Mars Square Jupiter
featuring - Del Lumanta / Elena Betros + Eleanor Weber / Enid Boyd / Ilya + Iakovos Amperidis / Doelow Da Pilotman / Themelina Amperidis
19/08 – 05/09/16
full exhibition doco - http://www.55sydenhamrd.com/mars-square-jupiter
excerpt from 15 minute split screen video work
Act Normal - April 2016 at Knulp
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
Black Square 100 years - Anniversary of Kazimir Malevich’s Black Square
presented by Iakovos Amperidis & Alex Gawronski
featuring - Daniel Boyd, Marya Elimelakh, Shane Haseman, Biljana Jancic, Michelle Nikou, Justene Williams, Alex Gawronski, Iakovos Amperidis (AUS), Sean Kerr and Dane Mitchell (NZ) and IRWIN and LAIBACH (SI)
Australian Experimental Art Foundation, Adelaide 2013
SCOTT DONOVAN - Visual Event and Sound (Australian Artists We Salute You!)
SUMUGAN SIVANESAN - Songs for Sanjeev (with music by MATTHEW HOPKINS, DANNY VENZIN & BENY CONNER)
Subjects display signs of visible defiance, indifference and hostility towards following established procedures. Incosistent, indeterminate and unreliable mode of production. Level of commitment to institutional/commercial protocol is null and void. Occupying precarious terrain, they pose a significant threat to the stability of earnest practitioners. Contaminant and dysfunctional ethos; viral lethargy, despondency and melancholia. Ability to manipulate peers into emotional vortices. Juvenile preoccupation with difference, autonomy, independence and romantic love. No predilection to maintain or achieve notable status - redundant pathological defiance. Polyamorous tendencies. Secretive. Subjects repeatedly draw concentric pentagons and circles in space with their fingers. No cure. Interminable case.
presented by Iakovos Amperidis
featuring - The Twilight Girls / Brian Fuata / Samuel Quinteros / Dexter Fletcher / Vos Dis / Emma Ramsay / Scott Donovan / Sumugan Sivanesan / Del Lumanta / Cicatrise
Performances / Live Music: Matte Rochford / Half High / Videoezy / People Person
15/11 - 1/12/13
There’s no longer any trepidation in having a crackpot fatalistic worldview. The 21st century marks the acceleration of an unprecedented systemic meltdown. Moving forward we are, but there’s no afterlife in the ether, the promised land is here and it’s floundering.
Our grandest collective delusions reside in our institutions, where we endlessly expend our energy to reform, reconfigure and convolute their governance upon us. We seek solace in dressing up their edifices, both architectural and ideological, seduced into their diabolically ornate systems. They are prisms of our ideal human image, adorned and worshipped for their immortal promise.
In the visual arts, the field is similarly unwell. For a while it seemed the emergence of ‘institutional critique’ would heal the [art] world with regulated doses of self-reflexivity. This oxymoronic revolt may still throw all manner of spanners into the works, but to no avail. There’s just no helping it. The institution is too far gone.
Moving Forward to the End is an exhibition showcasing the logical progression of Institutional Critique – enter the ʻInstitutionally Dismalʼ. The artists/collectives in this show embody and assume the redundancy of our pathological enterprises. Unlike their not too distant relatives, they are not out to fix things. In them we see no exit, they are the failed human project; the institutionalized, the hypocritical and the enemy of the state.
presented by Iakovos Amperidis
featuring - et al. / Quinto Sesto / The Institute of Social Hypocrisy
Moving Forward to the End
2 - 10/6/12
A group show focused on a dead luminary of the Australian art world, one we are still haunted by. In White As They Come we hone in on the very dead Brett Whiteley. He is the subject of enquiry and more generally, a plaything for a much needed piss take.
All the artists in the show are in some way iconoclastic in temperament. Here they are invited to take a stab at the overblown mythology of Brett. Fortunately they have a colossal saga from which to draw inspiration from. The show aims to revisit the romanticised grandeur of this white male artist, providing a contemporary spin on his relevance, and on the façade of immortality his legacy is centred on.
presented by Iakovos Amperidis
featuring - Daniel Boyd / Sarah Contos / Ella Barclay / Alex Kiers
White As They Come
give us a couple of weeks