RMIT Gallery Christmas & summer opening times

RMIT Gallery will be closed from Saturday 24 December to Monday 2 January 2017, reopening on Tuesday 3 January. 

Are you in the city over summer? Come into our air conditioned gallery right in the centre of the cultural district and enjoy our interactive summer exhibition – Morbis Artis: Diseases of the Arts (until 18 February  2017).

Have a play with (((20))) VIM\SIMS which explores visually and sonically induced motion sickness (pictured above). Place your hand in the well of the plinth and watch shadows dance to the sound.The experience is in turns dissociative and enveloping – and potentially nauseating. This is serious academic discourse as popular entertainment; physical discomfort as fine art.

For those who prefer gentler interactive experiences, explore the work of Andrea Rassell. We are silently surveilling one another is a microscopically mediated installation that puts the human organism on the slide and offers up a perspective of that humanity as a crawling seething mass.

In his review on the exhibition for The Article, Sam Leach commented “The works provide scope for a poetic and elliptical understanding of the interactions between humans and non-humans and the ideas of connection and contamination.”

Don’t forget – RMIT Gallery is open until 7 pm every Thursday night, and from 12 noon to 5 pm every Saturday during exhibitions.

Merry Christmas from RMIT Gallery and thank you for your support in 2016. We look forward to seeing you in the New Year with more compelling exhibitions in 2017.

 

 

Photography & particle accelerators: Harry Nankin & Chris Henschke at RMIT Gallery

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Harry Nankin installing his work Syzgy at RMIT Gallery as part of the exhibition Morbis Artis: Diseases of the Arts (until 18 February 2017)

In the final of our public programs for the exhibition Morbis Artis: Diseases of the Arts at RMIT Gallery (17 November – 18 February 2016) join us at RMIT Gallery on Tuesday 13 December from 12.30-1.30 pm when photographer Harry Nankin and artist Chris Henschke talk about their work.

In Harry Nankin’s work (pictured above) nine, multi-panel palimpsests are displayed on light boxes, and lake Tyrell in the semi-arid Mallee region of Victoria becomes semi-arid land as the impact of the contemporary ecological crisis finds its root and branch in starlight and shadowgram as live invertebrates mourn the age of the anthropocene.

The work ‘photo-poetically’ memorializes this erasure, resurrecting the dry lakebed into a focal plane upon which primal starlight is used to imprint photographic films on moonless nights. The environmental disease at the heart of this work is human-made: as we lay waste to our planet, the stars are slowly going out.

The prepared images include rare astronomical glass plate negatives from the telescopes at Mount Palomar (USA) and Siding Spring (Australia) and camera-less photographs of live native anthropods gathered from the lake’s shore.

Harry Nankin’s work honours the lost sacrament and acts as a metaphor for our global ecological predicament.

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About Harry Nankin: Harry Nankin is an Australian photo media artist and educator. In 1993 Nankin put aside the camera altogether and he has been creating ‘photograms’ (and occasionally ‘chemograms’) in the studio and on location in forest, desert, atop mountains and under the sea.

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Chris Henschke with his work Song of the Phenomena, opening night, Morbis Artis: Diseases of the Arts at RMIT Gallery. Photo by Vicki Jones.

Chris Henschke’s work explores anti-matter as we bare witness to how radiation is released by organic matter. Using an actual particle accelerator, the work shows how the humble banana emits antimatter on a regular basis. In an age where we fear the way antimatter impacts upon the nature of everyday life and the workings of the cosmos, we see how the organic itself brings potential dissolution to the human world.

About Chris Henschke

Chris Henschke is an artist and researcher who works with digital and analogue media and high-energy physics. He has exhibited around Australia and internationally, and has undertaken art residencies at the Australian Synchrotron, supported by an Arts Victoria Arts Innovation grant (2008), and the Australia Council for the Arts Synapse program (2010). He has developed and lectured courses in time based and interactive media at RMIT University, Monash University, and the ‘Art vs Science’ seminar series at the University of Melbourne Victorian College of the Arts. Currently, he is undertaking a Doctorate of Philosophy at Monash University, which includes on-site work at the European Organisation for Nuclear Research (CERN), Switzerland, as part of the ‘art@CMS’ collaboration.

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What: Hanny Nankin and Chris Henschke artist talk

When: Tuesday 13 December 12.30-1.30 pm

Where: RMIT Gallery 344 Swanston Street, Melbourne

Free: register for tickets

A corrupting metaphor? Artists ponder disease & the arts – Thursday 8 December talk at RMIT Gallery

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Lienors Torre, Cabinet of Ocular Obscurities, referencing the grotesque sideshow or museum displays of biological abnormalities. Morbis Artis: Diseases of the Arts installation image by Mark Ashkanasy, RMIT Gallery, 2016.

Join  us on Thursday 8 December from 5.30-6.30pm  at RMIT Gallery when Sean Redmond co-curator of Morbis Artis: Diseases of the Arts discusses science, the arts and disease with Alison Bennett, Drew Berry, and Lienors Torre. And there will be poetry as well as pondering.

In his review on the exhibition for The Article, Sam Leach commented “The works provide scope for a poetic and elliptical understanding of the interactions between humans and non-humans and the ideas of connection and contamination.”

Speakers:

Lienors Torre’s multi-media and glass work on degenerative vision explores how our view of the world is metered and tainted by digital technologies. Consisting of a large glass eyeball, Ipad and augmented application, and a glass cabinet full of glass jars filled with water in varying degrees of opacity and with engraved eye images on them, eyes quickly become raindrops, as the liquidity of vision is brought to watery life. There are tears and scars that reflect across the eyes of this exquisite art-piece.

Alison Bennett’s touch-based screen work presents the viewer with a high-resolution scan of bruised skin. Invited to touch the soft and damaged tissue before them, their eyes become organs of touch, and their fingers work as sensory digits that feel as they move over what becomes a damaged but delicate bio-art surface.

In Drew Berry’s work, infectious cells are set free onto walls so that the very connective tissue of the exhibition room teems with the droplets of life and death. Herpes, influenza, HIV, polio and smallpox bacteria take flight, are magnified, so that those entering the space are hit by scale and size, and take part in this chorea of the senses.

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Invasion of the Ants (2016), three screen installation by Joshua Redmond and Sean Redmond, Morbis Artis: Diseases of the Arts. Installation image by Mark Ashkanasy, 2016, RMIT Gallery.

In Sean and Josh Redmond’s three-screen video installation, ants become a different type of political disease. Combining found and actuality footage, the work uses the metaphors of ant invasion to re-envision the current refugee crisis and the way stateless people are made to be matter-out-of place. The central image of the piece, a flimsy toy dinghy floating on the salty water, recalls Australia’s turn back the boat policy, and the haunting truth that it is children who are made to suffer most. This is a disease of political undertaking.

What: Morbis Artis – panel discussion with Sean Redmond, Alison Bennett, Drew Berry and Lienors Torre.

When: Thursday 8 December 5.30-6.30 pm

Where: RMIT Gallery, 344 Swanston Street, Melbourne.

 Freeplease register.

Touch me: Alison Bennett speaks about ‘expanded photography’ on 6 December 1-2 pm

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Bruise, 2015, by Alison Bennett. Morbis Artis: Diseases of the Arts Installation image by Mark Ashkanasy, RMIT Gallery, 2016.

Artist Alison Bennett works in ‘expanded photography’ where the boundaries of photography have shifted in the transition to digital media and become diffused into ubiquitous computing.

Her work has generated international viral media attention more than once and features in the current RMIT Gallery exhibition Morbis Artis: Diseases of the Arts at RMIT Gallery (17 November – 18 February 2016)an interactive bio-art exhibition that uses actual and metaphoric communicative diseases to explore the fractured relationship between human and non-human life.

Alison Bennett will be speaking about her work and ‘expanded photography’ at RMIT Gallery on Tuesday 6 December from 1-2 pm.

Her interactive piece Bruise is a touch-based screen work that presents the viewer with a high-resolution scan of bruised skin. Invited to touch the soft and damaged tissue before them, their eyes become organs of touch, and their fingers work as sensory digits that feel as they move over what becomes a damaged but delicate bio-art surface.

Bennett’s recent projects explored the creative potentials of augmented reality, stereophotogrammetry, 3D scanning, and virtual reality as encompassed by the medium and practice of photography.

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Artist Alison Bennett with her interactive work Bruise at RMIT Gallery.

As a neuroqueer trans-media artist, Bennett’s work has explored the performance and technology of gender identity and considered the convergence of biological and digital skin as virtual prosthesis.

What: Alison Bennett artist talk on ‘expanded photography’

When: Tuesday 6 December, 1-2 pm

Where: RMIT Gallery, 344 Swanston Street, Melbourne.

Bookings: register

Artist talk: Jodi Sita: the creative relationship between art and science practice

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Seeing the future: Jodi Sita’s image of her own eye revealed the early stages of glaucoma, a largely an invisible eye disease.

Jodi Sita is an academic and researcher in the areas of neuroscience and anatomy, and with a leading interest in the creative relationship between art and science practice.

She will be speaking about her work in Morbis Artis: Diseases of the Arts at RMIT Gallery, along with Alison Bennett on Tuesday 6 December 1-2 pm at RMIT Gallery.

Jodi’s fascination for understanding how anatomical systems work and her strong visual tendencies have seen her research, teach and create artwork around the ecology of the human body.

“The Macular collection shows one normal and four degenerated eyeballs allowing us to glimpse the heinous beauty of this pathological and debilitating condition,” Jodi said.

“The Retina collection allows a look into the dark spaces of the eye…and My Eye are images of my own eye, showing a normal healthy eyeball structure – except for an image (pictured above) in which it was discovered I was in the early stages of glaucoma.

“In the Pupils collection (below), the colours and palates of the iris have been enhanced to create images that evoke landscapes, lightning strikes, planets and flowers – all scenes we scan with our irises. Hidden only to vision scientists and specialists, are the amazing landscapes found at the back of the eyeball; the retina, the macular and the fovea.”

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Jodi Sita with her work in Morbis Artis: the colours and palates of the iris have been enhanced to create images that evoke landscapes, lightning strikes, planets and flowers.

Jodi Sita is currently editing an anthology on Eye Tracking The Moving Image with Bloomsbury Press.

What: Jodi Sita artist talk on the creative relationship between art and science practice

When: Tuesday 6 December, 1-2 pm

Where: RMIT Gallery, 344 Swanston Street, Melbourne.

Bookings: register

Vale Peter Corrigan AM – ‘maverick’ architect prepared to take risks

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Architectural model, Peter Corrigan: Cities of Hope, RMIT Gallery 2013. Installation image by Mark Ashkanasy

Vale Peter Corrigan AM – RMIT Architecture Professor and RAIA Gold Medal winning architect, well known for designing RMIT’s Building 8 – a campus landmark and city icon.

RMIT Gallery’s Cities of Hope exhibition in 2013 paid tribute to Corrigan’s creative achievements across architecture and set design, and explored his status as a ‘maverick designer’ prepared to take risks.

RMIT Gallery Director Suzanne Davies said her intrigue and respect for Peter Corrigan’s creative output and teaching made the idea of an exhibition immediately compelling both in the achievements of the architectural firm Corrigan and Edmond along with Corrigan’s work in theatre.

“Throughout, it is the voice and vision of Peter Corrigan, nudging, guiding, shaping, challenging, provoking, transforming, enabling and seducing, that we hear and see in all their contrarian passion.”

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Installation image, Peter Corrigan: Cities of Hope, RMIT Gallery, 2013. Image by Mark Ashkanasy.

Corrigan, who has passed away on 1 December 2016,  was a professor of architecture at RMIT since 1975. In 2013, the Institute awarded him the Neville Quarry Architectural Education Prize. Read more.

“I first became aware of Peter Corrigan’s energy and influence as a teacher at the time RMIT became publisher of the architectural journal Transition and then through his theatre work having been engaged to photograph a set and costumes,” Ms Davies said.

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Peter Corrigan set design, Cities of Hope, RMIT Gallery 2013, photo by Mark Ashkanasy

Peter Corrigan: Cities of Hope traced the creative focus of the remarkable Australian architect, bringing to life many of his designs over four decades including architectural models and drawings by Edmond and Corrigan; set and costume designs for theatre; artworks, records and notations from his personal collection and key works selected from public collections which have enriched his practice.

“Peter Corrigan always made it clear to RMIT Gallery the need to be mindful of historical context. He attended thoughtfully to most if not all our exhibitions.”