SIMRYN GILL Represented by Utopia Art Sydney, 2 Danks Street, Waterloo, NSW, 2017 ©

Total Page:16

File Type:pdf, Size:1020Kb

SIMRYN GILL Represented by Utopia Art Sydney, 2 Danks Street, Waterloo, NSW, 2017 © SIMRYN GILL Represented by Utopia Art Sydney, 2 Danks Street, Waterloo, NSW, 2017 © Born Singapore 1959 Lives and works in Sydney, Australia and Port Dickson, Malaysia Solo Exhibitions 2015 Hugging the Shore, NTU Centre for Contemporary Art, Singapore 2014 On the Shelf, Utopia Art Sydney, NSW (e-cat.) Blue, Tracy Williams, Ltd., New York, NY 2013 Here art grows on trees, Australian Pavilion, 55th Venice Biennale, curated by Catherine de Zegher (monograph) 2012 Full Moon, ANNAELLEGALLERY, Stockholm (cat.) 2011 Inland, BREENSPACE, Sydney 2010 Holding Patterns, Tracy Williams, Ltd. New York, NY Letters Home, Jhaveri Contemporary, Mumbai (brochure) 2009 Interiors, Tracy Williams, Ltd., New York, NY Paper Boats, BREENSPACE, Sydney Simryn Gill: Inland, Centre for Contemporary Photography, Melbourne. Toured to five regional Victorian venues in 2010 and 2011 (brochure) 2008 Simryn Gill: Gathering, Museum of Contemporary Art, Sydney. 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 (cat.) 2006 Run, Tracy Williams Ltd., New York, NY 32 Volumes, Maitland Regional Art Gallery, New South Wales; Centre for Contemporary Photography, Melbourne (brochure) Perspectives: Simryn Gill, Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C. Simryn Gill, Level 2 Gallery, Tate Modern, London (brochure) Simryn Gill, Albion Gallery, London 2005 Power Station, Barbara Flynn, Sydney 2004 Power Station, Shiseido Gallery, Tokyo (cat.) Simryn Gill/Matrix 210: Standing Still, University of California, Berkeley Art Museum and Pacific Archive, Berkeley, CA (brochure) 2003 A Small Town at the Turn of the Century, Wellington City Gallery, Wellington, New Zealand 2002 Simryn Gill: Selected Work, Art Gallery of New South Wales, Sydney (cat.) 2001 Dalam, Galeri Petronas, Kuala Lumpur A Small Town at the Turn of the Century, Perth Institute of Contemporary Arts; Australian Centre for Contemporary Art, Melbourne; Roslyn Oxley9 Gallery, Sydney (brochure) 2000 Roadkill, Project Gallery, CCA Kitakyushu, Kitakyushu; Roslyn Oxley9 Gallery, Sydney Natural Resemblance: some recent photo work, Experimental Art Foundation, Adelaide (brochure) 1999 Simryn Gill, Bluecoat Gallery, Liverpool. Toured to Bishopsgate Goods Yard, London; Ikon Gallery, Birmingham (cat.) Vegetation, ArtPace, San Antonio, TX (brochure) Rampant, Institute of Modern Art, Brisbane (brochure) 1998 Self-seeds, Kiasma, Museum of Contemporary Art, Helsinki (cat.) Forest, Roslyn Oxley9 Gallery, Sydney 1997 Body Politic, Scapular Gallery Nomad, Manila (cat.) 1996 Blank Verse, Fort Canning Park, Singapore Wonderlust, Artspace, Sydney (cat.) 1995 Out of my hair?, Institute of Modern Art, Brisbane (cat.) 1994 Heart of the Matter, Substation gallery, Singapore Local Ginger, Sussex Estate, Singapore 1992 Pooja/Loot, Experimental Art Foundation, Adelaide Deep Thoughts, PostWest, Adelaide Group Exhibitions 2015 ‘The Photograph and Australia’, Art Gallery of New South Wales, Sydney 2014 Sites of Reason: A Selection of Recent Acquisitions, Museum of Modern Art, New York Harvest, Queensland Gallery of Modern Art, Brisbane, QLD Artist – Book, Utopia Art Sydney, NSW 2013 Lasting Images, Guggenheim Museum, New York, NY Suspended Histories, Museum Van Loon, Amsterdam Of Walking, Museum of Contemporary Photography, Chicago The 5th Moscow Biennale of Contemporary Art, Moscow Chick Lit: Revised Summer Reading, Tracy Williams, Ltd, New York, NY Now Here is also Nowhere: Part II, Henry Art Gallery, Seattle, WA Ersatz Affiches, Tracy Williams, Ltd., New York, NY Landscape, Utopia Art Sydney, NSW 2012 Simryn Gill / Nicole Cherubini, Tracy Williams, Ltd., New York, NY Paperless, Southeastern Center for Contemporary Art, Winston-Salem, NC dOCUMENTA (13), Kassel The Stumbling Present: Ruins in Contemporary Art, Art, Design & Architecture Museum, University of California, Santa Barbara, CA Self-conscious: contemporary portraiture, Monash University Museum of Art (MUMA), Melbourne From the Age of the Poets, Aanant & Zoo, Berlin 2011 Narrative Interventions in Photography, The Getty Center, Los Angeles, CA In Focus: The Tree, The Getty Center, Los Angeles, CA LifeStories, Museum of Contemporary Art, Detroit, MI 12th Istanbul Biennial, Istanbul (cat.) Photography & Place: Australian landscape photography 1970s until now, Art Gallery of New South Wales, Sydney In Great Trouble, Bondi Pavilion Gallery, Sydney Seduction by Masquerade, Nature Morte, New Delhi 2010 Before and After Science, 2010 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide (cat.) Collection Displays: Photographic Typologies, Tate Modern, London Animism, Kunsthalle Bern (cat.)2009 Erased: Contemporary Australian Drawing, Nanyang Academy of Fine Arts Gallery (NAFA), Singapore Transmission Interrupted, Modern Art Oxford (cat.) Provisions for the Future, Sharjah Biennial 9, Sharjah Art Museum Littoral Drift, UTS Gallery, University of Technology, Sydney Boondocks, Kunsthalle Faust, Hannover 2008 Wizard of Oz, Wattis Institute, California College of the Arts, San Francisco, CA (cat.) Revolutions – Forms That Turn, 16th Biennale of Sydney, Museum of Contemporary Art, Sydney (cat.) Lost and Found: An Archaeology of the Present, TarraWarra Biennial, TarraWarra Museum of Art, Healesville, Victoria 2007 Fashion Accidentally, Museum of Contemporary Art, Taipei DOCUMENTA 12, Kassel Picturing Relations: Simryn Gill and Tino Djumini, National University of Singapore Art Museum(cat.) Still Life: Art, Ecology and the Politics of Change, Sharjah Biennial 8, Sharjah Art Museum Living in the Material World - “Things” in Art of the 20th Century and Beyond, National Arts Center, Tokyo News from Islands, Campbelltown Arts Centre, New South Wales (cat.) 2006 The Unhomely, 2nd International Biennial, Contemporary Art of Seville Liverpool Biennale, International Festival of Contemporary Art, Liverpool Belief, 1st Singapore Biennale, Singapore Art Museum (cat.) To See with World, To Feel with Your Eyes, Lofoten International Art Festival, Lofoten, Norway (cat.) Baubles, Bangles and Beads: Australian Contemporary Jewellery, Bathurst Regional Art Gallery, New South Wales 2005 Contrabandistas de Imágenes: Selección 26ª Bienal de São Paulo, Museo de Arte Contemporaneo, Santiago 2004 Australian Culture Now, Australian Centre for the Moving Image, "Vessel", screened ARTV / SBS XXVI São Paulo Bienal 2003 After Image: Simryn Gill, Ana Mendieta, Cindy Sherman, Francesca Woodman, The Fruitmarket Gallery, Edinburgh (brochure) Face Up: Contemporary Art from Australia, Hamburger Banhof, Berlin 2002 Your place or mine? Fiona Foley & Simryn Gill, Institute of Modern Art, Brisbane (cat) The World May Be (Fantastic), The Biennale of Sydney, Museum of Contemporary Art, Sydney (cat.) The Dirty Dozen, Roslyn Oxley9 Gallery, Sydney ForwArt: A Choice, Musées Royaux des Beaux-Arts de Belgique, Brussels Identiti, Ininlah Kami/ Identities, Who We Are, National Art Gallery, Kuala Lumpur The First Twenty Years, Roslyn Oxley9 Gallery, Sydney 2001 Objection, The Physics Room, Christchurch; Sarah Cottier Gallery, Sydney 2nd Berlin Biennale for Contemporary Art (with Liisa Roberts), Berlin 2000 Flight Patterns, Museum of Contemporary Art, Los Angeles, CA (cat.) Delicate Balance: Six Routes to the Himalayas, (with Liisa Roberts), Kiasma Museum of Contemporary Art, Helsinki (cat.) Gang of Four, Robert Lindsay Gallery, Melbourne; Roslyn Oxley9 Gallery, Sydney 1999 Au-Delà, Galerie Klosterfelde, Berlin Babel, Ikon Gallery, Birmingham (brochure) Asia Pacific Triennial, Queensland Art Gallery, Brisbane (cat.) Australian Perspecta, Museum of Sydney, Sydney Letter to Picasso, Post Master Gallery, Melbourne 1998 Close Quarters: Contemporary Art from Australia & New Zealand, Monash Uni Gallery; Australian Centre for Contemporary Art, Melbourne, Australia Transit, Art Gallery of New South Wales, Sydney Schools, Valentine Willie Fine Art, Kuala Lumpur (brochure) 1997 Wardrobe, Mad Love, Adelaide (tour) Thin Skin, Performance Space, Sydney Web Sites, Australian Perspecta, Art Gallery of New South Wales, Sydney On life, beauty, translations and other difficulties, 5th Istanbul Biennial, Istanbul Cities On The Move, Weiner Secession, Vienna (tour) 1996 Above & Beyond, Australian Centre for Contemporary Art, Melbourne. Toured to The Institute of Modern Art, Brisbane; Contemporary Art Centre of South Australia, Adelaide; Canberra Contemporary Art Space (cat.) 1995 Litteraria, South Australian Museum, Adelaide TransCulture, Venice Biennale, Venice; Naoshima Contemporary Art Museum, Naoshima Island Skin Trilogy, National Art Gallery, Kuala Lumpur 1994 Biodata, Adelaide Biennial, Contemporary Art Centre South Australia (cat.) Localities of Desire, Museum of Contemporary Art, Sydney Jemmy, Ebenezar Studios, Adelaide Let Me Speak, Matic, Kuala Lumpur Vision & Idea: Relooking Modern Malaysian Art, National Art Gallery, Kuala Lumpur 1993 What About Converging Extremes? Galeriwan, Kuala Lumpur Here Not There, Institute of Modern Art, Brisbane Images of a First Language, Prospect Gallery, Adelaide 1992 Artist’s Regional Exchange, Perth Institute of Contemporary Art 1991 Possessed, Bullring Gallery, Adelaide Postiche, Club Foote, Adelaide Public Projects 2010 Food on the Table, City of Sydney, Laneways Project 1997 Forest, Yumeooka Art Project, Yokohama City, Japan 1996-7 National Shrine for Jose Rizal (with Marian Pastor Roces) Fort Santiago, Intromuros, Manila, Philippines Collections Art Gallery
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]