HERE&NOW18
Besides, it is always the others who die
HERE&NOW18 presents new works from Western Australian artists Dr Perdita Phillips, Dr Alex Spremberg, Carly Lynch, Peter & Molly, Julie Dowling, and Bjoern Rainer-Adamson that respond to the challenge of contemporary art set by Marcel Duchamp 100 years ago. The year 2018 marks the 50th anniversary of Duchamp's death, as well as 50 years since the Marcel Duchamp: The Mary Sisler Collection exhibition of his work, which toured to the Art Gallery of Western Australia in 1968. To mark the occasion, HERE&NOW18 offers a contemporary engagement with the iconoclastic technical, social and cultural legacy of Duchamp through themes of duality, process and disruption - while participating in a reflective dialogue with a private collection of Marcel Duchamp artworks and ephemera.
HERE&NOW18 presents new works from Western Australian artists Dr Perdita Phillips, Dr Alex Spremberg, Carly Lynch, Peter & Molly, Julie Dowling, and Bjoern Rainer-Adamson that respond to the challenge of contemporary art set by Marcel Duchamp 100 years ago. The year 2018 marks the 50th anniversary of Duchamp's death, as well as 50 years since the Marcel Duchamp: The Mary Sisler Collection exhibition of his work, which toured to the Art Gallery of Western Australia in 1968. To mark the occasion, HERE&NOW18 offers a contemporary engagement with the iconoclastic technical, social and cultural legacy of Duchamp through themes of duality, process and disruption - while participating in a reflective dialogue with a private collection of Marcel Duchamp artworks and ephemera.
CLICK HERE TO VIEW THE CATALOGUE
CLICK HERE TO VIEW THE EXHIBITION GATEFOLD
CLICK HERE TO VIEW THE EXHIBITION ROOMSHEET
PUBLIC PROGRAMMING
Exhibition Opening: Fri 31 August 6pm at LWAG
Going Slow: Art x Mindfulness: Wed 19 Sep 1pm at LWAG
Art + Law: Appropriation art, authorship and copyright law: Sat 22 Sep, 2pm at LWAG
Symposium: So Duchamp: Sat 6 Oct, 11am at Woolnough Theatre
Talk: What is good and bad art?: Fri 26 Oct, 1pm at LWAG
Talk: Duchamp, computing, collaboration and friendship: Fri 9 Nov, 1pm at LWAG
[Access Program] Let's Meet at LWAG: For visitors with Alzheimer's: 13 Oct 2pm + 1 Dec 11:30am at LWAG
[Access Program] For visitors with vision impairments: Sat 1 Dec, 2pm at LWAG
[Access Program] LWAG Signs: Auslan tour: Sat 8 Dec, 11:30am at LWAG
L-R:
Bjoern Rainer-Adamson, Rifle, 2018, readymade but modified reconstruction of optima typewriter, notebook, 50 x 47 x 25cm.
Bjoern Rainer-Adamson, Optima decoder, 2018, hand engraved brass tool used to decrypt Quote cards encrypted and Rifle, 31 x 5cm.
Bjoern Rainer-Adamson, Leadbox, 2018, plywood, lead, collection of clues, explanations and ideas from Rifle, Optima decoder and Moments of conflict sealed within, 28 x 28 x 28cm.
Bjoern Rainer-Adamson, Quote cards encrypted, 2018, paper, hand typed on modified Optima typewriter, 15 x 10cm each.
Bjoern Rainer-Adamson, Rifle, 2018, readymade but modified reconstruction of optima typewriter, notebook, 50 x 47 x 25cm.
Bjoern Rainer-Adamson, Optima decoder, 2018, hand engraved brass tool used to decrypt Quote cards encrypted and Rifle, 31 x 5cm.
Bjoern Rainer-Adamson, Leadbox, 2018, plywood, lead, collection of clues, explanations and ideas from Rifle, Optima decoder and Moments of conflict sealed within, 28 x 28 x 28cm.
Bjoern Rainer-Adamson, Quote cards encrypted, 2018, paper, hand typed on modified Optima typewriter, 15 x 10cm each.
L-R wall:
Marcel Duchamp, L.H.O.O.Q Rasee (shaved), 1965, readymade: playing card with reproduction of the Mona Lisa, 8 x 6cm, mounted to dinner invitation dedicated to Mrs Colette Roberts. Signed and annotated ‘rasee’ in ink, from the edition of approx. 100.
Marcel Duchamp, Poster of Duchamp and Duchamp-Villon, Musee National d’Art Moderne, 1967, 1967, lithograph on paper.
Marcel Duchamp, Roulette de Monte Carlo (Obligation Monte Carlo), 1938, colour lithograph.
L-R display case:
Marcel Duchamp, The Almost Complete Works of Marcel Duchamp 18 June – 31 July 1966, 1966, catalogue.
Marcel Duchamp, NOT SEEN and/or LESS SEEN by/of MARCEL DUCHAMP/RROSE SÉLAVY 1904-64, 1965, catalogue.
Marcel Duchamp, View: The Modern Magazine, 1945, magazine.
Marcel Duchamp, VVV: Poetry, Plastic Arts, Anthropology, Sociology, Psychology, Almanac for 1943, 1943, book with chickenwire cover.
Marcel Duchamp, First Papers of Surrealism 1942, 1942, catalogue.
Marcel Duchamp, Butterfly Book: Complete set of four pamphlets published by Georges Hugnet, 1941, zincograph with engraving and stencil detail.
© 2018 Artists Rights Society (ARS), New York/ADAGP, Paris/ Estate of Marcel Duchamp. Succession Marcel Duchamp/ ADAGP, Paris. Copyright Agency, 2018.
T.D. Picton-Warlow & J.J. Robson Collection
Marcel Duchamp, L.H.O.O.Q Rasee (shaved), 1965, readymade: playing card with reproduction of the Mona Lisa, 8 x 6cm, mounted to dinner invitation dedicated to Mrs Colette Roberts. Signed and annotated ‘rasee’ in ink, from the edition of approx. 100.
Marcel Duchamp, Poster of Duchamp and Duchamp-Villon, Musee National d’Art Moderne, 1967, 1967, lithograph on paper.
Marcel Duchamp, Roulette de Monte Carlo (Obligation Monte Carlo), 1938, colour lithograph.
L-R display case:
Marcel Duchamp, The Almost Complete Works of Marcel Duchamp 18 June – 31 July 1966, 1966, catalogue.
Marcel Duchamp, NOT SEEN and/or LESS SEEN by/of MARCEL DUCHAMP/RROSE SÉLAVY 1904-64, 1965, catalogue.
Marcel Duchamp, View: The Modern Magazine, 1945, magazine.
Marcel Duchamp, VVV: Poetry, Plastic Arts, Anthropology, Sociology, Psychology, Almanac for 1943, 1943, book with chickenwire cover.
Marcel Duchamp, First Papers of Surrealism 1942, 1942, catalogue.
Marcel Duchamp, Butterfly Book: Complete set of four pamphlets published by Georges Hugnet, 1941, zincograph with engraving and stencil detail.
© 2018 Artists Rights Society (ARS), New York/ADAGP, Paris/ Estate of Marcel Duchamp. Succession Marcel Duchamp/ ADAGP, Paris. Copyright Agency, 2018.
T.D. Picton-Warlow & J.J. Robson Collection
Marcel Duchamp/the Mary Sisler collection/78 works 1904-1963 (incl. illust catalogue), 1967-1976, paper documents, dimensions variable.
© Australian State Galleries/Art Gallery of Western Australia and State Records Office of Western Australia.
The display of this selection of documents for HERE&NOW18: Besides, it is always the others who die is courtesy of The State Records Office of Western Australia, the Art Gallery of Western Australia, Auckland Art Gallery Toi o Tāmaki, the Art Gallery of New South Wales, the Art Gallery of South Australia and the Queensland Art Gallery I Gallery of Modern Art.
© Australian State Galleries/Art Gallery of Western Australia and State Records Office of Western Australia.
The display of this selection of documents for HERE&NOW18: Besides, it is always the others who die is courtesy of The State Records Office of Western Australia, the Art Gallery of Western Australia, Auckland Art Gallery Toi o Tāmaki, the Art Gallery of New South Wales, the Art Gallery of South Australia and the Queensland Art Gallery I Gallery of Modern Art.
Perdita Phillips, Sans colle, 2018, altered books, dimensions variable.
Perdita Phillips, Between a shipwreck and an anthill, 2018, mixed media installation, dimensions variable.
Bjoern Rainer-Adamson, Moments of conflict (mechanical contention), 2018, plywood, deconstructed Victor mechanical calculator from 1969 parts reassembled with additional electric motors, 97 x 200 x 85cm.
Julie Dowling, Self Portrait: Code Switch - Mirabaya (Changing Skin), 2018, mica gold, acrylic, glitter with holographic plastic, 100 x 120cm.
Alex Spremberg, The Sound of White, Even, 2018, enamel on vinyl records, 215 x 473cm.
L-R:
Aaron & Etta, The Art Turns to Shit, 2018, single channel video/documented performance on opening night, © Peter & Molly.
Peter & Molly, Water Closet, 2018, recycled wardrobe, toilet, light, sound, 174 x 105 x 203cm.
Aaron & Etta, The Art Turns to Shit, 2018, single channel video/documented performance on opening night, © Peter & Molly.
Peter & Molly, Water Closet, 2018, recycled wardrobe, toilet, light, sound, 174 x 105 x 203cm.
Carly Lynch, To Strip/To Dress, 2018, installation of deconstructed french chair (c1900), horse hair, pleated velvet, trimming, interfacing, cotton thread, calico, chalk, wool stuffing, hessian fabric/dust, wire, upholstery tacks, dimensions variable.
Photography: Lawrence Wilson Art Gallery UWA. Courtesy of the artists
Photography: Lawrence Wilson Art Gallery UWA. Courtesy of the artists
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
