A little heads up, to those of you Melbourne-based this month, the annual Sticky Institute Festival of the Photocopier is tomorrow at the Melbourne Town Hall. Come along and see the new zines we have made for you.
Festival of the Photocopier
Presented by Sticky Institute
Sunday 11th of February, 2018
Melbourne Town Hall
90–130 Swanston Street, Melbourne
12 – 5 pm
A Whisker of Light
Gracia Haby & Louise Jennison
3rd February – 29th April, 2018
Maitland Regional Art Gallery
230 High Street, Maitland, NSW
Our exhibition, A Whisker of Light, is open!
Until the 29th of April, 2018, head to Maitland Regional Art Gallery to see our artists' books, collages, and drawings.
And as we're far away, we'd love to see your #AWhiskerofLight images.
Recently landed: Extra, Gracia's written response to Accumulation, for Fjord Review
With a Dancing Faun at the head and Farnese Hercules at the feet, I know I am in the right place.
In the foyer of the NGV, the gods and heroes of Greek and Roman mythology are draped across a 14-metre long Eternity Buddha. Greco-Roman, Renaissance and Neoclassical sculpture meets the High Tang Dynasty (705–781 CE); West meets East. An interflow of all the big things: life, death, nirvana. Right place, like I said.
Standing before artist Xu Zhen’s monumental 3D-scan of the original reclining Buddha from the Nirvana Caves of China, I am rendered small in scale and self-importance. All compounded things are subject to decay.
I am waiting for Chunky Move’s dance takeover of the gallery, as part of Extra, a ten-day, summertime, after-hours, and free festival nestled within the brand new NGV Triennial. Each night, Chunky Move is giving three performances within the gallery. Curated by Chunky Move’s Artistic Director Anouk van Dijk, Accumulation, like the Extra mantle it nestles beneath, is true to name: a collection of five new performance works created by van Dijk, Antony Hamilton, Prue Lang, and Thomas E.S. Kelly, presented as something Extra to the Triennial experience. As I stand watching an Immortal Persian Soldier Fighting crouch for eternity behind the feet of the Buddha, something tells me more than enhancement but centrepiece is in the offing. And Othryades the Spartan Dying, nestles in closer at the neck.
Our now! A recent collage commission for The Big Issue, 'Love Summer' edition No 552, Tuesday 26th December, 2017 – Thursday 11th January, 2018, to illustrate Chris Kennett’s look at 2017, ‘The Good, the Bad and the Donald’.
Please purchase a copy of The Big Issue today, from your favourite vendor to read the article.
Happy to chance across three of our zines from 2010, A folded drawing of a Sulphur-crested cockatoo, Views in my pocket, and We are dreaming of the sea, on display at State Library Victoria as part of their permanent exhibition, World of the book.
To define a zine is to delve into the do-it-yourself culture of self-publishing and self-expression. The term ‘zine’ originated in the science-fiction ‘fanzines’ of the 1930s, and now encompasses any non-commercial, non-professional, short-run publication that seeks to be defined as a zine. They can be traded, sold, gifted or collected, while remaining ephemeral at the same time. The Library has over 15,000 zines, making it the largest public collection in Australia.
Head to Milly Sleeping, Carlton, to find our newest zine, It was a familiar pattern.
A little mesmerising flipbook, based on a moving collage of the same name. Let the pages flutter with pace and watch an unexpected assembly surface from the sea (and retreat again) afront a passing ship.
Created for (and currently exclusive to) Milly Sleeping.
Printed in Melbourne; assembled and editioned by hand by Gracia Haby & Louise Jennison AKA Gracia & Louise.
PS. This work also relates to an exhibition called Looped, now showing in the Latrobe Reading Room at the State Library of Victoria.
157 Elgin Street, Carlton
Or pick up a copy at Milly Sleeping online.
We have created Not my sky (exhibit A), 2017, especially for Rona Green's print exchange and exhibition, Imaginings.
Friday 1st – Tuesday 19th of December, 2017
7 Campbell Street, Collingwood
Emma ‘Ruby’ Armstrong-Porter, Janet Ayliffe, Susan Baran, Kylie Blackley, Helen Blue, Loris Button, Elaine Camlin, Laura Castell, Jenny Clapson, Elizabeth Cole, Paul Compton, Rachel Derum, Sue Ernst, Ian ‘Spike’ Farrawell, Philip Faulks, Kevin Foley, Sue Fraser, Rona Green (curator), Gracia Haby & Louise Jennison, Gregory Harrison, Carolyn Hawkins, Bill Hay, Kate Hudson, Kyoko Imazu, Jet James, Deborah Klein, Jo Lankester, Suzie Lockery, Cassie May, John McClumpha, Aaron McLoughlin, Lorelei Medcalf, Glenn Morgan, Karen Neal, Belinda ‘Billy’ Nye, Sharron Okines, Diana Orinda Burns, Glenda Orr, Travis Paterson, Jim Pavlidis, Sue Poggioli, Jocelyn Rawlins, Bronwyn Rees, Trudy Rice, David Rosengrave, John Ryrie, Jill Sampson, Gwen Scott, Benjamin Sexton, Heather Shimmen, Glen Smith, Sandra Starkey Simon, Mrs Stamp, Maggie Stein, Rachel Suarez, Sophia Szilagyi, Scott Trevelyan, Lee Ward, Peter Ward, Justin Watson, Andrew Weatherill, Lynette Weir, Joel Wolter, Christine Wrest, Smith
Curated by Rona Green
Launching this Saturday 2nd December from 2pm. See you there.
We are delighted that our exhibition, Looped, has been invited to stay on display in the library until August, 2018!
Looped was initially set to fold away today, the 26th of November, 2017.
Presented in partnership with State Library Victoria
Now until August, 2018
La Trobe Reading Room, State Library Victoria
328 Swanston Street, Melbourne
We have work in the group exhibition, The Confessional, curated by Carly Richardson and Alice Dickins, alongside Pia Johnson, Lucy Foster, Julia Powles, Stephanie Karavasilis, and Laura McPhee-Browne. We have work in four of the mailboxes, and we invite you to get up close and peer into them. The exhibition runs until the 2nd of December, 2017.
Mailbox Art Space
141–143 Flinders Lane, Melbourne
Recently landed: Submerged, Gracia's written response to Salt, for Fjord Review
Like Whoville appears to the elephant Horton (Dr. Seuss, Horton Hears a Who!, 1954), a tiny speck, that’s how our planet looks from up high. In space, if you were to look down your trunk, earth is but a blue dot on a vast, dark blanket. On the surface of things, two thirds of our home appears as ocean, but this is only part of the picture. The earth is three-dimensional, not two, and so, in actual fact, our planet, our Whoville, is 99% water. The three dimensional volume, the biosphere, it extends down into the soil we stand upon, and over our heads, through the tree canopy and beyond. And out in the deepest point of the ocean, the depth is almost seven miles. To us land-based creatures, this is almost too much to fathom.
But cause and effect, we all understand. As the oceans warm, the marine biosphere changes as the water becomes less alkaline (as carbon dioxide in the atmosphere dissolves at sea). Together with marine pollution, the devastation of mining and gas development, the destruction of marine habitat, and unsustainable fishing practices, our cause and environmental effect: the ocean is under threat.
From plankton to humpback whale, what’s all this to do with dance?
Quite a bit, my call from a jukung, bobbing on the water, for though Eko Supriyanto’s Salt is an introspective solo work, it is also about the threats facing Indonesia’s marine life. History, and the actions we take based upon the knowledge we acquire, shapes our future. In Salt, the third in Supriyanto’s Trilogy of Jailolo, still wet from its world premiere at deSingel in Belgium, the audience is invited to dive beneath the ocean surface. From my seat in the Sylvia Staehli Theatre of Dancehouse that is precisely what I did. I tipped my wobbly seat over, and dived in. When your home is an archipelago comprised of approximately 17,000 islands, what happens in the water is not to be ignored.