Thursday 1st of November 2018
6:00 pm – 9:00 pm
Aaron Claringbold, Claire Robertson, Maddison Kitching, Neika Lehman, Rebecca McCauley & Steven Rhall
EcoLuxx$ considers the consumption of the landscape image/space, offering responses to the ways land in Australia is valued and monetised through the sale of lifestyle and place. Tackling cliché with humour and capitalising on the bright visual style of marketing campaigns, the works in EcoLuxx$ intend to further contemplation into ways we view our own relations to place, and how this is deeply connected to what we consume.
'two shores push us back and keep us distant'
Liam James & Priscilla Beck
'Two shores push back and keep us distant' is a ruminative investigation into art making processes and experience, allowing for an experience of art which is embodied as well as analytical. The installation presents nothing but itself, resulting in a resonating silence, where once there was intent. The slow growth of the salt room speaks to ideas about time passing and a world changing, about ownership and belonging, the presence of something or the absence of something, of people being there, or of no-one being there. A body of water. A body in the water. A body without water. We have never been so thirsty.
Between the gallery walls, the slow growth of salt, and each individual experience of the work, meaning emerges and disappears. Meaning is continually created and negated. There is activity at the edges of this, where each personal and lived experience creates new meaning from the stuff that is left behind.
'Jiddoo Mohammed Salih Zaki'
This exhibition contemplates the stream of disruptions and devastations that have taken place in Zainab Hikmet’s home country of Iraq, through transporting and exhibiting a historic self-portrait of a pioneer in Iraqi art, her great-grandfather, Mohammed Salih Zaki, on the 100-year anniversary of its making. Known as the ‘Sheikh of the artists’ Zaki’s self-portrait unconsciously speaks of war, migration and legacy, having been smuggled out of Baghdad following the war in the early 90’s.
The painting was taken to Hikmet’s family home in Auckland by her grandmother who had resorted to smuggling it out of Iraq (where his works are now considered national treasures) in near disrepair. It has since been restored.
Through compiling an accompanying publication, Hikmet aims to highlight the artistic history of her family from the position of a first-generation Iraqi immigrant—exploring this rich and historically problematic facet of Iraq’s history whilst giving this painting a platform in which to be seen.
KINGS Artist Run acknowledges the Traditional Custodians of the land on which we operate. We offer our respect to Elders both past and present of the Kulin Nation and extend this offer to all Australian First Nations people