STEWART HOME: ITEMS FOUND WITH USED BOOKS

home_hero_image
LAUNCH
5pm Saturday 10th March 2018

Hey Stewart, i received your package of Items found with used books.

We would like to show it in our gallery, we would like to make a zine with one item per page.

The cover would be the envelope you sent, in some reasonable edition.

The zine would be called  – Items found with used books.

The items from the envelope would be displayed in the gallery.

We would drink beer and look at it.

The exhibition would be called – Items found with used books.

what say ye? 

Stewart Home, is an English artist, filmmaker, writer, pamphleteer, art historian, and activist. He is best known for his novels such as the non-narrative 69 Things to Do with a Dead Princess, The 9 Lives of Ray The Cat Jones,  his re-imagining of the 1960s in Tainted Love, and earlier parodistic pulp fictions Pure Mania, Red London, No Pity and Defiant Pose that pastiche the work of 1970s British pulp fiction, political agit-prop, and historical references to punk rock and avant-garde art. He once picketed a Stockhausen concert in Brighton, threatening to levitate the building.

Private Projects

Suite 7, Level 1, Moonah Centre. Enter from Hopkins St, up the stairs.

Saturday 10th March – 14th April

Open Saturdays 10 – 4 and by appointment

NIKKI GREENE: NOWHERE IN PARTICULAR

a72305db-e942-4943-b95b-3b5eab852255

The freeways, the rivers, the mountains in the horizon, the oceans.
The wet grass and the hot cement, especially the cement. Gas stations old and new, the endless bars with the smell of old beer lining the floors, piss in the bathrooms, the familiar sting of whiskey.
Most places feel the same.

I took one of these photos out from its sleeve and now I’m not sure where it belongs. I can’t seem to figure out where I was or even what year it was taken. I put it back in a random sleeve because I guess it doesn’t matter anyway. I’m easily distracted and highly sensitive and almost never content. The air in the apartment, in this city, feels stagnant and lifeless.


Nikki Greene is a Brooklyn based photographer.
Private is proud to present her first Australian exhibition.

LAUNCH 5pm Saturday 27 January 2018

 27th Jan – 3rd March
Open Saturdays 10 – 4 and by appointment

Slight Foxing

Slight_Foxing_Hero

Found Images. Old photographs. At once meek and undeniable in their materiality. One copy. This copy. Caches. Hoards. Boxes. Widely and haphazardly distributed until on a threshold of zero to negative value. Images from before the feed. the stream. the cloud. the disc. the drive. Images not yet on the internet. Theres the whole categorisation as vernacular thing, but that begins from a place of privilege and empire. There’s the whole studium, punctum thing. Which thankfully dissolves as you describe it so… Theres the separation we are performing, of these images from their original intended, personal audiences. Theres the nostalgia thing which can initially mask the lingering tone of mortality, but thats not what we are doing here. However you slice it, we age faster than the images we render. These are old, found photographs, we found them and chose them. Now we intend to look at them.

LAUNCH
5pm Saturday 9 December 2017

Private Projects
Suite 7, Level 1, Moonah Centre.
Enter from Hopkins St, up the stairs.

_

Saturday 9th December – 6th January
Open Saturdays 10 – 4 and by appointment

Having problems finding us?
Call 0408358671

Lisa Sammut: Modest Monument

73db623b-2b45-4851-af45-eedf8f02e09e

Modest monument includes woodwork objects and timepieces that play with observable representations of time unfolding. Sammut’s work draws on the shapes of ancient universal symbolism, cosmography, celestial architecture and forms of diagrammatic planetary dynamics. Considering the likeness,
alignments, chemistry, and mimesis between things as a relational tool, they
perform or embody a sense of expansion.

DAY TIME OPENING
12 – 3pm Saturday 4 November 2017

Private Projects
Suite 7, Level 1, Moonah Centre. Enter from Hopkins St, up the stairs.
_

4 November – 2 December 2017
Open Saturdays 10 – 4 and by appointment
_

Working across sculpture, collage, video art and model-based installation, Lisa Sammut seeks to gain a tangible sense of cosmic time, distance and scale through material production. Taking the speculative fields and spatial situations of astro-archaeology and celestial architecture as a starting point, her current interest centres on the relations between cultural artefacts, handmade objects and natural forms as sensory tools for grasping the many versions and magnitudes of deep space and deep time. Recent solo exhibitions include tapestries for galaxies, Verge Gallery (2017), for the time being, Bus Projects (2016), every now and then, Firstdraft (2015). In 2016, Lisa received a Sainsbury Sculpture Grant to undertake an intensive woodcarving course at the Geisler-Moroder Schnitz und Bildhauerschule in the alpine region of Tirol, Austria and is currently a MFA by Research candidate at UNSW Art & Design, Sydney.

Kwanchai Sinpru: Sinner’s Battle

IMG_5773

The world of Thai artist Kwanchai Sinpru is one filled with demons, rampant in their violence and impulsive destructiveness. Mixing the eerie fallen angels and malevolent ghost figures of Thai folklore with images of contemporary violence, Sinpru is working in a powerful tradition of grotesque imagery, using it to comment on and dissect human failings and ugliness.

Kwanchai Sinpru’s work is informed by customs of folk art and lore that are strong throughout South East Asia, mixed in with bleak truths about humanity. Guns, living missiles, unholy fire and diabolic engines all feature in a blend of manic energy and a fascination with the dark and confronting. Sinpru manipulates traditional forms to create a new spectacular monstrosity – one to which our gaze is irresistibly drawn.


OPENING
5 – 8pm 7 October 2017

Private Projects
Suite 7, Level 1, Moonah Centre. Enter from Hopkins St, up the stairs.
_

7 – 3 November 2017
Open Saturdays 10 – 4 and by appointment
_

Kwanchai Sinpru is a Bangkok-based artist.
Image: Kwanchai Sinpru, Dooooooooooom!!!, 2017. Drawing, chinese ink and pastel on paper

MP HOPKINS – COLLUSION PERSONNEL

Lscc_detail

Collusion Personnel brings together a number of text works by Sydney based artist MP Hopkins.
Using video, sound, drawing objects and photography, Hopkins rejigs, redacts and refocuses the language of social media, politics and advertising in odd ways; political rhetoric is refashioned into dissenting anagrams; targeted advertising is lampooned through altered, out of date fax offers; and the conflicted nature of social media postings are dissolved via a video poem that absorbs the inconsistencies into a chalky abyss.

In conjunction with the exhibition Hopkins will launch a new book of poetry Upright in the Field published by Sydney based imprint Ruin Press.

A reading from the book will occur at the opening of the exhibition on Saturday 5 August 2017.


OPENING
5 – 8pm 5 August 2017

Private Projects
Suite 7, Level 1, Moonah Centre. Enter from Hopkins St, up the stairs.
_

5 August – 16 September
Open Saturdays 10 – 4 and by appointment
_

MP Hopkins is a Sydney based artist working with sound, words and occasionally things in rooms. Hopkins has released recordings through Penultimate Press (UK), Vittelli (UK), Thalamos (GR), Alberts Basement (AU), RIP Society (AU), and Canti Magnetici (IT). He has performed at the NOW now (AU), Avantwhatever Festival (AU), Liquid Architecture (AU), TUSK (UK) and Colour Out of Space (UK), and works as part of the duo ‘Half High’ with Lucy Phelan.

Hopkins has written articles for Runway Experimental Art journal and un Magazine, and his first collection of writing Upright in the Field will be published by Sydeny-based imprint Ruin Press (late 2017). MP has presented mixed media installations at various artist-run and commercial galleries across Australia and abroad such as 55 Sydenham Rd (AU), Firstdraft (AU), Tin Sheds (AU), TCB (AU), Margaret Lawrence Gallery (Au),  MCA (AU), Artspace (AU), Gertrude Contemporary (AU), LaSalle College of the Arts (SG), Tiny Creatures (US), COR&P (US), and Turner Gallery (JP).

Kate Geck – RLX:tech

Web

RLX:tech specialises in meditation strategies to manage the demands of your connected life. Our perennial waiting room features augmented, artist-designed wall hangings that are accessible through a simple, free app available for smart devices. Once activated, they stream a range of guided meditations designed to alleviate many common psycho-social-media ailments.

A new language of interaction is evolving, and the emerging codes can be confusing (read but not replied), unpredictable (gangnam style) and tiresome (#yolo). In a recursive nod, RLX:tech provides space for you to manage these stressors through the very devices that trigger them.

OPENING


5 – 8pm Saturday 1 July 2017

Private Projects

Suite 7, Level 1, Moonah Centre, 113 – 115 Main Road, Moonah 7009

Enter from Hopkins St, up the stairs.



_



1 July – 29 July


Open Saturdays 10 – 4 and by appointment

Kate Geck is an artist working with digital and sensory space. Her work considers ways that technology can skew and amplify sensory experience. She works with acrylic sculpture, neon, kaleidoscopic projections and augmented, digitally printed substrates. These works explore modes of materialising the immaterial, often processing mediated experiences into something tangible.
Exhibitions include Athens Digital Art Fest 2016, NARS NY, ISEA 2015 (Vancouver), International Centre for Contemporary Art (Singapore), San Francisco Art Festival, Nextwave, NGV Studios, Liquid Architecture, Channels and L’Atelier Kunst (Berlin). She has received awards from Australia Council, City of Yarra, NAVA, Copyright Agency, commissions from State Library of QLD, Metaverse Makeovers, RMIT, SIGNAL, Polyglot, Brisbane Festival.

kittykake.com
instagram.com/dreamburgerz

Ogasawara/Stearly/Chevarie/Fersonov

Screen Shot 2017-05-05 at 10.47.50 PM copy

Toru Ogasawara (jp)
Erika Stearly (us)
Martin Chevarie (can)
EP Ferosnov (ukr)

There is an infinite universe in my brain.
A constant restructuring of the layers of my memories.
I have my own style…Then again I don’t.
That’s my philosophy.
Actually I’ve never played the video game called ‘Metroid’

But it still exists in one of the layers of my memory 

– On the Metroid works, Toru Ogasawara

13 May – 24 June 2017
Private Projects
Suite 7, Level 1, Moonah Centre. Enter from Hopkins St, up the stairs.

Open Saturdays 10 – 4 and by appointment
_

Image  – Toru Ogasawara, Metroid, 2016/7 collage and paint on paper, multiple units, 12.5 x 12.5cm.

MP Fikaris: LET’S PRETEND

Letspretend_squarepromo copy
Let’s pretend
…that didn’t happen

…it’s all going to be ok

…we need to do this

We are all actors and we all eventually become what we pretend to be.

MP Fikaris has created a new body of work with images sourced from difficult human situations – people in combat, people being deported, homeless people and children under surveillance.Drawn and redrawn, refined and simplified to masked and plainly dressed figures in action these pieces are made to leave ambiguous but bold impression.

You wear a mask for so long, you forget who you were beneath it.
– Alan Moore

MP Fikaris is a Melbourne born and based experiential artist. Since 2001 his practice has swung between the worlds of illustration, print and painting. He enjoys collaborating and has completed artist residencies in Canada, New Zealand, Timor Leste, Indonesia, Germany, France and in various parts of Australia. His work is in collections with National Print Archives, State Library Victoria and many private collections.

www.fikarisart.com | www.silentarmy.org

Bethany van Rijswijk: Shapeshifter

Image 1 (7)

Under a kaleidoscope of leaf-mould and earth / and a pelt of yellow lichen / the costume of an unknown maiden / found where the sea once covered the Baltic / has precisely the same red-banded patterns / as certain hallucinogenic mushrooms / once revered as gods.

The art work of Bethany Van Rijswijk is best listened to.

It does not make any sound but each image is filled with whispers and stories and instruction.

There is a world stained blue.
It is terribly small, but contains multitude and bleeds light when it is cut. In another country, the wise women ate the sacred flesh and opened their eyes: this is what they saw. The plant world, silent and filled knowledge. The insect world, locked in a thousand year romance with the herbs and flowers, dancing together, their bodies imitating one another for the purposes of sex and dreaming. All was quiet; there was abundant oxygen.

Now see: here is a lineage of women. The old ones gradually show where stories come from, and they come from blood and from plants. There are traditions so small they are swept aside in history, where enormous events crush things and there is loss, stories are not told, the baton was not passed. But there are still the women and some of them recall a line here, an anecdote here and fragments survive, passed across time measure in aging and generations, not in number and wars.

The insects keep busy and the plants say nothing.

Here is an old book; look into it, observe a quality of image, a particular kind of printing, a grading of colour.
Imprinted in certain pictures, there are stories and magic, and blood, blood and work, work and family, family and death and magic, which is no more or less than the magic of needle and thread, no more wondrous than knowing the right mushroom to pick, the one that does not poison your smallest daughter, but there is no story because no one wrote it down; it was not important (but it was, really).

See the heresy here now.
Bethany imagines: it is fiction.
If you cannot see your imagined world because despite it being fact, factually it is gone, so it escapes erasure by becoming fiction (based on fact) and it no longer matters if it is real.

We may choose, which is a great luxury.

If one cut out images, cutting is irreversible. One needs to be quite careful. It’s not so much associated with art, more with sewing, and that’s quite reasonable, because sewing and tapestry are art forms we call traditional, or dismiss as craft, and are not really art (which is made by heroic brooding painters who may have a lover to clean up their messes) Which is not reasonable at all. IS it?

Take scissors and old books and make a new mythology of plants and women and insects.

Here you are: there are stories here, new ones made from the fragments of old, borrowed, stained blue with vision outside of time.

Exhibition:

28 January – 25 February 2017

– – – –

Open Saturdays 10 – 4 to the public and by appointment

– – – –

PRIVATE
Suite 7, Level 1, Moonah Centre
Cnr Hopkins and Main Road
Moonah TAS 7009

Bethany van Rijswijk is a visual artist and poet based in Hobart, Tasmania. Enriched by her studies in world folklore, ritual, and costume, her hand-cut collages and poems create an imagined mythology from found images and phrases. A psychedelic strain of “Eastern European granny decoupage”, her work explores the relationship of women’s folk art and poetry to the other world. Her first solo show, ‘Shapeshifter’ owes much to the scholarship of archaeologist Marija Gimbutas and chants of Maria Sabina, as craft comes to be viewed as a vehicle for glimpsing the sacred within the mundane.

See Bethany’s work featured on The Jealous Curator

Image: Bethany van Rijswijk, Fly Agaric, 2016. Courtesy of the artist.