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      Each of the contributing artists works in specific ways on or between existing environments, their systems and structures. Such environments may well be pre-existing, under construction or imaginary. The exhibition gathers generational differences—mature and established artists along with those emerging—along with differing practices and mediums. Within this manifold of differences there are repetitions of concerns, with works that consider the act of transportation in its materiality, scale or concept through specific relations to place and context.

      It could be said: When we are 'dream'n wild' we transport ourselves out of our material bodies. We extend beyond physical and practical restraints that seem to limit our capacities in order to imagine we are making something no longer finite: Something impossibly huge, or impossibly bright or deep, in spite of our reason or a given logic. One of these was the constructing of a room whose artificial incandescence was so infinitely bright that on entry one would be blinded.

      Light, illumination, here becomes infinitely dangerous. There was another project, also impossibly spatial, though in this case volumetrically so: West wanted to fit the water from an entire swimming pool into a teacup.

      Bonita Bub appears courtesy of The Commerical, Sydney. After spending more than two hundred hours painting microscopic tableaux onto the wings of a plastic Demon Prince this devastation caused Hardy to quit painting forever.

      A body of work has been produced with sympathies towards this, with text written by Bradley Vincent. I discussed the title "Real Abstraction" with the artist and it was agreed that it was general enough for each artist to interpret it in their own way, yet specific enough to suggest a certain logic shared between the work. Each of these artists in one way or another makes pictures of images.

      This awareness of imaging is a thoroughly contemporary and timeless theme of art. Please join us at the Opening to celebrate these two exhibitions. Spanning several decades of his career, Wildflower, Wanted and Afire brings together a suite of tapestries that mine classical and religious iconography, queer imagery and the artists personal biography to create contemporary, often autobiographical, geographically local tableaus.

      The tapestries in Wildflower, Wanted and Afire are the experiences and images of a lifetime, remembered and merged in needlework. Within the similar field structure of our works, we both make use of graphite in unique ways; surface density, compactness, atmosphere and gesture are present in each of our works. From a densely powdered blackness to a sleek, reflective sheen, these works speak to how an artist finds his way with and through material qualities. This exhibition is a reminder to remain vigilant.

      Complacency is our enemy. We have an obligation as privileged citizens to not be satisfied with floating on the placid lake, but to swim down into its murky darkness and pit ourselves against its current.

      Still water runs deep; but so does blood. So does history and so does our depth of feeling. We owe it to those who came before us and those who will be here after us to do our part, whatever that may be. This sculptural and film based body of work explores emotional and material outcomes of the conflicting tensions between instinctual and cultural energies.

      As well as how observing the spectral material presence of elemental shapes, in form, action, and movement, can reveal and manipulate present energies, desire and intention. Riffing on popular culture and shot through with dark humour, expressed always with Hancock's bold use of colour, form and technique, the result is both immediately comic and complex.

      As associations between content and form are revealed, layered visual gags find their mark and rewarding details emerge. Stand P21b. Departing from his photographic practice, Jack Lanagan Dunbar presents a new suite of works that engage with materiality and representation. This collection of pieces delves into the act of mark-making, the micro and potentially macro aspects of surfaces, light, and a sense of impending [ Clayton-Smith presents amalgamations of images and forms sourced through a process of documenting the minutia of everyday lived experience both online and through a constant process of re-exploring her collected archive of images.

      Together the works frame a question regarding the value and responsibilities of poetic language and automatic abstraction to a background of cultural displacement, longing and environmental abuse. Opening Night - Friday 15th September - 6 to 8pm. Exhibition continues to 30th September ALASKA Projects [car park] This group exhibition brings together seven artists whose works engage with gender and sexuality, exploring the ways in which we move through the world as gendered bodies and aims to expand the rigidity around how we view what is male and what is female.

      Through the lenses of feminist, queer, trans and anti-racist subjectivities, the artists offer diverse representations of gender which defy categorisation, revealing how gender informs lived experience across marginalised identities.

      Curated by Grace Partridge with assistance from Emma Size. Drew Holland's practice creates a material dialogue between digital and physical archives. Influenced by appropriated cultural nostalgias, their work exists as an ahistoric archaeological representation of shared virtual space. It aims to actualise his feelings of dysphoria towards place, queerness and history.

      Inside, a series of video game screenshots are pressed onto handmade ragpaper formed from archived personal belongings. Outside are three digital drawings: overlaid found images of figures, text and gestural marks are warped, rescaled and printed on light brown, French cotton paper. Cold Cuts considers psychoanalysis as a practice, set of assumptions, and interior space. Thinking about how analysis regulates the body — as it sits in a room, as it answers questions, as it returns to re-staged scenes of primary trauma or ecstasy — the show asks what kind of discipline therapy is, especially when the terms of analysis are unclear, obscured, or altered.

      This exhibition presents a series of painting that are graphically unattractive and familiar, in hope to end up on an iPhone screen. Users choose how many dream cycles they put the image through and the result is a psychedelic melange of patterns upon patterns and images upon images. This is a computer-generated algorithm but it mimics the human tendency towards pareidolia, which is the spontaneous and often subconscious recognition of patterns within obscure stimuli.

      In large format, the prints function like a Rorschach test, whereby the audience extrapolate their own interpretation for the image they are looking at. The two sculptures come from the same source material as the prints, inhabiting the boundary between figuration and abstraction. They are psycho-sexual minimalist sculptures that on the one hand are grounded in industrial fabrication processes and materials, yet on the other exist in a realm of free-association, memory and psyche.

      As they are all taken from industrial source material, the works may also be approached as a formal language of the industrial past century, from which we have almost extracted ourselves but not entirely. Will one day humans look back at parts of cars, manhole covers for gas and electricity services, and complex schematic diagrams for machines as semi-sacred objects? Our prosperity has been built upon resources and industry, so it would not be out of the question for a post-industrial society from the future to believe that we deified the infrastructural elements of the industry that is becoming our environmental downfall.

      Following on from a recent Neon Parc exhibition, 'Cream Dream' presents a series of works which pivot around ideas, spaces and objects of Desire. Featuring painting, textile and sculpture, Matthew's is work of candour, domestic awareness and a kind of comic erotisim.

      Referencing an ongoing series of ink drawings, the artist harks on the kitsch and spiritual connotation of coastal forms such as shells, flowers, trinkets, waves and reduced cosmic phenomena. While choosing these motifs is affectionate and somewhat adolescent, reworking them into paintings chuckles at a tendency for nostalgic forms to loiter in consciousness, returning time and again in a kind of second-hand idolatry.

      In turn the motifs become a mechanism for more formal concerns in the artist's practice such as flow, mark-making, playfulness, agency and relief. Collage-like and gestural, AQUA LUNG presents these symbols in various configurations, shifting them away from their original illustration to further explore painting as intimate, active and open-ended. This performance series brings together artists exploring the tyranny and poetics of everyday machines.

      After cookies, the Web becomes a space capable of extraordinary monitoring. The relative invisibility of digital surveillance, and the proliferation of consumer modes of online surveillance has both intensified and rendered ambivalent our relationships to being surveyed. Sound will provide a means for listening back to some of the imperceivable surveillance infrastructures that form our habitual online browsing.

      In this new collaboration, the artists speak to and through this blobby avatar to re-imagine its ennui as an aesthetic of quiet and slow moving fallibility. Holidays and special events play a major role in this series; family portraits, Halloween, a trip to the museum. The series of work draws on tactics of abstraction and reduction to question what a trans gender -materiality could look and feel like.

      Competition is a human trait; an attitude and a theme. The aim of this animation was to pay homage to the urban environment around me. These two concerns, I found to my delight, were wedded in the solitary figure of the flaneur. Featuring footage drawn from a series of improvised screen tests, the work stars a troupe of dancers locked in a perpetual loop of cinematic seconds, occupying a space somewhere between performance, parody and pleasure.

      Exhibition opens 9th of November, pm. Design by Sleep Projects. I pray for big chunks of meat, for big bowls of alcohol and for sex. They send me demons to battle. A gift and a prize. They say I am Fourth Uncle, which would make five uncles.

      They say I am looking for something that doesn't exist and that what I find is something I already know. We drink and eat together at a small square table. Number of episodes: 6. Episode titles: We have 6. Vintage: Episode 1 AT-X broadcast. Release dates: We have 6. Official website: Top wo Nerae 2!

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      Post Production : Luca Franciosi. Ilaria Latini as Nono. Niseem Onorato as Nicolas Vacheron. Tatiana Dessi as Tycho Science. Marco De Risi as Casio Takashiro. Monica Ward as Serpentine Twin. Valeria Vidali as Serpentine Twin. Andrea Ward as Ufficiale di stato maggiore epp Bruno Alessandro as Dhorasoo epp Dante Biagioni as Maestro ep 6. Dario De Rosa as Membro equipaggio 2 ep Ennio Coltorti as Hatori.

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