New Works by Brad Buckley and John Conomos at the Australian Centre for Photography
Saturday 2 March to Sunday 19 May 2013
Professor Brad Buckley and Associate Professor John Conomos' new exhibitions will be exhibited at the Australian Centre for Photography (ACP) from Saturday 2 March to Sunday 19 May 2013. Buckley's The Slaughterhouse Project: Alignment and Boundaries (L'Origine du monde) and I wonder whether that's Joanna Hiffernan with a Brazilian (revisited) and Conomos' The Spiral of Time were commissioned by the ACP as part of an ambitious new program of major works. The exhibitions are the highlight of the ACP's Autumn Season 2013.
Buckley's Slaughterhouse Project began over two decades ago. His work, which operates at the intersection of installation, theatre and performance, investigates questions of cultural control, democracy, freedom and social responsibility.
The exhibition features a series of wall paintings, which are interrupted by a narrative text describing a sexual encounter in the tradition of French erotic literature and particularly the writers Georges Bataille and the Marquis de Sade. The installation incorporates neon, creating the mood of the boudoir, a book of knowledge placed on a medieval reading stand and a performer '…enthroned like a wicked governess whose seduction is to teach the art of seduction…' who reads to the audience perched on a highchair.
Buckley is an artist, activist, urbanist and Professor of Contemporary Art and Culture at Sydney College of the Arts. Buckley's work has been included in the 3rd International Biennial (Ljubljana, [former] Yugoslavia), the 4th Construction in Process (the Artists' Museum, Lodz, Poland), the 5th Construction in Process (the Artists' Museum, Mitzpe Ramon, Israel) and the 9th Biennale of Sydney, and in exhibitions at Franklin Furnace (New York), Artspace (Auckland), the Künstlerhaus Bethanien (Berlin), the Visual Arts Gallery (University of Alabama at Birmingham), La Chambre Blanche (Québec), Artspace Visual Arts Centre (Sydney), the PS1 Institute for Contemporary Art (New York), the Art Gallery of New South Wales (Sydney), the Dalhousie Art Gallery (Halifax), Tsukuba Art Gallery (Japan) and Plato's Cave (New York).
Conomos presents a series of autobiographical photo-performances that are concerned with autobiography, identity, memory and the passage of time. In a new HD video projection, Conomos evokes the visual features of avant-garde 'trance' films, using innovative visual effects '…with lightning bolts flashing from his eyes as if in an electro-convulsive trance…' and a soundtrack of atmospheric recordings of his childhood. The artist explores the fragility of life, the necessity to remember the past and the intertextual links between cinema, literature, and contemporary art.
Conomos is an interdisciplinary artist, critic, writer and Associate Professor at Sydney College of the Arts. His work has been included in Funeral Songs, Museum of Old and New Art (MONA) (Hobart), An Eccentric Orbit, Museum of Modern Art (New York), Figuring Landscapes, Tate Modern (London), Video Logic, Museum of Contemporary Art Australia (Sydney) and in exhibitions at the University of Queensland Art Museum (Brisbane), Roslyn Oxley9 Gallery (Sydney), Art Gallery of New South Wales (Sydney), Institute of Modern Art (Brisbane), Basel Art Fair (Switzerland) and the Tate Gallery (Liverpool).
Conomos' research interests include film history and theory, media theory, new media, video art and contemporary art. Conomos was a co-founding editor of the time-based media arts journal Scan+ and has contributed to numerous conferences, forums and seminars.
The exhibition is accompanied by a major publication. The 370-page monograph contains 120 colour illustrations, with essays by Edward Colless, Brett Levine and A. Andreas Wansbrough, and an extensive interview by Biljana Jancic and Alex Gawronski. The monograph is published and distributed by the Australian Centre for Photography, Sydney, Australia.
Australian Centre for Photography (ACP)