Artist Bios 27 – Kaldor Public Art Projects https://kaldorartprojects.org.au Mon, 08 Nov 2021 07:06:43 +0000 en-US hourly 1 https://wordpress.org/?v=6.9.4 https://kaldorartprojects.org.au/wp-content/uploads/2021/02/favicon-kaldor1.png Artist Bios 27 – Kaldor Public Art Projects https://kaldorartprojects.org.au 32 32 Clark Beaumont https://kaldorartprojects.org.au/profile/clark-beaumont-2/ Wed, 02 Jun 2021 01:18:05 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3417

Clark Beaumont

Clark Beaumont
Two young women cramped on top of a small white plinth, sitting cross-legged, limbs intertwined, with weary expressions. Four people watch the performers, in a bare white room.
Two young women sit, cramped on top of a small white plinth, with serious expressions, in a bare white room.
Two young women cramped on top of a small white plinth, sitting cross-legged, limbs intertwined, with weary expressions. 8 people watch the women perform, in a bare white room.
Two young women stand, cramped on top of a small white plinth, with serious expressions, in a bare white room.

Clark Beaumont, Coexisting, 2013
Commissioned and performed by the artists for Kaldor Public Art Project 27: 13 Rooms, curated by Klaus Biesenbach and Hans Ulrich Obrist, at Pier 2/3, Walsh Bay, Sydney, 11-21 April 2013

Clark Beaumont

Nicole Beaumont
born 1990 in Sydney, Australia
lives and works in Brisbane, Australia

Sarah Clark
born 1991 in Brisbane, Australia
lives and works in Brisbane, Australia

 

Coexisting, 2013

Nicole Beaumont and Sarah Clark began their collaborative practice in 2010. Through live and mediated performance works, Clark Beaumont investigate ideas and constructs around identity, female subjectivity, intimacy and interpersonal relationships.

For 13 Rooms, Clark Beaumont drew upon the history of conceptual art to present Coexisting, a new work commissioned by Kaldor Public Art Projects. The artists performed the work themselves, and spent the duration of the exhibition on a plinth too small for two people to comfortably occupy. Coexisting explicitly positioned the artists as an artwork, and became a physical manifestation of their creative relationship. Throughout the durational performance, Clark Beaumont navigated the complex terrain of negotiation and compromise that defines their collaborative artistic practice.

Clark Beaumont have presented live performances and videos at exhibitions and festivals in Brisbane and Sydney, and have collaborated on national and international projects online. In 2015 they participated as resident artists in Project 30: Marina Abramović: In Residence.

The presentation of this artwork was supported by Roslyn and Tony Oxley.
]]> Xu Zhen https://kaldorartprojects.org.au/profile/xu-zhen/ Wed, 02 Jun 2021 01:17:37 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3416

Xu Zhen

Xu Zhen
A young woman in loose, casual clothing leans back horizontally, in an impossibly balanced position, arms outstretched, in a bare white room.
A young woman in loose, casual clothing leans back in an impossibly balanced position, with her feet on the floor, torso horizontal and arms outstretched. 12 people stand or crouch, watching the woman, in a bare white room.
A young woman in loose, casual clothing leans back in an impossibly balanced position, with her feet on the floor, torso horizontal and arms outstretched. 9 people stand or crouch, watching the woman, in a bare white room.
A young woman in loose, casual clothing leans back in an impossibly balanced position, with her feet on the floor, torso horizontal and arms outstretched. 6 people stand or crouch, watching the woman, in a bare white room.
A crowd of around 25 people queues outside a small white room inside a large industrial space.

Xu Zhen, In Just a Blink of An Eye, 2005
Re-performed for Kaldor Public Art Project 27: 13 Rooms, curated by Klaus Biesenbach and Hans Ulrich Obrist, at Pier 2/3, Walsh Bay, Sydney, 11-21 April 2013

Xu Zhen

born 1977 in Shanghai, China
lives and works in Shanghai, China

 

In Just a Blink of an Eye, 2005

As a prolific and controversial artist, Xu Zhen’s conceptually driven practice encompasses a vast range of media and often employs humour, irony and sophisticated trickery. For In Just a Blink of an Eye, 2005, a breathing body floats mysteriously in mid-air, frozen in time and space as if defying the constraints of physics. The work engages with the materiality of the body, testing the limits of physical and cognitive possibilities as we try to comprehend what we see.

In 2005, Zhen’s video work Shouting was exhibited in the first Chinese Pavilion at the 51st Venice Biennale and his work has been included in numerous exhibitions internationally including the Tate Liverpool in 2006, and Art Basel in 2007. In 1998, Zhen co-founded the influential artist-run space BizArt Art Center, Shanghai, and in 2009 formed MadeIn company with a group of collaborators who explore authorship, ethics and commerce, within the art system.

The presentation of this artwork was supported by the Neilson Foundation.
]]> Santiago Sierra https://kaldorartprojects.org.au/profile/santiago-sierra/ Wed, 02 Jun 2021 01:16:15 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3415

Santiago Sierra

A middlA middle-aged man in casual clothing stands, hands clasped behind his back, facing the corner of a bare, white room. Three young people stand, watching the man.e-aged man in casual clothing stands, facing the corner of a bare, white room. Three young people stand, watching the man.
A middle-aged man in casual clothing stands, hands clasped behind his back, facing the corner of a bare, white room. Another middle-aged man, wearing cargo pants, stands behind the man, looking over his shoulder.
A middle-aged man in a green T-shirt stands, with his hands clasped behind his back, facing the corner of a bare, white room. On his arm is a tattoo featuring the words “Iraq” and “medic” and the image of a helmet.
A middle-aged man in casual clothing stands, facing the corner of a bare, white room. A diverse group of five people stand in the opposite corner, in conversation, looking at the man.
A middle-aged man in casual clothing stands, hands clasped behind his back, facing the corner of a bare, white room. Two young people stand, watching the man.
Santiago Sierra

Santiago Sierra, Veterans of the Wars of Afghanistan, Timor-Leste, Iraq and Vietnam Facing the Corner, 2013
Performed for Kaldor Public Art Project 27: 13 Rooms, curated by Klaus Biesenbach and Hans Ulrich Obrist, at Pier 2/3, Walsh Bay, Sydney, 11-21 April 2013

Santiago Sierra

born 1966 in Madrid, Spain
lives and works in Madrid, Spain

 

Veterans of the Wars of Afghanistan, Timor-Leste, Iraq and Vietnam Facing the Corner, 2013

The poetic and often confronting artworks of Santiago Sierra draw on the art historical tradition of using paid models as sculptures. Sierra commissions street workers, illegal immigrants, the unemployed and the dispossessed to test individual and social boundaries and expose social and cultural inequalities.

In 13 Rooms, Sierra presented Veterans of the Wars of Afghanistan, Timor-Leste, Iraq and Vietnam Facing the Corner, 2013, a durational work in which war veterans from varied past conflicts stand facing the corner within a five- by five-metre room. Silent and still, as if positioned in a military line, the performers only move from their post when replaced by another veteran, who solemnly steps in as if changing the guard. 

Sierra’s work has been exhibited in numerous solo and group exhibitions around the world. In 2003 he was selected to represent Spain at the 2003 Venice Biennale. In 2010 Sierra created Kaldor Public Art Project 22 at the Gallery of Modern Art, Brisbane.

The presentation of this artwork was supported by Mark and Louise Nelson.
]]> Roman Ondak https://kaldorartprojects.org.au/profile/roman-ondak/ Wed, 02 Jun 2021 01:15:55 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3414

Roman Ondak

A man sits at a simple table. An audience of 6 people stands around the bare, white walls of the room, smiling and watching the man, as he exchanges a small purple, plastic object with a young child.
Roman Ondak
A man sits on a plastic chair at a simple table in a bare, white room, holding a small object in front of him. A young woman, dressed in black, stands opposite, and offers a small object to the man.
A man sits on a plastic chair at a simple table, with a single object on the table in front of him. An audience of 16 people stands around the bare, white walls of the room, smiling and watching the man, as he holds up a banknote, with a quizzical expression.

Roman Ondak, Swap, 2011
Re-performed for Kaldor Public Art Project 27: 13 Rooms, curated by Klaus Biesenbach and Hans Ulrich Obrist, Pier 2/3, Walsh Bay, Sydney, 11-21 April 2013

Roman Ondak

born 1966 in Žilina, Slovakia
lives and works in Bratislava, Slovakia

 

Swap, 2011

Roman Ondak’s installations, performances and interventions are often thoughtful and humorous, provoking a double-take by viewers and making them question their preconceptions and modes of interaction. Swap, 2011, merges art with everyday life. Ondak selects a performer to wait behind a table and asks them to choose an object, which remains on the table until the first visitor enters the room. Visitors are given the opportunity to swap the object with anything else they would be willing to exchange—a coin or a watch, a feather or a piece of paper—setting in motion an ongoing chain of barter and exchange. Each day the last object remains on the table until the following morning, and at the close of the exhibition the final performer takes with them the remaining object of that day.

Ondak has presented numerous solo exhibitions at museums and galleries around the world. He has been included in the Venice Biennale, 2003, 2009 and 2011, Berlin Biennale, 2010, and documenta, 2012, in Kassel, Germany.

The presentation of this artwork was supported by Annabel and Rupert Myer and family.
]]> Laura Lima https://kaldorartprojects.org.au/profile/laura-lima/ Wed, 02 Jun 2021 01:15:35 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3413

Laura Lima

Laura Lima
A young woman lies, with her eyes closed, beneath a very low ceiling that is 45cm from the ground. She is wearing earrings and several bracelets of coloured beads. The small space is lit by the glow of a round, white electric lamp.
Five people crouch down to look through a low gap underneath a bare white door. Behind the gap is a person lying, cramped, next to a round glowing lamp.
A man and a child crouch down to look through a low gap underneath a bare white door. Behind the gap is a young woman lying, cramped, next to a round glowing lamp.
A man lies, face-down, on a grey carpeted floor, beneath a very low ceiling that is 45cm from the ground. The small space is lit by the glow of a round, white electric lamp.

Laura Lima, Man=flesh/Woman=flesh—FLAT, 1997
Re-performed for Kaldor Public Art Project 27: 13 Rooms, curated by Klaus Biesenbach and Hans Ulrich Obrist, at Pier 2/3, Walsh Bay, Sydney, 11–21 April 2013

Laura Lima

born 1971 in Minas Gerais, Brazil
lives and works in Rio de Janeiro, Brazil

 

Man=flesh/Woman=flesh—FLAT, 1997

Laura Lima’s work explores the boundaries between the everyday and the absurd, fiction and dream, performance and sculpture. Her principal interest is the human body, which she considers as a medium, concept and the driving force in social relations through its gestures and behaviours. The artist never appears herself; she instructs others to present pieces she has developed, or invites the audience to actively examine her "objects".

Flesh is the basic working material in Lima’s work for 13 Rooms, Man=flesh/Woman=flesh—FLAT, 1997. Positioned within a confined architectural environment, beneath a ceiling that is a mere 45 centimetres from the ground, a person silently lies with a single lamp to light the space. The viewer must crouch or lie down to see the participant who, in this case, has some form of physical disability.

Lima’s work has been included in group shows and festivals around the world, including São Paulo Biennial, 2003 and 2007; Mercosul Biennial, Basel; Art Basel Miami and Frieze, London.

The presentation of this artwork was supported by Penelope Seidler.
]]> Xavier Le Roy https://kaldorartprojects.org.au/profile/xavier-le-roy/ Wed, 02 Jun 2021 01:15:07 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3412

Xavier Le Roy

Xavier Le Roy
Two human figures, dressed in black, with their faces and hands entirely covered in black fabric, sit on the floor, leaning against each other, with arms intertwined, in a bare, darkened room.
Two human figures, dressed in black, with their faces and hands entirely covered in black fabric, sit on the floor, leaning against each other, with arms intertwined, in a bare, darkened room.
Two human figures, dressed in black, with their faces and hands entirely covered in black fabric, sit on the floor, leaning against each other, with arms intertwined, in a bare, darkened room.

Xavier Le Roy, Untitled, 2012
Re-performed for Kaldor Public Art Project 27: 13 Rooms, curated by Klaus Biesenbach and Hans Ulrich Obrist, at Pier 2/3, Walsh Bay, Sydney, 11-21 April 2013

Xavier Le Roy

born 1963 in Juvisy-sur-Orge, France
lives and works in Berlin and Giessen, Germany, and Paris, France

 

Untitled, 2012

Since the beginning of his career, French dancer and choreographer Xavier Le Roy has brought an inclination for analysis to theatrical dance. He uses movement to disfigure the body beyond recognition in order to explore and transform its image.

For 13 Rooms, Le Roy presented Untitled, 2012. In the performance, two masked figures with similar physiques move together in the darkness, making it impossible to know who, or what, they are. Transfixing and unsettling, this intimate duet builds on an artistic practice interested in the body’s production of knowledge and its capacity for movement.

Le Roy has performed worldwide and collaborated with renowned artists such as Jérôme Bel, Tino Sehgal and Yvonne Rainer. His work has been shown in many international festivals and institutions, including Tanz im August, Berlin, Museum of Modern Art, New York, National Museum of Contemporary Art, Seoul, and the Julia Stoschek Collection, Dusseldorf.

In 2015, he worked with Scarlet Yu and 18 Australian performers to present Kaldor Public Art Project 31 at Carriageworks, Sydney.

The presentation of this artwork was supported by Naomi Milgrom.
]]> Simon Fujiwara https://kaldorartprojects.org.au/profile/simon-fujiwara/ Wed, 02 Jun 2021 01:14:30 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3411

Simon Fujiwara

Simon Fujiwara
Two young adults crouch by the wall of a bare, white room, tilting their heads to look into a glowing, electric sun bed.
A young man with an athletic, muscular build, wearing black Speedos, black swimming goggles and small white earphones, lies in a glowing, electric sun bed.
A young man with an athletic, muscular build, wearing black Speedos, black swimming goggles and small white earphones, lies in a glowing, electric sun bed. A white robe hangs on the wall nearby.
A young man with an athletic, muscular build, wearing black Speedos, black swimming goggles and small white earphones, lies in a glowing, electric sun bed. A white robe hangs on the wall nearby.
A young man with an athletic, muscular build, wearing black swimming goggles and small white earphones, lies in a glowing, electric sun bed. A white robe hangs on the wall nearby.
A young man with an athletic, muscular build, wearing black swimming goggles and small white earphones, lies in a glowing, electric sun bed. Around 3 people stand in the darkened room, watching.

Simon Fujiwara, Future/Perfect, 2012
Re-performed for Kaldor Public Art Project 27: 13 Rooms, curated by Klaus Biesenbach and Hans Ulrich Obrist, at Pier 2/3, Walsh Bay, Sydney, 11-21 April 2013

Simon Fujiwara

born 1982 in London, England
lives and works in Berlin, Germany

 

Future/Perfect, 2012

Simon Fujiwara often begins with the written word and combines script-writing, installation and performance to create compelling and complex narratives in his works. For 13 Rooms, Fujiwara enlisted local athletic-bodied young men to perform his work Future/Perfect, 2012. As each man lies on a tanning bed he learns a foreign language via headphones, audibly sounding out words and phrases. The artist describes the piece as a kind of educational entertainment whereby we visibly watch a transformation that is both interior and exterior.

In 2010, Fujiwara was awarded the prestigious Baloise Art Prize at Art Basel and the Cartier Award at Frieze Art Fair. His work has been shown in major institutions and exhibitions around the world, including the Museum of Modern Art, New York, and Museum of Contemporary Art, Tokyo. In 2012, Tate St Ives hosted his first major solo survey exhibition, Simon Fujiwara: Since 1982.

The presentation of this artwork was supported by Geoff Alder.
]]> Allora & Calzadilla https://kaldorartprojects.org.au/profile/allora-and-calzadilla/ Wed, 02 Jun 2021 01:13:59 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3410

Allora & Calzadilla

Allora & Calzadilla
Eight young people stand in a line – five facing forwards, and three facing the opposite direction, in a small, bare, white circular room. The people are dressed in similar grey T-shirts, tank tops and sweat pants with matching grey shoes, arms upstretched, holding hands, with serious, focused expressions.
Six young people stand in a line, dressed in similar grey sportswear, each with one hand outstretched, and serious, focused expressions, in a bare, white room.
Ten young people sit in a V-shaped line, dressed in similar grey sportswear, with arms clasped around each other’s shoulders, in a bare, white room with a black rubber floor.
Five young people stand in a line, dressed in similar grey sportswear, arms upstretched, holding hands, with serious, focused expressions, in a bare, white room.
Four young people stand in a line, dressed in similar grey sportswear, each with one hand outstretched, and serious, focused expressions, in a bare, white room.

Allora & Calzadilla, Revolving Door, 2011
Re-performed by Sydney Dance Company and Brent Street for Kaldor Public Art Project 27: 13 Rooms, curated by Klaus Biesenbach and Hans Ulrich Obrist, Pier 2/3, Walsh Bay, Sydney, 2013

Allora & Calzadilla

Jennifer Allora
born 1974 in Philadelphia, US

Guillermo Calzadilla
born 1971 in Havana, Cuba

live and work in San Juan, Puerto Rico

 

Revolving Door, 2011

Allora & Calzadilla have collaborated as an artist duo since 1995. Through their experimental practice combining performance, sculpture, video and sound, they explore the histories and meanings embedded in our culture. In their work Revolving Door, 2011, a group of dancers spontaneously form a line and rotate in a circular motion, literally sweeping up visitors as they circle the space. The choreographed movements are drawn from political protests, military marches and chorus lines, a reflection on the many different gestures we create in unison.

Allora & Calzadilla have presented solo exhibitions at the Museum of Modern Art, New York, National Museum of Art, Oslo, and Serpentine Galleries, London. They represented the United States at the 2011 Venice Biennale and participated in documenta, 2012, in Kassel, Germany. In 2012 they presented Kaldor Public Art Project 26: Stop, Repair, Prepare: Variations on 'Ode to Joy' for a Prepared Piano, which was reprised for Project 35: Making Art Public in 2019.

The presentation of this artwork was supported by the Lewin Family Foundation.
]]> Tino Sehgal https://kaldorartprojects.org.au/profile/tino-sehgal/ Wed, 02 Jun 2021 01:13:35 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3409

Tino Sehgal

Tino Sehgal

born 1976 in London, England
lives and works in Berlin, Germany

 

This is new, 2003

Tino Sehgal’s practice was an inspiration for 13 Rooms. Since 2000, he has initiated “situations” that create unique encounters between people. His work is generated by the connections and interactions between visitors and participants, and takes shape in the moment when a visitor encounters it.

For 13 Rooms, Sehgal presented his work This is new, 2003. Sehgal’s work leaves no material trace, and is not permitted to be photographed or filmed. Solo exhibitions of Sehgal’s work have been held around the world, including at the Institute of Contemporary Arts, London. In 2005 he represented Germany at the Venice Biennale and in 2010 presented a solo exhibition at the Guggenheim Museum, New York. His largest work to date, These associations, was constructed for the Tate Modern’s Turbine Hall in 2012 as part of the gallery’s Unilever Series. In 2014 Sehgal presented Kaldor Public Art Project 29, This is so contemporary, which was reprised for Project 35: Making Art Public in 2019.

]]> Damien Hirst https://kaldorartprojects.org.au/profile/damien-hirst/ Wed, 02 Jun 2021 01:12:51 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3408

Damien Hirst

Damien Hirst
Two identical young women, dressed in identical jumpers, jeans and red shoes, sit on identical chairs, holding identical books and smiling. On the bare white wall behind the women are two similar paintings, consisting of grids of brightly coloured dots. 5 people stand, watching, smiling and conversing with the young women.
Two identical young men, dressed in matching shirts, jeans, shoes and black hats, sit on identical chairs, holding identical books and smiling. On the bare white wall behind one man is a paintings consisting of a grid of brightly coloured dots. 12 people stand, watching the men and smiling.

Damien Hirst, Twins, 1992
Re-performed at Kaldor Public Art Project 27: 13 Rooms, Pier 2/3, Walsh Bay, Sydney, 11-21 April 2013.
© Damien Hirst and Science Ltd. All rights reserved, DACS 2012

Damien Hirst

born 1965 in Bristol, England
lives and works in London, Devon and Gloucestershire, England

 

Twins, 1992

Damien Hirst’s ambitious body of work broadly explores the themes of life, death and decay, while simultaneously parodying and taking advantage of the art world’s capitalist market.

Hirst’s Twins installation piece was first shown as Marianne, Hildegard in 1992 and requires a rotating cast of identical twins to sit in front of two of his iconic spot paintings. Rather than taking a fixed shape, the work shifts as it is performed by different sets of twins throughout a given exhibition. For 13 Rooms, the work was performed by three sets of twins who variously sat still, answered questions or offered conversation to visitors who entered the space.

Hirst has exhibited extensively worldwide, and is the subject of more than 25 monographs. He was awarded the Turner Prize in 1995, and in 2012 presented the major retrospective Damien Hirst at Tate Modern, spanning 25 years of his practice.

The presentation of this artwork was supported by Neil and Diane Balnaves.
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