Out of Tibet

Angelina D’Urso
A Head On Photo Festival Exhibition

16th – 21st of May

Official Opening:
Wed 17 May 2017, 7pm

For more than 10 years Albertina d’Urso has followed in the footsteps of Tibetans forced to escape from their homeland, many of whom crossed the Himalayan range by foot, to defend their cultural and religious identity, their traditions and their language from Chinese repression. In ‘Out of Tibet’ she has documented their new lives throughout the world – including several areas of India (Himachal Pradesh, Karnataka, Sikkim, Darjeeling, Ladakh, Bodhgaya), as well as in Nepal, Taiwan, New York, London, Paris, Zurich, Rome, Brussels, Amsterdam and Toronto. It is as if she is bringing together, visually, the many Tibetans in exile who are displaced all around the world, a unique de facto state with no land.

Opening Hours:
Tuesday – Thursday: 7:00 am-10:30 pm
Friday – Saturday: 7:00 am-11:30 pm
Sunday: 7:00 am-10:30 pm

Head On Festival: Eastern Thoughts (V. Queiroz and M. Maia)

Tue 9 -Sun 14 May, 2017

A Head On Photo Festival exhibition curated by Artemis Projects.

A multisensory exhibition and book launch with photograhs by Vitor Queiroz, text by Marta Maia and sound by Richard Tamplenizza.

Official Opening: Tue 9 May 2017, 6:30pm

GALLERY HOURS:
Mon – Fri 3:00-7:00pm (or by appointment: +61 404 827 956)
Sat and Sun 11:00am – 6:00pm

“What is the border of our perception? How wide is the frame?

In her book The Skin of the Film, Laura Marks points to the “cultural organization of perception”. Spectatorship, she writes, “is an act of sensory translation of cultural knowledge”. What we see is what we are conditioned to see. The eye is attracted to that which it has learned to seek.

Traveling through Cambodia, Vietnam and Thailand, Vitor Queiroz (a Portuguese living in Sydney) captures the local life – the people, the objects, the atmosphere. But how much do these images reveal about the lived experience of local people? Or are they not more a revelation of the photographer, a revelation of his expectations and his “cultural organization”?

What is more, once the image is taken it is extracted from its context – form the surrounding smells, sounds, temperature, touch.

“I don’t think that image speaks more than thousand words,” writes Marta Maia in the book that accompanies the exhibition. A photograph, for her, is just a fraction of reality, a dangerous authority.

In contrast, Marta’s verbal reflections on the way we encounter, seize and memorise another culture, attempt to capture the “tactile memory”, the sensations that are “closer to the body” and are “repositories of private memory”.

But like Vitor, Marta also questions the limits of this expression; the authority of words not just in describing the other culture but also in describing ones private experience of another culture. Language too is a border and the frame.

We travel in hope to learn about another culture but what we discover is a culture within our own body, the limits of our perception.”

Head on Photo Festival: A Personal Journey

Phillip Myers

02 May – 07 May

Official Opening:
Tue 02 May 2017, 6:00PM

Opening Hours:
Tuesday: 10:00 am-8:00 pm
Wednesday – Friday: 10:00 am-4:00 pm
Saturday – Sunday: 9:00 am-3:00 pm

“Photography by its very nature is a personal act or a personal response to something we encounter or something we place in front of us. When I reflect on this personal, my personal, I realise that some of my photographs are more personal than others. For me this personal is based on a connected reality. A reality that is based on the immediacy of the photograph that I take. A premeditated photograph in a way holds me away from this connected reality – an immediate spontaneous photograph draws me more to this reality. In this exhibition my photographs taken wholly on my iphone, iphoneography if you like, are an immediate uncalculated response to that around me. They are a diary of my life and a diary of my experience. They document and anchor my reality. They are as organic and chaotic as my daily experience. Some are very rough and ready. Without these I will only have my memory – but my memory may not be reliable – so this is why I need these. They are a personal journey and a personal memory.”

Finding Peace at Gallipoli

Ancients, Anzacs & Ottomans

An exhibition of paintings and mosaics by Ann Theresa Gregory – A Russian Anzac descendant’s centenary pilgrimage.

Tuesday 25th of April to Sunday 30th April, 12pm to 6pm.

Opening event: Anzac Day, 25th of April, from 12pm to 6pm, with guest speakers from 2 – 3pm

Guest speakers include:

Mina Bui Jones, ARCCO Museum Coordinator

Dr Elena Govor, Historian, Australian National University

Noula Diamantopoulos, Director, Mosaic Art School of Sydney

 

You will not be easily erased

Deep Dirt Collective

Tuesday 8 to Sunday 13 November 2016

Gallery hours
Tuesday – Friday 4pm – 9pm
Saturday special event 6pm – 9pm
Sunday 10am – 3pm

Stirrup Gallery
Addison Road Community Centre
142 Addison Rd, Marrickville NSW

You will not be easily erased is a collaborative live-work installation by six women of colour artists known as Deep Dirt Collective. It is an offering to the ancestors of this place, as well as a not forgetting to our own ancestors, families, communities and descendants. We create this work in resistance to invisibility, as a ritual commanding respect and a reminder that our voices and histories are strong. In this act, we honour and ensure the survival of our living cultures.
Works will continue to be created live in the gallery and will evolve, unfold and be re-written throughout the duration.

This project was supported by funding from Inner West Council

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Alison Winchester: Lovers and dreamers

14th November – 20th November
Opening night: Thursday 17th, 6 – 8pm

Artist’s statement:

“My artwork explores the themes of cognitive testing and aims to represent how the neurological cognitive assessments that I went through as a result of a brain injury were constraining and limiting to the intellectual and artistic talent that I have. I use a multimedia approach including sculptures, acrylic paint, ceramic, glass blowing and fabric dying. I use all different colour geometric shapes with wood, metal perplex and glass to show that reflects fractures of light. My ambition is continue to explore the themes of brain injury & cognitive assessment through conceptual art practice and to present to the world untapped capacity of people with acquired brain injury.”

Exhibition opening hours:
Tuesday – Friday 10am – 7pm
Saturday – 10am – 8:30pm
Sunday – 8am – 4pm

Nobody Left Outside – Australia for UNHCR

October 15th to 16th

ESP Gallery is proud to present this outstanding exhibition featuring award winning Kenyan photographer Thomas Mukoya for Australia for UNHCR. Shelter for refugees is a pressing issue and the main focus of UNHCR’s work. Come support Australia for UNHCR’s Shelter Appeal 2016!

OPENING Saturday 15th October, 2 to 5pm
Marta Dusseldorp will MC, Naomi Steer, National Director of Australia for UNHCR will be present, and Yarie Bangura will perform her poetry.

Light refreshments and drinks available by gold coin donation

FREE ENTRY

Pemulwuy’s Journeys

Michael Sagan, October 28th to 30th

Opening Night Friday 28th October 7pm

“Let no-one say the past is dead, the past is all about us and within”

– Oodgeroo Noonuccal (1920- 1993)

For most Australians he is unknown. I didn’t learn about him at school. It wasn’t until I read the Builders’ Labourers’ Songbook that I learned about this Eora leader, a Bidjigal born in Kamay (present day Botany Bay).
This exhibition will attempt to illustrate key events from Pemulwuy’s story of resistance to the British colonialists. He was able to travel the Eora lands with ease using canoes (noweys) along the water ways. From Botany Bay to Parramatta and Toongabbie in a matter of days he surprised the colonialists with his sudden appearance.
The time has come to recognise Pemulwuy widely as a patriot and hero who resisted invasion and the depredations of colonialism.
– Michael Sagan

Eric Wilmot writes
“Until recently (1987), Pemulwuy’s name has never appeared in white Australian history, yet his name lives on in the unpublished records of his enemies and the minds of Aboriginal-Australians”
“The name Pemulwuy means earth: man of the earth. He was born around 1756 and lived in the second half of the eighteenth century. He led the Eora in the first response to the British invasion and fought the British for twelve long years until his death in 1802. Pemulwuy’s history is part of the history of Australia.”

Orientation : the cognitive part – September 6th – 11th

Takashi Tachibana
Minimal ink and brush works on rice and watercolour papers, dealing with the human condition and reality. Art, information and a number of talks through the week.

Artist statement:

“I want to show how we exist, as a part of a whole being of reality.

We are lost from our whole being. I have come to understand our reality is created by our whole and “projected” through the Central Nervous System (brain and spine).
In this we are displaced from our whole being by being projected, and furthermore we are isolated within our projected reality as we identify in our self and with what we experience.

However, we can be in relation with our whole as a projected part. Here depicted, for the first time as far as I can ascertain, are the various parts of our reality as they are projected in
their certain ways or shapes. They refer to our “actuality”, our existence in fact occupying space as projection, and as such we may be in relation with our whole being.

This relation is introduced in the exhibition with exercises, having discussed and depicted the “cognitive parts” of our projected reality and our whole.
It is an approach that developed through personal practice and inquiry as a medical practitioner. I recognise now how it originates from a fundamental “orientation” of our projected part, in space and with our whole being of reality.

A whole being is missing from our realities of experience and cognitive systems. I endeavour to communicate an “orientation” that determines our projected reality and the process
of integration as a part of our whole.

From early in my youth, I have drawn what I capture of reality in notes I have kept. They have developed hand-in-hand with my sense and understanding of our reality. It is hoped
that the depictions with their explanation, bring one to one’s own actuality and relation with one’s whole.

I have exhibited locally in the Northern beaches but want to present more of the ideas and practice that come with what is depicted. I feel the Stirrup Gallery with its eclectic
cosmopolitan environment suitable for this and look forward to having an exhibition there.”

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