Ian Bruce Marr, Australian, Red Gate Resident 2006

November 2008 Update:

As well as contributing a large stonework to the 'From Mao to Now' exhibition at the Armory, Sydney Olympic Park, curated by current Red Gate resident Catherine Croll, Ian has had two solo exhibitions this year, in Orange, New South Wales, and in Sydney.

Ian's paintings and drawings have been selected for exhibition in the

2008 Fleurieu Biennial Art Prize; the Heysen Prize for Interpretation of Place, Hahndorf Academy, South Australia; 'Out of the Blue', Bondi Pavilion Gallery; 'Land', Bourke and Rylstone; Ethical Art Prize, Tap Gallery, Darlinghurst; and 54th Annual Art & Craft Exhibition, Hunters Hill (where his painting received a Commended prize).

Ian is planning to visit Beijing early next year

Barbara Rosenthal, Red Gate Resident

Photos of her installation Self-Devolution in Beijing at The Pickled Arts Center during her Residency:

http://www.emedialoft.org/artistspages/beijing2006.htm

Lisa Erdman, Red Gate Resident, 2006

November 2008 Update:

Multimedia artist Lisa Erdman recently moved to Finland, in order to study in the doctorate of art program of the Pori School of Art and Media, within the University of Art and Design Helsinki. For more information on Lisa's work: www.lisaerdman.com

Info about research at the University of Art and Design Helsinki:
Doctoral Dissertations – Pori School of Art and Media >>
University of Art and Design – Research Database >>

www.lisaerdman.com

Pavol Roskovensky, Red Gate Resident

November 2008 update:

I would like to inform you that March 6^th 2009 will be the opening of my next exhibition at Space 39 contemporary art gallery. The show will be called Blue. I will keep you posted about the show once it gets closer. For a little more detail on it please visit my website

www.pavolr.com

Best wishes
Pavol Roskovensky

Vienna Parreno, Red Gate Resident 2007

November 2008 update:

Fears of a Jaded Descent, an installation conceived and created during Parreno's 2007 residency was exhibited at the downstairs gallery of Gallery 4a the Asia-Australia Art Centre as one of the simultaneous solo and group exhibitions showcased by the art centre for the months of June and July as part of their parallel program for the 2008 Sydney Biennale. The other solo shows were by Melbourne based Thai artist Vipoo Srivilasa called Roop-Rote-Ruang at patron Daniel Droga's residence & a dawn to dusk Nightvision screening by Byron Bay based composer & media artist Robert Iolini called The Hongkong Agent)

The group exhibition of Thai new media artists curated by Michael Shaowanasai called Lifeboat #2551 comprised the international component.

http://www.bos2008.com/page/gallery_4a.html

Mickey Smith, Red Gate Resident

November 2008 Update:

EXHIBITION:
MICKEY SMITH | YOU PEOPLE

DATES: November 14 - December 21, 2008
RECEPTION: Friday, November 14, 6 - 8pm

Marbod Fritsch, Red Gate Resident 2008

November 2008 Update:

Einladung| Invitation

Lauter Tore! | Many Gates!
Neue Zeichnungen | Marbod Fritsch
New drawings | beijing |april – june 2008
Peking | April - Juni | 2008

Von April bis Juni arbeitet der Vorarlberger Künstler Marbod Fritsch als “Artist in Residence“ in Peking. Er ist in einem Land, in dem er keinen Menschen kennt und die Sprache nicht spricht. Diese Beziehungs- und Sprachlosigkeit provozieren bei Fritsch einen Rückblick auf seine künstlerische Praxis. Entgegen seiner ursprünglichen Pläne entscheidet sich Fritsch auf ein älteres – noch nicht realisiertes – Konzept zurückzugreifen und dieses in Peking zu realisieren: in zahlreichen Zeichnungen und Leinwänden setzt er sich mit der prägnanten Form eines Tores auseinander. Dieses Projekt vermittelt dem Künstler in seiner Situation die notwendige Stabilität. Aufgrund ihrer starken Präsenz in der traditionellen chinesischen Architektur sind die Tore für Fritsch aber auch eine direkte Verbindung mit seinem Aufenthaltsort.

Das Konzept erfährt während des Aufenthaltes eine intensive Veränderung durch ein persönliches trauriges Ereignis: nach den ersten Wochen des Aufenthalts in Peking stirbt der Vater des Künstlers. Diese führt – nach der Rückkehr in die chinesische Hauptstadt – zu einer Serie von 5 großformatigen Leinwänden. In diesen verschwinden die vorher präsenten Tore hinter einem atmosphärischen weißen Schleier. Vordergrund und Hintergrund verschmelzen. Ein Symbol für das Sterben, für die Leere des Todes, für Transzendenz. Diese Arbeiten geben Marbod Fritsch viel Zeit und Raum über seinen Vater nachzudenken, Trauerarbeit zu leisten. Aber diese Werke geben dem Künstler auch einen richtungsweisenden Impuls für sein zukünftiges Werk.

Am Mittwoch, 26. November um 20.00 Uhr wird in der Bregenzer Galerie Arthouse die Ausstellung mit den “chinesischen“ Arbeiten von Marbod Fritsch eröffnet.

Eröffnung:
Mittwoch, 26. November 2008 um 20.00 Uhr

Galerie Arthouse
Römerstraße 7
6900 Bregenz
T +43 5574 45192
arthouse.alber@aon.at
www.arthouse.at




Cathy Busby and Gary Kennedy, Red Gate Residents 2007 & 2008
Exhibition:

RED GATE INTERNATIONAL ARTIST RESIDENCY PROGRAM invites you to the opening of two of our current international artists in residence

Cathy Busby, Canadian & Garry Neill Kennedy, Canadian

Opening reception: 4pm - 8pm Friday October 17th

The Pickled Art Centre #1 Feijiacun, Laiguangyingdonglu, Chaoyang District, Beijing

17 October - 9 November 2008

YOUR CHOICE, an installation by Cathy Busby

Entitled Your Choice, this artwork uses supermarket packaging and display along with oversized vinyl banners to consider ideas about marketing and branding in the immediate aftermath of ‘Beijing 2008’. For this installation, Cathy Busby presents two wall-sized vinyl banners and a small-format publication.

Jinkelong is a busy neighbourhood supermarket chain selling hundreds of food items. While some packaging refers to traditional Chinese ink-painting, calligraphy, and ceramic vessels, this is contrasted by a sea of contemporary promotional posters including a racing-car track scene and a view of oversized youthful athletic figures dwarfing the Olympics National Stadium Bird’s Nest.

The Chinese characters, 向您推荐, literally “Recommended to You,” are translated as Your Choice on in-store banners, an example of discrepancies in meaning common in translation. However, the artist chose these titles as signifiers of individualism and abundance and for their upbeat marketing tone that characterizes contemporary consumer culture both in China, where she is visiting and in Canada where she lives.

During the Olympics and Paralympics, spectacular vinyl banners provided the packaging of Beijing for this momentous occasion. They were wrapped around the city’s ubiquitous hoardings creating a celebratory ambiance. The vinyl banner is the perfect large-scale sign solution since it can be inexpensively printed in full-colour, is opaque, durable and easily transported. For this installation, the artist takes advantage of these qualities but presents something quite different – her unspectacular snapshots of supermarket and hoarding scenes.

Last year at Pickled Art Centre her wall-text painting and publication featured contemporary message t-shirts in Beijing. Your Choice continues this series, along with her other projects of the past year, 24/7 (Aberdeen, Scotland), Sorry (Sydney, Australia) and Branded (Waterloo, Canada).

Your Choice opens Friday, Oct. 17, 4 – 8 pm at Pickled Art Centre and continues through November 9. A small-format book (120pp) will be launched during the exhibition period and will include images of the installation and a text contribution by Monika Vykoukal, Curator, Peacock Visual Arts, Aberdeen, Scotland.

The artist acknowledges generous support from the Canada Council and the Nova Scotia Department of Tourism, Culture and Heritage.

I Don't Want to Pay the Full Price, an installation by Garry Neill Kennedy

Garry Neill Kennedy's installation at the Pickled Arts Centre, Beijing, is a large room painting of multi-coloured text. The text and title of his work is "I don't want to pay the full price". This is an expression that Kennedy appropriated from the Lonely Planet Phrasebook – Mandarin where it is included under the heading "Practical". The phrase is also given in Chinese characters. (Its literal translation means "Please give me a discount."). The Lonely Planet Phrasebook is intended to be helpful to English speaking persons who do not speak Chinese.

For this work Kennedy has painted the English text, "I don't want to pay the full price" to cover the gallery walls, three meters high, in his signature Superstar Shadow font. The painting is in the five colours of Chinese 'event' flags or banners. These are the ubiquitous satin coloured flags of blue, green, pink, yellow and bright red that line the streets of Beijing. One frequently sees them flapping in the wind, on short poles affixed to the top of construction hoarding or tied to tree trunks in front of a new development or renovation project. There seems to be more reason for their prevalence this year, 2008, because of the Beijing Olympics.

On top of the English text in the paint colour of the bright red banner, Kennedy has painted the seven Chinese characters that say, "Please give me a discount". He has added a sculptural element to the installation by positioning the five actual banners in a row, along the centerline of the gallery floor.

Like many of Kennedy's works "I Don't Want to Pay the Full Price" is open-ended and remains without explanation. It developed from the installation he did last year at Pickled Art Centre entitled, "The Eight Banners: A Chinese History Painting" – a room painting in bright reds, yellows, blues and white. That work recalled the banner system introduced by the Qing Dynasty (1644 -1911) to structure their control of China both administratively and militarily. This year's work focuses on the current dynamic economic intertwining of China and the West that grew out of China's "Socialism with Chinese Characteristics" and Western free market capitalism.

Garry Neill Kennedy is a senior Canadian artist who lives in Halifax, Nova Scotia. In addition to an active career as an artist he has been teaching studio art at the Nova Scotia College of Art and Design (NSCAD University) for over forty years where he also served as president for 23 years. He was visiting professor at California Institute of the Arts (Cal Arts) and École des Beaux Arts, Paris (ensba). His most recent solo museum exhibitions were held at the National Gallery of Canada, The Art Gallery of Nova Scotia and Portikus (Frankfurt am Main).In 2003 he was a recipient of the Order of Canada and in 2004, the Governor General's Award in the Visual Arts. He is currently editing a book for MIT Press, entitled, NSCAD: The Conceptual Art Years, 1968 - 1982

Deb Bain-King, Red Gate Resident
An Note and Update from past Red Gate International Artist Deb Bain-King

I have at last completed my masters exigis, and must say how grateful I am for the time spent in Beijing. I was able to sort out a lot of ideas in Beijing. And of course the help in getting a group of Chinese people to agree to stand in a space without speaking was wonderful. I came back to Melbourne and was able to refine my project and feel determined about what it was I exactly wanted to do. Having the footage from Beijing enabled the work to take a comparative look at the ways the space of the social is so influenced by site and culture. From there it made sense to film in a European city, Palermo.

The work was presented as a video installation/event. Three projectors screened footage from Beijing, Palermo and Melbourne at life-size scale. I gathered together people with little or no art interest and asked them to come together in the midst of the opening and stand silently as a group for ten minutes. Slowly a silence accrued as awareness of the group and the mirroring of the content of the video was realized. The audience negotiated a flip back and forth between observing the video and participating in an event very like the one they were watching. Their status as viewer therefore became unstable, were they the audience or the event? A momentary dissonance was created. This moment of frisson, this uncertainty was the core element of the social encounter I really wanted to catch. The aspect of viewing that which is real and that which is virtual was also highlighted. We view the two differently and position ourselves in relation to either in a different manner.

I'm going to Jerusalem for three weeks starting in late March 2009, to take more footage to add to this work and screen it as video without the performative element. I'm also hoping to translate the Beijing video to see what nuance is added by listening to the conversation that takes place.










Chen Ping, Red Gate Resident 2008
Paint, Hope, & Pain
That's Beijing, Summer 2008






http://www.chenping.com.au/