SIMRYN GILL Represented by Utopia Art Sydney, 2 Danks Street, Waterloo, NSW, 2017 ©
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TRACY WILLIAMS Ltd. Simryn Gill
TRACY WILLIAMS Ltd. Simryn Gill Born 1959 Lives and works in Sydney, Australia and Port Dickson, Malaysia Solo Exhibitions 2017 Simryn Gill, Lunds konsthall, Lunds, Sweden 2016 Simryn Gill: relief, Utopia Art Sydney, Australia Simryn Gill: Sweet Chariot, Griffith University Art Gallery, Queensland, Australia Simryn Gill: The (Hemi)Cyclus of Leaves and Paper, Museum of Fine Arts Ghent, Belgium (cat.) 2015 Floating, three accounts, Tracy Williams, Ltd., New York, NY Simryn Gill: Like Leaves, Michael Janssen, Singapore Simryn Gill: Hugging The Shore, Centre For Contemporary Art (CCA), Singapore The Stormy Days, Jhaveri Contemporary, Mumbai, India 2014-15 Domino Theory, Espace Louis Vuitton München, Germany 2014 Blue, Tracy Williams, Ltd., New York, NY My Own Private Angkor, Pacific Design Center, Los Angeles, CA 2013 Here art grows on trees, Australian Pavilion, 55th Venice Biennale, curated by Catherine de Zegher (monograph) 2012 Full Moon, ANNAELLEGALLERY, Stockholm, Sweden (cat.) 2011 Inland, BREENSPACE, Sydney, Australia Simryn Gill: Gathering, CA2M - Centro de Arte Dos de Mayo, Móstoles Simryn Gill, McClelland Gallery + Sculpture Park, Langwarrin, VIC 2010 Holding Patterns, Tracy Williams, Ltd., New York, NY Letters Home, Jhaveri Contemporary, Mumbai, India (brochure) 2009 Interiors, Tracy Williams, Ltd., New York, NY Paper Boats, BREENSPACE, Sydney, Australia Simryn Gill: Inland, Centre for Contemporary Photography, Melbourne, Australia. Toured to five regional Victorian venues in 2010 and 2011 (brochure) 2008 Simryn Gill: Gathering, Museum of Contemporary Art, Sydney, Australia. Toured to Anne and Gordon Samstag Museum of Art, Adelaide; Gallery of Modern Art, Brisbane; Heide Museum of Modern Art, Melbourne; Mackay City Gallery, Queensland, Australia (cat.) 2006 Run, Tracy Williams Ltd., New York, NY 32 Volumes, Maitland Regional Art Gallery, New South Wales; Centre for Contemporary Photography, Melbourne, Australia (brochure) Perspectives: Simryn Gill, Arthur M. -
To Care, to Curate. a Relational Ethic of Care
Curare: to care, to curate. A relational ethic of care in curatorial practice Sibyl Annice Fisher Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Fine Art, History of Art and Cultural Studies November, 2013 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgment. © 2013 The University of Leeds and Sibyl Annice Fisher The right of Sibyl Annice Fisher to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. Readers are respectfully advised that this document contains the names and images of Indigenous persons who are now deceased. Acknowledgements I would like to thank the School of Fine Art, History of Art and Cultural Studies for the international scholarship that enabled me to undertake this research project, and David Jackson for the initial conversation. For archival assistance, many thanks to Gary Haines at Whitechapel Art Gallery, Jennifer Page at the Research Center, National Museum of Women in the Arts, Janet Moore at the Institute of Contemporary Art, Boston, and Gary Dufour at the Art Gallery of Western Australia. Thanks also to Aunty Stephanie Gollan at Tandanya National Aboriginal Cultural Institute. Thank you to Rayma Johnson for kind permission to use the image of Russell Page, and to Glen Menzies and Hetti Perkins for advice on reproducing work by Emily Kame Kngwarreye. -
SIMRYN GILL Represented by Utopia Art Sydney, 72 Henderson Road, Alexandria, NSW, 2015 T: +61 2 9699 2900 E: [email protected] W: Utopiaartsydney.Com.Au ©
SIMRYN GILL Represented by Utopia Art Sydney, 72 Henderson Road, Alexandria, NSW, 2015 t: +61 2 9699 2900 e: [email protected] w: utopiaartsydney.com.au © Born Singapore 1959 Lives and works in Sydney, Australia and Port Dickson, Malaysia Solo Exhibitions 2018 Works on Paper, Kohta, Helsinki, Finland 2017 The Opening Up Of The World, Lund Konsthall, Sweden 2016 The (Hemi)cycle of Leaves and Paper, Museum voor Schone Kunsten, Gent, BELGIUM Relief, Utopia Art Sydney, Sydney, NSW (e-cat.) Simryn Gill – Sweet Chariot, Griffith University Art Gallery, Brisbane, QLD 2015 Hugging the Shore, NTU Centre for Contemporary Art, SINGAPORE Floating, three accounts, Tracy Williams, Ltd., New York, NY, USA 2014 On the Shelf, Utopia Art Sydney, NSW (e-cat.) Blue, Tracy Williams, Ltd., New York, NY, USA Like Leaves, Galerie Michael Janssen, SINGAPORE 2013 Here art grows on trees, Australian Pavilion, 55th Venice Biennale, Venice, ITALY curated by Catherine de Zegher (monograph) 2012 Full Moon, ANNAELLEGALLERY, Stockholm, SWEDEN (cat.) 2011 Inland, BREENSPACE, Sydney, NSW 2010 Holding Patterns, Tracy Williams, Ltd. New York, NY, USA Letters Home, Jhaveri Contemporary, Mumbai, INDIA (brochure) 2009 Interiors, Tracy Williams, Ltd., New York, NY, USA Paper Boats, BREENSPACE, Sydney, NSW Simryn Gill: Inland, Centre for Contemporary Photography, Melbourne, VIC toured to five regional Victorian venues in 2010 and 2011 (brochure) 2008 Simryn Gill: Gathering, Museum of Contemporary Art, Sydney, NSW, toured to Anne & Gordon Samstag Museum of Art, Adelaide, SA; Gallery of Modern Art, Brisbane, QLD; Heide Museum of Modern Art, Melbourne, VIC; Mackay City Gallery, QLD (cat.) 2006 Run, Tracy Williams Ltd., New York, NY, USA 32 Volumes, Maitland Regional Art Gallery, NSW; Centre for Contemporary Photography, Melbourne, VIC (brochure) Perspectives: Simryn Gill, Arthur M. -
Simryn Gill (B.1959) Was Born in Singapore and Lives in Port Dickson, Malaysia and Sydney, Australia
EDUCATION RESOURCE INTRODUCTION TO THE EXHIBITION The exhibition is comprised of numerous thematic components. The 14 large black and white photographs comprising the ‘Sweet Chariot’ series recalls Chinese scroll paintings, and portray waves, skies, parts of land, and boats. They were taken on the Strait of Malacca from aboard a small fishing boat. One might imagine themselves in the photographer’s place, and see a similarity to the perspectives of fishing workers or mariners on one of the busiest trade routes in the world. Or, given the recent attention given to asylum seekers around the world in our news media, one might think of those viewpoints as similar to those seeking safety on new shores. The title of these photographs is also given to the exhibition. The phrase is derived from the African American spiritual song ‘Swing Low, Sweet Chariot’, with its associations of being carried home – perhaps an earthly home, or a heavenly one. Connections to ideas of migration, displacement, and searching for a better place are taken up indirectly. Another thematic comes via the series of relief prints of found materials, which are interspersed and sometimes grouped with the photographs. Installed around the gallery, the artist has deliberately created a horizon line with horizon in the photographs and the gaps in the prints all aligning. The relief prints, titled Pressing In (2016), are made by applying etching inks to various wooden surfaces including machine-made planks or broken slivers of handwrought timbers. These were made to serve specific functions but have been weathered and transformed by the sea, brought from unknown sources, and in some cases, drawn over and into by borers and insects. -
Artasiapacific: 21St Biennale of Sydney Announces Complete
1/9/2018 ArtAsiaPacific: 21st Biennale Of Sydney Announces Complete Roster Of Artists ArtAsiaPacific Magazine Multimedia News Blog Countries About Shop DEC 13 2017 AUSTRALIA 21ST BIENNALE OF SYDNEY ANNOUNCES COMPLETE ROSTER OF ARTISTS BY MICHAEL YOUNG Mami Kataoka, the curator of the 21st Biennale of Sydney, with several of the biennial’s participating artists. Photo by Michael Young for ArtAsiaPacific. Mami Kataoka, the first Asian artistic director of the Biennale of Sydney (BoS) in the exhibition’s 45-year history and chief curator of the Mori Art Museum in Tokyo, revealed today that Chinese artist and activist Ai Weiwei will deliver the biennial’s keynote address on March 15, 2018, at the Sydney Opera House. Kataoka also confirmed that Ai’s politically charged installation Law of the Journey (2017), a 70-meter-long inflatable boat holding 258 faceless human figures, will fill the enormous, atmospheric Turbine Shop, located on UNESCO World Heritage site Cockatoo Island in the Sydney Harbour. Artspace, in Woolloomooloo, will show Ai’s Crystal Ball (2017), a sphere with a one-meter diameter, reflecting on the future of the world. The artist’s latest film, Human Flow (2017), which documents the plight of refugees, will receive its Australian premiere in Sydney in March. Kataoka stumbled over exactly what is meant by the biennial’s opaque name and curatorial premise, “Superposition: Equilibrium and Engagement,” but a mix of international stars including Haegue Yang and Tiffany Chung, along with many lesser known artists that will be shown at seven of the city’s exhibition spaces—the Art Gallery of New South Wales (AGNSW), the Museum of Contemporary Art Australia, the Sydney Opera House, Artspace, Carriageworks, Cockatoo Island and the 4A Centre for Contemporary Asian Art—seems to promise a strong presentation.