The Water Came Rushing In

- Therese Kenyon

12 August to 6 September 2014

Whilst visiting the Grand Canal Museum of China in Hangzhou in 2011, I came across a reproduction detail of a larger painting depicting oxen-drawn carts, laden with goods, half underwater, surrounded by men piggybacking women through the flood-waters to higher ground.

This little painting probably documented the flooding of the Yellow River. It consisted of line drawing filled in with colour washes and was probably painted around the 17th century, or even earlier.

It seemed a timeless or even contemporary image to my eye, as we had just witnessed the Brisbane floods in Australia and in Japan the 2010 earthquake followed by a tsunami. Similar images of people lifting and piggybacking other more fragile individuals were photographed in 1953 during the storm surge in the Netherlands – and during Hurricane Sandy in New York in 2012.

It is an intimate image – children, older people, the incapacitated, pets and precious goods, all hanging on for dear life. It is compassionate and humanitarian, and speaks of precariousness, rescue and the common good. I wanted to use it in my work to emphasise the universal and historical human struggle to control water.

Therese Kenyon

Presented by Akky van Ogtrop at Het Papier

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A Piece of Cake

- A cake inspired homage to vintage French cinema

15 July to 9 August 2014

PERFORMANCE: Saturday 19 July 2014, 1:30pm
Matina Bourmas, 'What my brother needs is an objective' 2014, royal icing (applied to the window) royal icing (applied to the walls and windows)

In 'What my brother needs is an objective', Matina Bourmas recreates the PLASTAC logo that recurs through the film Mon Oncle (Jacques Tati, 1958) hand piping royal icing directly onto the gallery surface. Through the use of repetition and employing traditional processes, Bourmas gives a playful nod to Tati?s character Mr. Hulot and his observations into the nonsensical constructed paradigm of the 1950?s ?ultra modern? world.

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Irish Horse

- James Horan

This exhibition is part of the Head On Photo Festival.

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25 March to 17 April 2014

The central figures of De Stijl—Theo van Doesburg, Gerrit Rietveld and Piet Mondrian strove for a universal form that would correspond to their spiritual vision. Neo-Plasticism (meaning “a new plastic art”) was the term adopted by Mondrian to describe the qualities that De Stijl artists endeavored to achieve in their work.

The Bauhaus movement founded by Walter Gropius, captured the attention of many respected artists, designers and architects such as Le Corbusier, Eileen Gray, Mies Van der Rohe, Marcel Breuer and Erich Buchholz.

Music was also a source of inspiration in terms of spatial and rhythmic patterns and the idea behind jazz, counterpoint and improvisation linked with art and design. Artists such as Cesar Domela, Erich Buchholz, Josef Albers, Aurelie Nemours and contemporary Australian and European artists such as Helen Eager, Frank Badur, Ko Aarts, Alex Selenitsch among others all share an interest in reducing forms to fundamental elements and eschewing subject matter to concentrate on pure forms, the grid, primary colours and spatial relationships.

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