11 August -  2 september 2018

 

OPENING : SATURDAY 11 AUGUST FROM 4:30 PM

 

Fantasy of virtue / All things and nothing

BECC ORSZAG

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In Case of Emergency

EMME ORBACH

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Poked by a bone in a cupboard

SIYING ZHOU (curator) . BRIDGET GRIFFITHS . KA-YIN KWOK . LOU HUBBARD . PIA JOHNSON . SANJA PAHOKI . MIN WONG

PIA JOHNSON
Becoming Por Por (after Beckett’s Not I) video still . 2018
2 channel HD video . length 8’00’’

Poked by a bone in a cupboard

SIYING ZHOU (curator) . BRIDGET GRIFFITHS . KA-YIN KWOK . LOU HUBBARD . PIA JOHNSON . SANJA PAHOKI . MIN WONG

Stockroom presents Poked by a bone in a cupboard, a group exhibition of video works, curated by artist SIYING ZHOU and featuring BRIDGET GRIFFITHS, KA-YIN KWOK, LOU HUBBARD, PIA JOHNSON, SANJA PAHOKI, Min MIN WONG and SIYING ZHOU. These works, from seven Australian artists who vary in art practices, career status, and socio-cultural upbringing. explore family, immigration and relationships. In their respective careers, the artists have been independently drawn to explore family relationships in video work. Poked by a bone in a cupboard brings these videos together, showing diverse family portraits through a range of video narrations. This exhibition intends to offer a space where the relationship between parents and their children are perceived and contemplated through video medium and an art means.
 
The conceptual initiation of this exhibition comes from SIYING ZHOU’s relationship with her parents. After living apart from her parents for almost a decade, ZHOU experienced a growing detachment from her parents. ZHOU’s parents moved to Australia in 2014 following their retirement. Through making videos of her parents, ZHOU noticed an improvement in her relationship with them. This led ZHOU to wonder: is this experience unique to a family of immigrants? What kind of relationships do her friends have with their families? With this inquiry, she began her search, among her peers, for video works on families. This exhibition is a result of this questions: how may video-making be used by children understand their parents and themselves? How may this process be used to examine the psychological attachment between parents and their children and to gain emotional support from social community outside the family?

 

EMME ORBACH
Hold On . 2018
car windshield, quick grips, wire, steel brackets and chain

In Case of Emergency

EMME ORBACH

Fragments of safety glass from a broken bus shelter are neatly contained in a glass vitrine, suspended precariously from brackets and chain. Drone footage reveals the vast scale of illegal stockpile sites housed by various recycling plants throughout Victoria. A mechanical arm repeatedly batters an emergency hammer against safety glass until nothing is left. In case of Emergency presents a series of sculptural installations in reaction to Australia’s current recycling crisis. In this solo exhibition, EMME ORBACH references the illegal stockpiling of recyclable glass, and plastics in Victoria.
 

EMME ORBACH is a sculptural installation artist concerned with the anthropocene. Her work explores the way in which systems of nature co-exist and collide with manmade structures over time: “I’m interested in the possibilities of nature – not as mere objects to be utilised by the artist, but as living organisms with artistic agency: as collaborators in the creative process”. Among her best-known pieces are those that comprise her ‘crystal’ series in which her minimalist aluminium sculptures are submerged in a liquid chemical solution; allowing the residual growth of crystals to take over and encompass the form. ORBACH has a background in visual arts and design, and completed her honours in 2014 specialising in fine art, spatial practice.

 

BECC ORSZAG
The other side of hope / Liberate your fantasies . 2018
graphite pencil, carbon pencil, 24kt gold leaf on paper . 50 x 35.7cm

Fantasy of virtue / All things and nothing

BECC ORSZAG

Fantasy of virtue / All things and nothing features intricate works on paper by Victorian-based artist BECC ORSZÁG. In this ongoing body of work, ORSZÁG explores 'sehnsucht', a German noun which describes an individual’s unfulfilled longing for an idealistic, unattainable alternate experience, combined with the phenomenon of paramnesia (déjà vu); the distortion of memory in which fantasy is confused with reality. ORSZÁG examines these ideas in relation to concepts of sacred space and religious experience, questioning notions of existence, ritual, pilgrimage and idolatry.

Since graduating with a Bachelor of Fine Art from RMIT University in 2010 ORSZÁG has exhibited widely, including the recent exhibitions ‘Mirror Drawing’ at Neon Heater (Ohio), ‘Sanctuary’ at Nicholas Projects (Melbourne), ‘Dark Symmetries’ at PS Projectspace (Amsterdam) and ‘Improbable Journey’ at Gippsland Art Gallery. ORSZÁG was the winner of the Hazelhurst Art on Paper Emerging Artist Award (2015), Highly Commended in the National Churchie Emerging Art Prize (2013) and a recipient of an Australian Council for the Arts ArtStart Grant (2013). ORSZÁG has been featured in Art Collector as one of the 50 Things Collectors Need to Know, her work is held in private collections around the world and public collections including Artbank, Siemens and Gippsland Art Gallery.