Artist Bios 35 – Kaldor Public Art Projects https://kaldorartprojects.org.au Wed, 13 Jul 2022 06:21:11 +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 35 – Kaldor Public Art Projects https://kaldorartprojects.org.au 32 32 Tino Sehgal https://kaldorartprojects.org.au/profile/tino-sehgal-2/ Fri, 04 Jun 2021 01:49:47 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3467

Tino Sehgal

Tino Sehgal

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

 

This is so contemporary, 2004
Art Gallery of New South Wales
15 November – 1 December 2019

 

In November 2019, Sydney audiences were once again afforded the chance to experience the work of artist Tino Sehgal, who is renowned for creating art that leaves no material trace. This is so contemporary, which debuted in Australia at the Art Gallery of NSW in 2014 as Kaldor Public Art Project 29, cannot be photographed, and must be experienced through direct, interpersonal encounters.

Tino Sehgal, the Berlin-based artist who originally studied political economics and dance, constructs “situations“ by orchestrating interpersonal encounters through dance, voice and movement. His works elicit a different kind of viewer—one who cannot be a passive spectator, and who bears a responsibility to construct and contribute to the realisation of the piece.

 

Presented on the occasion of the exhibition Making Art Public: 50 years of Kaldor Public Art Projects at the Art Gallery of New South Wales, 7 September 2019 – 16 February 2020
]]> Agatha Gothe-Snape https://kaldorartprojects.org.au/profile/agatha-gothe-snape-2/ Fri, 04 Jun 2021 01:48:48 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3466

Agatha Gothe-Snape

A young woman sits, reading a book, on a small sheepskin rug on the floor of an empty white room. The woman is leaning against a green vinyl chair.
A young person lies, reading a book, on a small sheepskin rug on a green vinyl chair, inside an art gallery. The person wears socks, and rests their feet against a column.
A woman stands, reading a book, next to a green vinyl chair in an art gallery. A small sheepskin rug is draped on the chair. On the wall behind the woman is a large black-and-white photograph of the artists Gilbert & George in tweed suits.
A woman sits, reading a book, on a small sheepskin rug on the floor of an art gallery. The woman is leaning against a green vinyl chair. Next to the woman is a large white box with a doorway, and a doormat with the text, “I want to leave a nice well-done child here.”
Agatha Gothe-Snape

Agatha Gothe-Snape

born 1980 in Sydney, Australia
lives and works in Sydney, Australia

 

Lion’s Honey, 2019
performers, green vinyl chair, letter from the artist, the artist’s sheepskin rug, books, wall-mounted shelves

Each day of Making Art Public, Agatha Gothe-Snape’s Lion’s Honey saw a performer occupy the exhibition space by reading to themselves a chosen book. Starting with David Grossman’s Lion’s Honey, gifted to the artist by John Kaldor, the performers—including the artist herself—accumulated books of their own choosing to read throughout the exhibition.

Set against a backdrop of archival material, the durational performance saw audience engagement range from silent observation to long conversations and book recommendations. An Instagram account @lionshoney also formed part of the work.

In January 2020, the artist, together with curator Emily Sullivan, hosted a series of Reading Circles with the Lion’s Honey readers. Lion’s Honey: A Reader documents the performance from the perspective of the artist and readers and takes the form of a downloadable PDF which can be viewed or printed here.

Agatha Gothe-Snape works at the threshold of visual arts and performance. She has a highly trained and deeply attuned understanding of performance strategies and how they intersect not only with the visual but with the relational and architectural. As a result, her works are singular, embracing the complexity, ambiguity and slippages of both performance and language in an aesthetic style that is questioning, poetic and political. In 2017, Gothe-Snape presented a solo exhibition at the Mori Art Museum, Tokyo. She has presented solo exhibitions throughout Australia and in 2020, Monash Museum of Contemporary Art presented The Outcome is Certain, the first solo survey exhibition of Gothe-Snape’s work.

In 2018, Gothe-Snape participated in the Kaldor Public Art Projects and UNSW Art & Design Education Symposium, All Schools Should be Art Schools, and in 2019, she contributed a new work to Project 34: Asad Raza, Absorption.

 

Commissioned for Kaldor Public Art Projects as part of the exhibition Making Art Public: 50 Years of Kaldor Public Art Projects at the Art Gallery of New South Wales, 7 September 2019 – 16 February 2020
Images courtesy the artist, Kaldor Public Art Projects and The Commercial Gallery, Sydney
]]> Allora and Calzadilla https://kaldorartprojects.org.au/profile/allora-and-calzadilla-2/ Fri, 04 Jun 2021 01:48:07 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3465

Allora & Calzadilla

A man stands inside a grand piano, and leans forward to play the piano keys, with a look of intense concentration. The piano has wheeled legs and a round hole cut in the lid. A crowd of around 15 people is watching the pianist, inside a modern art gallery.
A man stands inside a grand piano, and leans forward to play the piano keys with one hand. The piano has wheeled legs and a round hole cut in the lid. A group of primary school children is seated on the floor, watching the pianist, inside an art gallery.
Allora and Calzadilla
A young man stands inside a grand piano, and leans forward to play the piano keys with one hand, with a look of concentration. The piano has a round hole cut in the lid.
A man stands inside a grand piano, which has a round hole cut in its lid. The man plays the piano keys with one hand and plucks the strings with the other hand, with a look of intense concentration. Around 7 people stand against a bare white wall, watching the pianist.
A man stands inside a grand piano, and leans forward to play the piano keys, with a look of intense concentration. The piano has wheeled legs and a round hole cut in the lid. Two women stand, recording the pianist on their mobile phones, next to a wall decorated with a detailed painted mural of gruesome Japanese spirits.
A man stands inside a grand piano, and leans forward to play the piano keys. The piano has wheeled legs and a round hole cut in the lid. A crowd of around 15 people is watching the pianist, inside a modern art gallery.
A young man stands inside a grand piano, and leans forward to play the piano keys, with a look of intense concentration. The piano has wheeled legs and a round hole cut in the lid. A group of school boys stand next to the piano, watching the pianist.

Allora & Calzadilla

Jennifer Allora
born 1974 in Philadelphia, US

Guillermo Calzadilla
born 1971 in Havana, Cuba

live and work in San Juan, Puerto Rico

 

Stop, Repair, Prepare: Variations on ‘Ode to Joy’ for a Prepared Piano, 2008
Entrance Court, Art Gallery of New South Wales
17 – 30 October 2019

Never before seen in Sydney, Jennifer Allora and Guillermo Calzadilla’s Stop, Repair, Prepare: Variations on ‘Ode to Joy’ for a Prepared Piano was presented in the Entrance Court of the Art Gallery of New South Wales over two weeks. At once poetic and athletic, the work combines music, performance and sculpture to create a captivating experience for audiences. In collaboration with the Sydney Conservatorium of Music, Stop, Repair, Prepare… was performed by specially trained pianists—current and former Conservatorium students, and some who had performed the work before—on a modified Bechstein grand piano, on loan for the occasion from the Castello di Rivoli in Turin, Italy. The work was first presented in Australia as Kaldor Public Art Project 26 at the State Library of Victoria.

Jennifer Allora & Guillermo Calzadilla create works that explore societal systems and are characterised by their sense of playfulness and use of humour. They respond to these contemporary issues by using visual art as a tool for experimentation and research, creating poetic videos, photographs, collages, sculptures and installations. Allora & Calzadilla often include performative elements in their works, soliciting public interaction and participation.

 

Presented on the occasion of the exhibition Making Art Public: 50 years of Kaldor Public Art Projects at the Art Gallery of New South Wales, 7 September 2019 – 16 February 2020
]]> Nadia Odlum https://kaldorartprojects.org.au/profile/nadia-odlum/ Wed, 02 Jun 2021 01:34:34 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3424

Nadia Odlum

Nadia Odlum
A small art gallery space, with low dividing walls, decorated with a zig-zagged black line across the walls and floor. A group of 5 children and an adult stand and crouch around two triangular mirrored tables in the gallery, playing with geometric coloured blocks. Two adults sit nearby.
Two triangular mirrored tables, topped with an arrangement of geometric coloured blocks. A black line zig-zags across the floor.
A young woman sits at a table, smiling, and making a collage of coloured paper. A group of around 6 children and 3 adults sits around 3 tables, cutting coloured paper. The tables are covered in black cloth, and littered with coloured paper, scissors and glue. Text on the wall of the room reads, “Nadia Odlum, All possible combinations.”
A group of 9 young people, dressed in colourful clothing, stand in a circle in the middle of an art gallery. The young people perform identical gestures, passing a sheet of coloured paper to their left. Around 5 people stand around the walls, watching the performers.

NADIA ODLUM

born 1991 in Sydney, Australia
lives and works in Sydney, Australia

 

All possible combinations, 2019
Lower Level 2, Art Gallery of New South Wales
21 December 2019 – 16 February 2020

For our final Kaldor Studio project, Nadia Odlum invited audiences of all ages to explore space, movement and perspective in All possible combinations. Expanding upon the systems-based approach of Sol LeWitt, the installation featured colourful, tessellating blocks, which could be reconfigured in boundless combinations.

Over eight weeks, All possible combinations transformed Kaldor Studio into a space for collaboration, problem-solving, joyful discovery and play. Zig-zagged lines encouraged children to explore, while interactive blocks compelled visitors to work together to solve the puzzle and flex their creativity. Through a series of hands-on workshops, Odlum welcomed visitors to create “books without words“ and contribute to the growing Kaldor Studio Library.

As part of the project, Nadia Odlum collaborated with Future Makers, the youth dance company for the Western Sydney-based Dance Makers Collective. The artist guided the group as they developed a choreographic response to the Making Art Public exhibition, culminating in a performance at the Art Gallery of NSW on 12 February, during Art After Hours. Audiences were intrigued by the performance, as the young dancers wove between exhibition “boxes”, investigating the Kaldor Archives through movement, and exploring the unspoken codes that regulate behaviour in public space.

 

Nadia Odlum is a multidisciplinary artist living and working in Western Sydney. She creates immersive works that explore an intimate relationship with spatiality and urban architecture. Inspired by the abstract patterns and forms of the built environment, her work acts as a medium to reflect on how the body experiences space.

Nadia Odlum has presented work at the Museum of Contemporary Art Australia, the New York Transit Museum, Murray Art Museum in Albury, Artspace Ideas Platform, Firstdraft and Penrith Regional Gallery. In 2015 she was a resident at the Cité Internationale des Arts in Paris in the Art Gallery of New South Wales’ Moya Dyring Memorial Studio. She was an artist in residence at Parramatta Artists’ Studios in 2016 and 2019.

Nadia is also a passionate educator. She has created and delivered workshops for the New York Transit Museum, Museum of Applied Arts and Sciences, Art Gallery of NSW, Parramatta Artists’ Studios and Kaldor Public Art Projects. In 2018 she completed an education fellowship and artist residency at The Wassaic Project in New York. Here she led a program called “Art Scouts“, in which she collaborated with performers and choreographers to deliver a lesson series that explored movement and navigation in urban space.

 

Special thanks to Gandel Philanthropy as Major Education Partner for the exhibition
Kaldor Studio artists were generously supported by the Copyright Agency’s Cultural Fund
]]> Lucas Ihlein and the Rizzeria Collective https://kaldorartprojects.org.au/profile/lucas-ihlein-and-the-rizzeria-collective/ Wed, 02 Jun 2021 01:33:51 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3423

Lucas Ihlein and the Rizzeria

A large printing machine sits in the centre of a small art gallery space. Coloured prints on paper are pinned on low walls behind the printer, and suspended in a canopy from the ceiling. At the sides of the gallery are a large trestle table with seating, a letterbox and two hanging rows of coloured aprons. There is printed text on the wall, the printing machine and on a bright pink floor sticker, which reads, “Extra! Extra!”.
Brightly coloured graphic prints on paper suspended in an overhead canopy. Colourful text on the pages reads, “Extra! Extra!”
Three people stand by a printing machine, in the centre of a small art gallery space. One man reads a sheet of paper. Coloured prints on paper are pinned on low walls behind the printer, and suspended in a canopy from the ceiling.
Printed pages from a newspaper, arranged in rows, pinned to grey felt, on a wall.

Lucas Ihlein

born 1975 in Sydney, Australia
lives and works in Wollongong, Australia

 

EXTRA! EXTRA!
Lower Level 2, Art Gallery of New South Wales
9 November – 15 December 2019

From 9 November – 15 December 2019, Lucas Ihlein and the Rizzeria activated Kaldor Studio with the weekly newspaper EXTRA! EXTRA!, as a critical and playful response to Making Art Public.

Over five weeks, Ihlein worked with the Rizzeria team to produce five editions of the newspaper in situ. Each edition featured contributions from guest writers, photographers and artists, and offered a rare depth of engagement with the history and archives of Kaldor Public Art Projects.

EXTRA! EXTRA! transformed Kaldor Studio into an active, working production house. Visitors were invited to “remix” the Kaldor archives and create their own unique print, or pen letters to the editor for a chance to feature in the newspaper.

 

Lucas Ihlein is an Australian artist whose work explores the relationship between socially engaged art, agriculture and environmental stewardship. He is a founding member of artists’ collectives SquatSpace, Big Fag Press, Teaching and Learning Cinema (TLC), Kandos School of Cultural Adaptation (KSCA), and The Rizzeria printing collective.

The Rizzeria is a printing co-operative managed by artists, illustrators and self-publishers. In various forms, since 2009, the collective has owned and operated a Risograph printer and made it available for public use through workshops and open print sessions. Our aim is to challenge and develop the aesthetic possibilities of stencil press printing and make it available as a creative resource. Riso printing is a combination of the processes of screen printing and photocopying, using rich soy inks and translucent stencils to create vibrant and uniquely tactile prints. It is best suited for small-to-medium print runs, and is often used for zines, posters and limited edition artists’ prints. Riso printing is affordable and has little impact on our environment. The Rizzeria studio is currently located at the Joynton Avenue Creative Centre.

 

Special thanks to Gandel Philanthropy as Major Education Partner for the exhibition
Kaldor Studio artists were generously supported by the Copyright Agency’s Cultural Fund
]]> David Capra & Teena https://kaldorartprojects.org.au/profile/david-capra-teena/ Wed, 02 Jun 2021 01:33:19 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3422

David Capra & Teena

A man, wearing a white collared shirt, holding a brown dachshund in his arms, speaks into a microphone. A group of around 15 children crowd around the man and his dog.
A large, pale blue timber sculpture of a cartoon-like dog, sits, with one paw raised, in a modern art gallery. The dog is decorated with blue and pink paper flowers. A man and two small children stand nearby, as the man attaches a paper flower to the sculpture.
A man and woman sit at a small, curved white table, decorated with blue pencil illustrations. The man and woman are popping out blue and pink flowers, printed on paper.
A man, dressed entirely in white, and smiling widely, holds in his arms a brown dachshund wearing a knitted coat. The man stands next to a large, round table, decorated with a bright pink table skirt, and arranged with plates of colourful cupcakes and biscuits. A crowd of around 15 people stands nearby, watching the man, smiling and laughing, in a large, open, tree-lined park.

David Capra & Teena

born 1982 in Sydney, Australia
lives and works in Sydney, Australia


Puppy Love, 2019
Lower Level 2, Art Gallery of New South Wales
7 September – 3 November 2019

From 7 September – 3 November 2019, David Capra and his charismatic dachshund, Teena, launched the Kaldor Studio with their unique brand of wonder and whimsy. Inspired by the perennial audience favourite, Jeff Koons’ Puppy, 1995, their participatory artwork, Puppy Love, 2019, took the form of a 2.5-metre high timber dachshund against a backdrop of Capra's playful illustrations. Puppy Love was enthusiastically embraced by visitors, who decorated the sculpture with around 20,000 personal floral tributes.

Teena is quite the publicity hound. In 2016 she appeared on the 9 Network's Today Show to promote her own fragrance, Eau de Wet Dogge. In 2015, Teena's Bathtime was launched at the Museum of Contemporary Art Australia's Jackson Bella Room, where visitors related to Teena's experiences around anxiety—Teena doesn’t quite enjoy bathtime. In 2018, David and Teena performed 'The long and short of it: Life lessons from art-dog Teena' to an audience of 5000 people at TEDx Sydney, and answered the question “What makes a dachshund the perfect muse?“ in an article for The Guardian newspaper. Most recently, David and Teena collaborated with Kaldor Public Art Projects, producing a series of Teena Takes on... educational videos unpacking the Kaldor Public Art Projects archives.


Special thanks to Gandel Philanthropy as Major Education Partner for the exhibition
Kaldor Studio artists were generously supported by the Copyright Agency’s Cultural Fund
]]> Bill Viola https://kaldorartprojects.org.au/profile/bill-viola/ Wed, 02 Jun 2021 01:30:33 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3421

Bill Viola

A man in a white robe, levitating above a stone platform, in a gushing torrent of water.
A woman in a dark, hooded robe, arms outstretched, against a wall of blazing fire.
A woman in a dark, hooded robe, kneeling, arms outstretched, against a wall of blazing fire.

Bill Viola

born 1951 in New York, US
lives and works in Long Beach, California, US

 

Fire Woman
Tristan's Ascension (The Sound of a Mountain Under a Waterfall)
Domain Theatre, Art Gallery of New South Wales
7 September 2019

On the opening day of the exhibition Making Art Public, exclusive screenings of Bill Viola’s powerful and haunting video works Fire Woman and Tristan’s Ascension (The Sound of a Mountain Under a Waterfall) were presented in the Domain Theatre, Art Gallery of New South Wales.

Previously shown as part of Kaldor Public Art Project 17 at St. Saviour’s Church, Redfern, 2008, and again for Project 21 at St. Carthage’s Church, Melbourne, 2010, the works were originally commissioned for a Los Angeles Philharmonic presentation of Wagner’s epic nineteenth-century opera Tristan und Isolde, in collaboration with director Peter Sellars and conductor Esa-Pekka Salonen. The two videos were created for the opera’s final act, in which the lovers are united in death. Viola drew their inspiration from elemental transformations described in the Tibetan book of the dead. Fire Woman depicts “an image seen in the mind’s eye of a dying man“, while Tristan’s Ascension portrays “the ascent of the soul in the space after death“.

Bill Viola has been experimenting with video art since the early 1970s, and has been instrumental in its development as a major contemporary artform. Viola’s unique style and imagery, expressed through his extraordinary range of works, has defined a new language for the moving image, using its fluid, ephemeral nature as a means to explore life and death, the reach and limitations of perception and cognition. In exploring universal elements of spiritual themes, his works often echo medieval and Renaissance paintings, seeming at once contemporary and timeless, meditations on the human experience.

 

Presented on the occasion of the exhibition Making Art Public: 50 years of Kaldor Public Art Projects at the Art Gallery of New South Wales, 7 September 2019 – 16 February 2020
]]> Imants Tillers https://kaldorartprojects.org.au/profile/imants-tillers/ Wed, 02 Jun 2021 01:27:52 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3420

Imants Tillers

Imants Tillers
A large painting on the wall of an art gallery. The painting shows coastal cliffs wrapped in white fabric and rope, overlaid with text and chevron patterns. Stacks of small canvas boards sit on either side of the painting.

Imants Tillers

born 1950 in Sydney, Australia
lives and works in Cooma, Australia

 

A New World Rises, 2019
Installation consisting of 32 paintings (synthetic polymer paint and gouache on 583 canvasboards), 169 blank canvasboards and 2 bronze objects
nos. 109616–110369
Photographs by John Gollings

Imants Tillers’ A New World Rises pays homage to the first Kaldor Public Art Project, Christo and Jeanne-Claude’s Wrapped Coast—One Million Square Feet, Little Bay, Sydney, Australia, 1968-69. Tillers was an architecture student when he helped to install the large-scale public artwork in 1969 and credits the experience as first inspiring his ambition to become an artist.

Comprising Tillers’ signature canvas boards, A New World Rises takes the form of a 132-panel painting, depicting a preparatory collage by Christo and Jeanne-Claude and layered with poetic text, and is accompanied by an installation of stacked canvas boards.

Imants Tillers is one of Australia’s foremost contemporary painters. He has exhibited extensively since the 1960s and has represented Australia at significant international exhibitions such as the Venice Biennale, 1986, documenta 7, 1982, and the São Paulo Bienal, 1975. Since 1981 Tillers has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently his paintings have been concerned with place, locality and evocations of landscape.

In 1984, Tillers was one of three Australian artists who contributed to Kaldor Public Art Project 8: An Australian Accent, presented at P.S.1, New York, and the Corcoran Gallery, Washington DC.

 

Exhibited as part of the exhibition Making Art Public: 50 Years of Kaldor Public Art Projects at the Art Gallery of New South Wales, 7 September 2019 – 16 February 2020
Images courtesy the artist, Kaldor Public Art Projects and Roslyn Oxley, Sydney
]]> Ian Milliss https://kaldorartprojects.org.au/profile/ian-milliss/ Wed, 02 Jun 2021 01:27:01 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3419

Ian Milliss

Around 20 long strands of dark orange rope, suspended vertically through the middle of a staircase in an art gallery.
Ian Milliss
Around 20 long strands of dark orange rope, suspended vertically from the ceiling of an art gallery, and through the middle of a staircase.
Around 20 long strands of dark orange rope, suspended vertically through the middle of a staircase in an art gallery, and attached to a heavy base on the floor.

Ian Milliss

born 1950 in Sydney, Australia
lives and works in the Blue Mountains, Australia

 

Natural Parallels 2, 2019
rope and steel, dimensions variable

For Making Art Public, Ian Milliss created Natural Parallels 2, a site-specific rope installation within the Art Gallery of New South Wales. Stretching across all four levels of the gallery, two column-like forms emphasised the architectural and spatial elements of their surrounds.

Natural Parallels 2 references a period of transition that occurred for Milliss at the time of the early Kaldor Public Art Projects, echoing similar works made shortly after he volunteered on Christo and Jeanne-Claude’s Wrapped Coast. His focus then shifted from conventional art-making to a socially and politically engaged practice, prompted by his acute awareness and exploration of space.

Ian Milliss is one of Australia’s first conceptual artists. His early 1970s participatory works soon led to a practice based on the premise that the artist’s role is to generate cultural change rather than manufacture content for the art industry. He has since worked with many progressive social and political groups and mostly with audiences outside the art world, ranging from urban activism and unionism to innovative agriculture. He argues that currently the most culturally significant activities are not recognised as art, are done by people who don’t call themselves artists, and will only be categorised as art in retrospect.

In 2020, Milliss participated in Kaldor Public Art Project 36: do it (australia), the organisation’s first digital art project.

 

Commissioned by Kaldor Public Art Projects for the exhibition Making Art Public: 50 Years of Kaldor Public Art Projects at the Art Gallery of New South Wales, 7 September 2019 – 16 February 2020
Images courtesy the artist and Kaldor Public Art Projects

]]> Alicia Frankovich https://kaldorartprojects.org.au/profile/alicia-frankovich/ Wed, 02 Jun 2021 01:23:01 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=3418

Alicia Frankovich

A group of around 40 diverse people lie on the floor of an art gallery. The people are lying on their sides, in an identical pose, with one knee bent upwards, and looking in the same direction, with serious expressions. An audience of around 40 people stands and sits on the edge of the group, watching.
A group of around 10 diverse people in a large, open art gallery space. The people are smiling, facing different directions, and posing with different gestures.
Alicia Frankovich
A group of around 50 diverse people in a large, open art gallery space. The people stand, facing the same direction, in an identical pose, with one arm upstretched and with focused expressions. An audience of around 100 people stands and sits on the edge of the group, watching.

Alicia Frankovich

born 1980 in Tauranga, New Zealand
lives and works in Melbourne, Australia

 

The Work, 2019
performance, 60 min
14 and 28 September 2019, 1pm
Photographs by Christopher Snee, AGNSW

For Making Art Public, Alicia Frankovich presented The Work, a large-scale choreography of the Entrance Court at the Art Gallery of New South Wales, Sydney.

Performed by those who have worked behind-the-scenes across the organisation’s 50-year history, from gardeners and security guards to make-up artists and architects, The Work explored the language of public art and offered renewed insights into the Kaldor Public Art Projects archive. Frankovich’s choreography, assisted by Brooke Stamp, drew from participant’s memories and experience of past projects, revealed through actions, physical arrangements and dialogue. The 60-minute performance was presented on two occasions in September 2019 and marked the opening month of the exhibition.

Alicia Frankovich is one of the leading artists of her New Zealand generation, known for her performances, sculptures, videos, and her enquiry into exhibition situations that engage viewers within exhibition formats. Frankovich’s practice investigates how the physicality and behaviour of a body operates within social settings and constructs—including plays of dominance and re-negotiating the audience/performer relationship. She has a BVA in sculpture from AUT, Auckland, and an MFA from Monash University. Frankovich is a current recipient of the Australian Government Research Training Program Scholar, PhD, The Australian National University, Canberra. Frankovich lives and works in Melbourne, Australia.

 

Performed with John Bayley, Keith Bell, Brendan Buckley, John Corbishley, Michael Dagostino, Sophie Day, Xueer Du, Lauren Eiko, Neil Evans, Ryuichi Fujimura, Qingqing Guo, Alison Guthrie, David Huggins, Chrissie Ianssen, Stephen Jones, Bettina Kaldor, John Kaldor, Brian Mahoney, Karen Libbury, Richard Maude, Nataasha Menon, Ian Milliss, Gill Minervini, April Murdoch, Glenn O'Reilly, Jessica Pedemont, Travis Rice, Michael Rolfe, Leigh Russell, Marian Simpson, Lleah Smith, Cassandra Starr, Robin Stern, Christelle Tuyau, Margot Warre, Ivey Wawn, Tracey West, Serena Weatherall, Beiyuan (Hugo) Zhang, John Zhao and others
Commissioned by Kaldor Public Art Projects as part of the exhibition Making Art Public: 50 Years of Kaldor Public Art Projects at the Art Gallery of New South Wales, 7 September 2019 – 16 February 2020
Images courtesy the artist, Kaldor Public Art Projects and Starkwhite, Auckland
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