and artistic strategies of transgression.
The exhibition will open with a reading in English and Arabic of a text forming part of The Draining of the Mesopotamian Marshes of Iraq.
Behavioural Modernity is curated by Laura McLean and supported by the Austria Australia Arts Alliance.
Emily Jones is an artist living in London.
And he called his ten servants and said unto them, Occupy till I come / we ought to be able to honour the whole world. This is territorial. Language, peace, law, systems, data, climate, god and A I R. Whoever wants to be born must first destroy a world. Grand Shrine of America. Are ocean depths permanent? blind pairings and the fate of the amazon. (not everyone found it so easy to renounce completion from above) tomorrow is ours
Currently Orange House Action Clinic at S1, Portland OR, previously The Draining of the Mesopotamian Marshes of Iraq at V4ULT, Berlin (2015) and First Water to Tripoli at Jupiter Woods, London (2014).
Clare Milledge's work reconsiders our relationship to objects, materials, nature and language. Milledge produces total environment installations that are process-based and porous. The installations feature and elaborate upon her Hinterglasmalerei paintings, and act as stages or sites for performance, textiles (standing in for nature), wall paintings, costumes and sculptures. Her research interests include the writings of French philosopher, Georges Bataille, environmental science, the artist-shaman and experimental sound. Glass has the potential to co-house a sharpening clarity with a darker, murkier content however nothing is clearly given within in the ecology of Milledge's work.
Solo exhibitions include Theoretical Regression: A Warm Sheen Against Received Ideas, The Commercial Gallery, Sydney (2014); Altus Duel: Total Environment, Gertrude Contemporary, Melbourne (2014); Anthropocene Circle: Theory Theory, Kalimanrawlins, Melbourne (2013); Motivated Reasoning: Strategic, Tactical, Operational, The Commercial Gallery, Sydney (2013).
Laura McLean is a London-based curator, artist, and writer examining the intersection of contemporary art, biopolitics, and environmental science. Past projects include The Free Sea (HIAP, Helsinki, 2014); the Contingent Movements Archive, conceived together with Hanna Husberg (www.contingentmovementsarchive.com; Maldives Pavilion, 55th Venice Biennale; UNESCO, Paris, 2013); and Crisis Complex (Tin Sheds Gallery, University of Sydney, 2012). Recent writing includes a series on ‘knowledge’ for Runway Experimental Australian Art (2015); ‘The Free Sea: Unintended Consequences and Slippages in Time’, Altern Ecologies (Frame Visual Art Finland, 2015); and ‘Contingent Movements Archive’, Portable Nation (Maldives Pavilion catalogue, Maretti, 2014). She is Associate Curator of ARTISTIC BOKEH.
Bild: Clare Milledge: Thurifer's Cloak, 2014