A Kitten Drowning in a Well – presented by Iakovos Amperidis

Iakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AU

Heidi
video still / installation view of screening room
Mike Kelley, 1992 (w/ Paul McCarthy)

Iakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AU

Shy Satanist (Extracurricular Activity Projective Reconstruction #19)
video still from 'Day is Done'
Mike Kelley, 2004–05

Iakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AU

Joseph & Wendy
clay sculpted heads of Joseph Kosuth and Wendy Whiteley, mixed media
Ned Jaric, 2014

Iakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AU

Joseph & Wendy
clay sculpted heads of Joseph Kosuth and Wendy Whiteley, mixed media
Ned Jaric, 2014

Iakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AU

Joseph & Wendy
clay sculpted heads of Joseph Kosuth and Wendy Whiteley, mixed media
Ned Jaric, 2014

Iakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AU

Joseph & Wendy
clay sculpted heads of Joseph Kosuth and Wendy Whiteley, mixed media
Ned Jaric, 2014

Iakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AU




rv5

Mike and Ray
mixed media
Ronnie Van Hout, 2014

rv4

Mike and Ray
mixed media
Ronnie Van Hout, 2014

rv2

Mike and Ray
mixed media
Ronnie Van Hout, 2014

rv1

Mike and Ray
mixed media
Ronnie Van Hout, 2014

inst3




ha1

Body Swap
mdf, mirror
Hany Armanious, 2014

ha2

Body Swap
mdf, mirror
Hany Armanious, 2014

mph1

Mid Life Catharsis
mixed media
Matthew P. Hopkins, 2014

mph2

Mid Life Catharsis
mixed media
Matthew P. Hopkins, 2014

cc5

Policy For Inclusive Social Solutions
mixed media, audio
Carla Cescon, 2014

cc1

Policy For Inclusive Social Solutions
mixed media, audio
Carla Cescon, 2014

cc4

Policy For Inclusive Social Solutions
mixed media, audio
Carla Cescon, 2014

cc3

Policy For Inclusive Social Solutions
mixed media, audio
Carla Cescon, 2014

cc2

Policy For Inclusive Social Solutions
mixed media, audio
Carla Cescon, 2014

Iakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AU




Iakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AU

Tea Party
wooden coffee table
Quinto Sesto, 1975

Iakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AU

Collected Works & Archive Material
mixed media
Quinto Sesto, 1975-6

Iakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AU

Collected Works & Archive Material
mixed media
Quinto Sesto, 1975-6

Iakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AU

Collected Works & Archive Material
mixed media
Quinto Sesto, 1975-6

qs3

The Cloud of Deceit
acrylic paint and dirt on board
Quinto Sesto, 1976

Iakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AU

Smells Like Art
mixed media
Quinto Sesto, 1975

qs7

72 Woomera Ave, Kings Cross
framed photo
Quinto Sesto, 1975

qs5

Short Work
found book, aluminium arrows
Quinto Sesto, 1976

jh1




jh2

Install - Pre-imagined Monument to the Death of Self
Oil on Canvas
Jesse Hogan, 2014

jh3

Install - Pre-imagined Monument to the Death of Self
Oil on Canvas
Jesse Hogan, 2014

inst22




mph3

Looking for 'T'
mixed media
Matthew P. Hopkins, 2014

mph4

Looking for 'T'
mixed media
Matthew P. Hopkins, 2014

rc3

Untitled (Dafoe)
felt, felt stitching
Raquel Caballero, 2014

rc2

Untitled (Dafoe)
felt, felt stitching
Raquel Caballero, 2014

rc4

Untitled (Dafoe)
felt, felt stitching
Raquel Caballero, 2014

inst11




rm1

Modesty Knott Pine Gap
mixed media installation
Ruth McConchie, 2014

rm2

Modesty Knott Pine Gap
mixed media installation
Ruth McConchie, 2014

rm3

Modesty Knott Pine Gap
mixed media installation
Ruth McConchie, 2014

Iakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AUIakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AUIakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AUIakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AUIakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AUIakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AUIakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AUMike and Ray
mixed media
Ronnie Van Hout, 2014Mike and Ray
mixed media
Ronnie Van Hout, 2014Mike and Ray
mixed media
Ronnie Van Hout, 2014Mike and Ray
mixed media
Ronnie Van Hout, 2014inst3Body Swap
mdf, mirror
Hany Armanious, 2014Body Swap
mdf, mirror
Hany Armanious, 2014Mid Life Catharsis
mixed media
Matthew P. Hopkins, 2014Mid Life Catharsis
mixed media
Matthew P. Hopkins, 2014Policy For Inclusive Social Solutions
mixed media, audio
Carla Cescon, 2014Policy For Inclusive Social Solutions
mixed media, audio
Carla Cescon, 2014Policy For Inclusive Social Solutions
mixed media, audio
Carla Cescon, 2014Policy For Inclusive Social Solutions
mixed media, audio
Carla Cescon, 2014Policy For Inclusive Social Solutions
mixed media, audio
Carla Cescon, 2014Iakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AUIakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AUIakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AUIakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AUIakovos Amperidis 55 Sydenham Rd Marrickville NSW 2204 AUThe Cloud of Deceit
acrylic paint and dirt on board
Quinto Sesto, 1976Smells Like Art
mixed media
Quinto Sesto, 197572 Woomera Ave, Kings Cross
framed photo
Quinto Sesto, 1975Short Work
found book, aluminium arrows
Quinto Sesto, 1976jh1Install - Pre-imagined Monument to the Death of Self
Oil on Canvas
Jesse Hogan, 2014Install - Pre-imagined Monument to the Death of Self
Oil on Canvas
Jesse Hogan, 2014inst22Looking for 'T'
mixed media
Matthew P. Hopkins, 2014Looking for 'T'
mixed media
Matthew P. Hopkins, 2014Untitled (Dafoe)
felt, felt stitching
Raquel Caballero, 2014Untitled (Dafoe)
felt, felt stitching
Raquel Caballero, 2014Untitled (Dafoe)
felt, felt stitching
Raquel Caballero, 2014inst11Modesty Knott Pine Gap
mixed media installation
Ruth McConchie, 2014Modesty Knott Pine Gap
mixed media installation
Ruth McConchie, 2014Modesty Knott Pine Gap
mixed media installation
Ruth McConchie, 2014

 
 
I, on the other hand, stumble. Weak-kneed, I totter forward, still deluded that I chart my own course. I live a lie. I believe that I have matured, when I have only aged. I fancy that I have constructed my own history. It is all shit. The law is there. And in my last breath, like all lapsed believers, I will whimper and ask for forgiveness. I will die groveling, begging to be reinstated into the ranks I never truly left: the ranks of the law-abiding. Stupid me. I was a believer all along.

Goin’ Home, Goin’ Home, Mike Kelley, 1995

Mike Kelley’s stature as an internationally acclaimed American artist obscures his initial aspirations for a “planned failure”. When he set his ambitions on entering the art-world, Kelley claims that artists were vehemently despised, and so he was assured he’d become a bonified social drop-out. In this he failed (or was failed) miserably by pursuing and building on a career that made him an art-world luminary. However to the side of the institution he became, are the remainders, a sprawling clusterfuck of activity – Kelley’s artwork.

The mythology of a resolved and glorified subject was, at core, everything Kelley pushed his art towards unraveling. He found all social structures, from built environments to one’s own identity, riddled with cracks, punctures, and fictions too obscene, remarkable, and pathetic to be ignored. It is in these fissures that Kelley resided, ultimately succeeding in kicking open a symbolic back door, inviting all manner of failures into the arena of his art-making. His art remains pungent, loaded with peripheral debris in both form and content. From the cryptic ‘Monkey Island’ series (1982-85) through to the pathological spectacle of ‘Day Is Done’ (2005-06), there remains no visible end to the abyssal complexity he let loose.

In Australia, exposure to his work has been, and continues to be scarce. His biography states he was in the Biennale of Sydney in 1984, two group shows at IMA, Brisbane in 2009 & 2011, followed with two tribute screenings of a video work at GoMA in early 2013. Apart from catching glimpses of his work in international art journals, it wasn’t until more seminal publications appeared in the mid to late 90s, that Kelley’s work began to be more widely accessible. A common route of exposure occurred via the text ‘Return of the Real’ by art historian Hal Foster (1996), collaborative works featured in Paul McCarthy’s Phaidon publication (1996), and then Kelley’s own Phaidon publication (1999). With those listening to Sonic Youth, these loose threads reach back to their copy of ‘Dirty’, where Kelley’s stuffed animal photo portraits appear on the album’s packaging.

Despite this limited visibility, Kelley’s art has had a profound influence across several generations of Australian artists. A Kitten Drowning in a Well bears witness to this fact. The tribute takes the form of a curated installation over both of 55’s gallery spaces, composed of new works by Carla Cescon, Ned Jaric, Ruth McConchie, Hany Armanious, Raquel Caballero, Matthew P. Hopkins, Ronnie Van Hout, Quinto Sesto, and Jesse Hogan.

In a third room adjacent to the galleries, viewers will have the opportunity to see a selection of Kelley’s video works, most being debut features in Australia. The following will be screened throughout the duration of the exhibition:

– The Banana Man (1983)
– Blind Country – with Ericka Beckman (1989)
– Heidi (1992) – with Paul McCarthy
– Extracurricular Activity Projective Reconstruction #1(Domestic Scene) (2000)
– Day Is Done (2005-06)

Exhibition by Iakovos Amperidis

featuring – Carla Cescon / Ned Jaric / Ruth McConchie / Hany Armanious / Jesse Hogan / Raquel Caballero / Matthew P. Hopkins / Ronnie Van Hout / Quinto Sesto / Mike Kelley

A Kitten Drowning in a Well – Tribute Exhibition to Mike Kelley (1954-2012)
21/11 – 14/12/14

Many thanks to the Mike Kelley Foundation for the Arts, and Electronic Arts Intermix for their generous support.
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