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Congratulations to all the winners and finalists on the 2017 GreenWay Art Prize!

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CANVAS: ART & IDEAS WITH ABDUL ABDULLAH, NAT RANDALL AND DAVID CAPRA

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Abdul Abdullah mentions 'thing in itself' in this weekend's Time Out  

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Click the link below for further information: 

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THING IN ITSELF

A new show at Wellington St Projects of small, beautiful objects and created ecosystems that adapt the aesthetics of nature. The works tend to combine natural and human materials in surprising ways - out of which a third, hybrid possibility emerges. 'Gather' by Kath Fries, in which dried oyster mushrooms erupt from the gallery walls, filling the space with a musty, earthy scent and changing minutely over the course of the show 'Your Other Half' sculptures by Hannah Carroll Harris, in which wax and stone are melded synthetically into a new, semi-natural form, to remind us that water and air are stronger than rock. 'Natural Artefact #1 & #2' by Kai Wasikowski graphically manipulate stereotypically sublime landscapes. And 'Gendered Machines' by Ara Dolatian is a hybrid biological experiment creating mini ecologies of air and rain in the gallery environment. A small, thoughtful show, with careful attention to questions of materiality, sensitively curated by Elyse Goldfinch - Lauren Carroll Harris. 

Read it here: https://www.instagram.com/p/BYhrtloDFp4/

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I am very excited to announce my appointment as curator of the 2017 GreenWay Art Prize. More details to come soon!

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Contemporary Curating is a discussion panel exploring the innovative and experimental ways in which curators are enlivening the field. We will be diving into discussion about new and emerging exhibition spaces, the changing role curatorship, the political potentials of curatorial practice, exciting horizons... and a host of other topics along the way. 

Panel members Chloé Hazelwood, Elyse Goldfinch, Talia Smith and Isabelle Hore-Thorburn are each actively engaged in curatorial projects that challenge conventional disciplinary norms. Drawing from diverse experiences, this panel will engage in lively discussion about past, present and future curatorial norms and trends. Ultimately Contemporary Curating hopes to broaden our understanding of curating and challenge us to explore new practices and pathways.

Free admission and all are welcome to attend- staff, students, community, friends and family alike.

Important Info:
Thursday 6th April
6:00pm - 7:30pm
UNSW Art & Design campus
Elwyn Lynn Conference Centre
Free admission

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thing in itself presents new works by Ara Dolatian, Kath Fries, Hannah Rose Carroll Harris, Zhu Ohmu and Kai Wasikowski.

This exhibition is concerned with the hybridised and symbiotic relationship between human and non-human ecologies. The interdependent relationship between humans and the things they are surrounded by will manifest within the gallery space as objects act upon each other – existing in a space of aesthetic awareness. Foregrounding the importance of non-human objects, these artists reject the correlationist dyad of ‘subject’, ‘object’ by allowing their artworks to function autonomously – either in their making or display. Acting as a provocation towards the destabilisation of humanist thought, this exhibition gives artworks their own agency to transform beyond human intervention.  

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Curator - Elyse Goldfinch

Essay Writer - Giorgia Gakas

Catalogue Designer - Maddy Rowley 

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Rheology mentioned in this weeks SMH Arts and Culture Spectrum

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Opening at gaffa gallery 8 December 6 - 8pm 

See you there!

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Liz Peniazeva is a Sydney based artist working out of the Inner West. Interested in analysing and reconstructing ideas relating to women and their bodies, she seeks to re-configure notions of gender, domesticity and sexuality. After completing her BVA (Painting) at Sydney College of the Arts in 2014, Liz has since forayed into analogue collage - a medium she views as often misrepresented.

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Rheology - forms that flow adopts the chemical deformation of matter from solid to liquid to explore the way we experience images in the post-digital age. Concerned with the fractured, ephemeral and infinitely reproducible transience of images, this exhibition considers the journey from objects to data and back again.

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Artists 

Marty Cordoba 

Nikolaus Dolman

Szymon Dorabialski

Ellen Fornby 

Thomas Hungerford 

Zoe Kirkwood 

Rachael McCallum

Sophie Penkethman-Young  

Lizzy Peniazeva 

Sara Roberts 

Courtney Wagner 

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Interview with Kimberley Bianca in The Brag

Kimberley Bianca speaks to The Brag about Electrofringe 2016 including 'it speaks of Others' and an emerging theme in this year’s program is using the human form and voice to express relationships with technology and ecology.

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"Inspiration doesn’t exist in a vacuum and a creative community is crucial to its culture and wellbeing".

IS THIS ART? writer, Elyse Goldfinch, talks about the pressures Sydney's lock out laws place on artistic vibrancy.

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Kate Brown and Tom Hungerford
Curated by Elyse Goldfinch

Opening: 3 June 6pm - 8pm
Performance: 3 June 6pm - 7pm
Exhibition: 3 June - 18 June 11am - 5pm 

It Speaks of Others is a collaborative exhibition that will explore the unexpected and abstracted relationships between the human voice and it’s emotive, communicative force. By negating language, the artists will posit new questions about how we communicate in the contemporary world. Kate and Tom will transform the gallery space into a living organ with a live performance on the opening night, Friday June 3, from 6pm – 7pm.
https://airspaceprojects.com/

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An exhibition presented by the SCA Curatorial lab. 
Opening: 21st October, 2015 at Sydney College of the Arts. 

Trial and Error.
Ciaran Begley and Anna McMahon. 
@ DEDSPACE Sydney college of the Arts

The exhibition situates failure in conjunction with the process of trial and error in order to explore a space outside notions of 'success', situating uncertainty and the ever present possibility of 'failure' as a process for innovation or understanding. The possibility of failure can be rethought of as a practical strategy, rather than a dead end. Trying, failing and experimentation may lead to greater understanding and to unexpected but nonetheless exciting outcomes. Embracing failure may lead to greater freedom for exploration and expression, rather than a definitive and constricting end point. Enter into a space outside the confines of success. 

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Interview on WKPN by Martha Willette Lewis at the 56th Venice Biennale 2015. 

A discussion with exhibition invigilator Phillip McCrilly and Australian curator/writer Elyse Goldfinch about Sean Lynch‘s 'Adventure Capital' installation and video representing Ireland at the Arsenale. Lynch’s work was curated by Woodrow Kernohan and features the voice of well-known Irish actress Gina Moxley in the video sequences.

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The final 6 artists have been chosen for the State Street Emerging Artist Program 2015. They will be under the curatorial guidance of newly appointed curators Ivana Jirasek and Elyse Goldfinch. 
We are thrilled about the new dynamic directions for Culture at Work and will be announcing more news soon!
#CultureatWork #StateStreet

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Interview with Noelle Faulkner, Broadsheet Sydney 2014

This group exhibition breaks down the walls of the MCA and puts the spotlight directly on the staff artists working within.

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Bloody Corpses : Deathly Dissections by Teresa Margolles and John Isaacs by Elyse Goldfinch

Both Teresa Margolles and John Isaacs negotiate corpses, particularly ones with blood spilt due to violent deaths. Isaacs responds to the corpse through the representation of his own body in the process of dissection. By mixing wax casts of flayed and dissected bodies with wax casts of his own skin he engages with his own mortality while referencing the anonymity of the écorché used throughout medical art histories of anatomy. Isaacs applies excessive amounts of fake blood and muscle in his wax corpses to emphasize the violence that is inherent through dissection.

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In response to the widespread poverty of the Mexican morgue system that does not permit bodies to be buried with dignity, Mexican artist, Teresa Margolles examines the medium of human corpses and ways in which human-blood and water become contaminated by morgues. She focuses upon the traces left by the dead to give corpses a sense of identity that is often lost in the anonymity of mass graves and bodies being dumped in Mexico’s poorest and most violent areas. By focusing upon this artwork, this paper will draw upon Julia Kristeva’s theory of abjection to compare the different ways in which these two artists negotiate ‘bloody corpses’ at the morgue and on the dissection table. While both artists deal with themes of violence, death and display in apposite ways, this paper will reveal how the use of human and fake blood enables them both to transgress the boundaries of ‘the clean-and-proper body’ and prevailing bioethics about the use of the dissected body in contemporary art.