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Deep Material Energy III
RMIT Gallery
14 September - 16 November 2024
Deep Material Energy III brings together the work of eight artists from Aotearoa New Zealand and Australia whose jewellery/object practices showcase a deep connection with and curiosity about materials. All the works include found and recycled materials, gleaning components from the city streets, regional landscape, op shops and scrap metal merchants to explore and recontextualise their cultural and political resonances.
Exhibition includes works by Cara johnson, Inari Kiuru, Claire McArdle, Kelly McDonald, Victoria McIntosh, Neke Moa, Rowan Panther and Lisa Waup.
Curated by Heather Galbraith.
This exhibition has been produced by RMIT University at RMIT Gallery with the support of Toi Rauwharangi College of Creative Arts, Massey University. It is presented as part of the Radiant Pavilion Contemporary Jewellery and Object Biennial.
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'Here's Something I've Been Wanting To Show You'
RMIT Design Hub Gallery
7 - 26 September 2024
This exhibition brings together a group of RMIT's Gold and Silversmithing students and alumni from 2018 to the present, showcasing works that reflect a diverse range of experiences and personal journeys.
These artists all studied just prior and during the unique and challenging times of the pandemic, and this exhibition marks the first time many of these objects will be publicly presented. Perhaps due to the nature of the circumstances in which they were made, their works often reveal private moments and share deep reflections.
As a collection of works, ‘Here's Something I've Been Wanting to Show You’ makes manifest and showcases the innovative practices, solidarity and caring relationships that underpin RMIT's Gold and Silversmithing studios. This project communicates how creativity, community and art come together—an ongoing conversation that continues to shape the future of this collective.
With works by Angelica Zumpo, Angelique Fry, Ann Welton, Aphra Cheesman, Aunty Beverley Meldrum, Aunty Suzanne Connelly-Kildomitis, Beth Sanderson, Brooke Coutts-Wood, Cassie Leatham, Christine Murray, Ciara Steggerda, Claire McArdle, Courtney Hogan, Deborah Fisher, Dee Robinson, Dominic White, Elisa Zorraquin, Emma Byrne, Gaia Maria Walicka, Grae Burnished, Hongyu Chen, Isabella Hope-Miller, Jale Sezai, Jennifer Baulch, Jenna Lee, Jessica Phippen, Jessie Hack, Katherine Hubble, Kelly Christodoulou, Ko Jou Chen, Lindy McSwan, Lisa Waup, Lixian Wu, Madeline Wright, Mariia Tseveleva, Mengting Zou, Michaela Pegum, Moqian Wang, Nao Hirata, Rachel Simoons, Rose Li Cai Gamble, Saiqu Ma, Yutian Sang, Sarah Lockey, Sharn Geary, Sirui Yang, Siteng Wei, Sophie Quinn, Stephanie Rachael Corthorne, Tammy Gilson, Teegan Horat, Valentin Ostrom, Victoria Zhook, Vivian Qiu, Yara Ueltschi, Yi Jen Chu, Yin-Yu Tseng, Yu Fang Chi, Yujan Jiang, Zipei Huang
Curated by Cathy Doe, Mark Edgoose, Kirsten Haydon and Sarah Lockey.
This exhibition has been produced by RMIT University at Design Hub Gallery with the support of the RMIT University Student Union. It is presented as part of the Radiant Pavilion Contemporary Jewellery and Object Biennial.
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This Hideous Replica
RMIT Gallery
23 August - 16 November 2024
Lifting its title from a misheard line in a 1980 song by The Fall about a reclusive dog breeder whose ‘hideous replica’ haunts industrial Manchester, this experimental project—an admixture of artworks, performances, screenings, workshops, a ‘replica school’ and other uncanny encounters—adopts monstrous replication as a tactic, condition and curatorial framework for exploring algorithmic culture, simultaneously alienating, seductive and out-of-control.
Exhibition includes works by:
Amy May Stuart, Angie Waller, Anna Vasof, Debris Facility Pty Ltd, Diego Ramírez, Emile Zile, Joshua Citarella, Liang Luscombe, Loren Adams, Masato Takasaka, Matthew Griffin & Heath Franco and Mochu.
Performances, talks and workshops by:
Catherine Ryan, Ceri Hann, ‘cheerleading is without spirit’ collective, Chloë Sobek, Darcy Wedd, Eryk Salvaggio, Holly Childs, James Rushford, Jenny Hickinbotham, Jennifer Walshe, Joel Sherwood Spring, Marcus McKenzie, McKenzie Wark, Panda Wong, Roslyn Orlando, Sophie Penkethman-Young and Tomomi Adachi.
Curated by Joel Stern and Sean Dockray.
This Hideous Replica has been produced by RMIT Culture and supported by the ARC Centre of Excellence for Automated Decision-Making and Society (ADM+S), the RMIT Design and Creative Practice Enabling Impact Platforms and Monash Art, Design and Architecture (MADA). This project is a part of the City of Melbourne’s Now or Never festival. This project has been assisted by the Australian Government through Creative Australia and by the Victorian Government through Creative Victoria. With hosts Miscellanea, Dogmilk, Omniversal Hum, Make it Up Club, RMIT non/fictionLab, RMIT Music Industry Research Collective and RMIT Design and Sonic Practice.
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Future Folds: contemporary investigations in origami
RMIT Design Hub Gallery
11 July - 10 August 2024
Origami is known as a traditional figurative craft, but over the last 50 years its methods and techniques have been integrated into a range of different disciplines. As software, mathematics and technology come to enable new folding patterns and material applications of this artform, new design futures come into reach. Future Folds: contemporary investigations in origami brings together world-leading researchers and practitioners whose work showcase innovative uses of the medium across the fields of engineering, mathematics, design, fashion and art.
Future Folds features works by A-POC ABLE ISSEY MIYAKE, Tomoko Fuse, Robert J. Lang, Jun Mitani, Koya Narumi, Tomohiro Tachi and more.
Curated by Sukanya Deshmukh and Malte Wagenfeld.
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Working Title: Studio Practice in the RMIT Art Collection
RMIT Gallery
30 May - 27 July 2024
The studio is a place in which artists conceptualise, experiment, develop and ultimately produce their artworks. Studio practice is different for each maker, some artists confining themselves to the solitude of their workspaces while others take their work outside to their communities. Whether artworks are made by individuals or collectives, many inevitably meet a similar fate, eventually leaving the studio for exhibition and the next phase of their lives—in the hands of a buyer or collection, historicised alongside their peers.
Working Title explores the RMIT Art Collection and unearths a rich history of studio practice at RMIT, revealing notable academics, alumni, methods and collaborations across collecting legacies over the past century.
Curator: Lisa Linton
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The Concentric Influences of Sol LeWitt
RMIT Gallery
30 May - 27 July 2024
Part 1: Irene Barberis, Fransje Killaars, Janet Passehl, Wilma Tabacco
Sol LeWitt’s legacy as a key artistic figure of Conceptual and Minimalist Art is intimately expressed in the work of Janet Passehl (USA), Fransje Killaars (Netherlands), Irene Barberis (Australia), and Wilma Tabacco (Australia). Each of the four artists from across the globe share a unique connection with LeWitt, who has impacted their practice in concentric, obvious, and sometimes understated ways. The first of two RMIT Gallery exhibitions centred around Sol LeWitt’s practice, The Concentric Influences of Sol LeWitt moves beyond the objective visual qualities connecting artworks to celebrate the circular bonds of friendship and community that characterise the depth of LeWitt’s creative influence.
Curator: Irene Barberis
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execute_photography
RMIT Gallery
1 March - 4 May 2024
Photography is constantly dying and being reborn. AI represents the latest stage of photography’s transformation into a software output, cannibalising the camera and even transforming it into a set of executable text prompts. If it is now clear that photography is a kind of ‘program’, and that images are operational, actionable and scrapable, what does this mean for the future of the medium? Both an exploration and a provocation, this exhibition features work by Australian and international artists speculating on the social and political ramifications of photography’s afterlives.
Artists include: Memo Akten, Amrita Hepi, Max Pinckers and Dries Depoorter, Rosa Menkman, Sara Oscar, J. Rosenbaum, Sebastian Schmieg and Alan Warburton
Exhibition Curators: Alison Bennett, Shane Hulbert, Daniel Palmer, Katrina Sluis
execute_photography has been produced by RMIT Culture and supported by RMIT Enabling Impact Platforms. This project is an official exhibition of PHOTO 2024 International Festival of Photography.
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Wanderings About History – The Photography of Ulrich Wüst
RMIT Gallery
1 March - 20 April 2024
Ulrich Wüst’s photographic work captures his wanderings through German history, portraying the social and urban transformations from the GDR and its disintegration, through the German reunification to the present day. Wüst revives the German history in a new static way, where the past and present clash in a dynamic and ever-changing environment.
Wanderings About History – The Photography of Ulrich Wüst shows a selection of nine suites taken between 1978 and 2019. Ulrich Wüst’s photographic work can be contemplated from different perspectives. While the observations captured here are rooted in Germany’s division and its mending, at the same time they always relate to universal phenomena of social change and its material manifestations. The seemingly terse images, extremely precise in their composition, are the fruits of lengthy visual wanderings through present sites of recent history.
Curator: Matthias Flügge
An exhibition by ifa – Institut für Auslandsbeziehungen e.V., Stuttgart, www.ifa.de – in partnership with the Goethe-Institut. This project is an official exhibition of PHOTO 2024 International Festival of Photography.
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To See is to Change
RMIT Design Hub Gallery
29 February - 26 April 2024
RMIT Culture’s Design Hub Gallery presents Bombay Tilts Down, 2022 and A Photogenetic Line, 2019 by renowned Mumbai-based artist group CAMP.
In this pair of large-scale works, CAMP explore two sides of their practice; one that produces experimental film and video, often with unusual equipment and angles of participation, and another that creates and animates archives of moving images, documents and photography. The two works are united by their re-spatialisation of places and history and by becoming temporal structures of what could be or could have been. Both suggest, in a reworked cinematic tradition, that seeing is not passive and can reassemble concrete realities.
Bombay Tilts Down (2022, 13 mins, 6+1 screens) was filmed with a 4K CCTV camera from a single point on a 36-floor building in central Mumbai, while being watched by people in the city below.
A Photogenetic Line (2017, cutout photographic montage) assembles photographs from the archive of The Hindu, a left-leaning Indian national newspaper, in a sequence where “one photograph calls the next'', via a series of rules. In this allusion to a filmic edit, we walk through small and big historical events with their original captions, now inside a non-narrative, unstable and eerie political assemblage.
CAMP
CAMP is a collaborative studio founded in Bombay in 2007. It has been producing fundamental new work in film and video, electronic media, and public art forms, in a practice characterised by a hand-dirtying, non-alienated relation to technology. CAMP's projects have entered many modern social and technical assemblies: Energy, communication, transport and surveillance systems, ports, ships, archives – things much larger than itself. These are shown as unstable, leaky, and contestable "technology", in the ultimate sense of not having a fixed-function or destiny, making them both a medium and stage for artistic activity.
From their home base in Mumbai, they co-host the online archives pad.ma (est. 2008) and indiancine.ma (est. 2013) and run a rooftop cinema for the past 15 years.
CAMP’s artworks have been exhibited worldwide, including recent performances at M+, Hong Kong (2023) and MoMA, New York (2023) and solos at Sharjah Art Foundation, (2022) Nam June Paik Art Center (2021), Argos Center for Art and Media, Brussels, and the De Appel Gallery, Amsterdam (2019); at Skulptur Projekte Münster (2017), Documenta 13 (2012) and Documenta 14 film program (2017), in the streets and markets of Bangalore, San Jose, Dakar, Mexico City, Jerusalem, Kolkata, Kabul, Delhi, Ljubljana and Bombay; in the biennials of Shanghai, Sharjah, Gwangju, Taipei, Singapore, Liverpool, Chicago, Lahore and Kochi-Muziris; at film platforms like the BFI London Film Festival, Viennale, FID Marseille, Flaherty Seminar and the Anthology Film Archives, and in art institutions such as Khoj, Sarai-CSDS, KNMA, Lalit Kala Akademi and NGMA New Delhi, Dr Bhau Daji Lad Museum, Bombay, MoMA, New Museum, Queens Museum and e-flux New York, Tate Modern, Serpentine Galleries, and Gasworks London, HKW Berlin, Ars Electronica, Linz, MoMA Warsaw, Ashkal Alwan Beirut, Palestinian Museum, Birzeit, M+ Hongkong, SeMA, Seoul Museum of Art, Art Jameel, Dubai to name a few. In October 2020 they were awarded the 7th Nam June Paik Centre Prize.
CAMP, an RMIT Culture production at RMIT’s Design Hub Gallery. Co-programmed by Dr Shweta Kishore (RMIT School of Media and Communication).
The Message of the Gestures by Sen Ma
RMIT Design Hub Gallery
23 - 31 January 2024
The Message of the Gestures showcases a retrospective of Sen Ma’s photography works, bringing to life the resilience and history of Chinese folk culture.
Sen Ma is an artist and professor whose photography and video practice aims to preserve Chinese cultural heritage. Capturing the intersect between tradition and modernity, Sen Ma’s images reflect a culture rich in history, objects and wisdom, and their impending destruction at the hands of rapid modernisation.
