Last days: current RMIT Gallery exhibitions close on 30 May

RMIT Gallery Unfolding: New Indian Textiles, RMIT Gallery, 20 MAR 2015 - 30 MAY 2015 - photo by Mark Ashkanasy.

RMIT Gallery Unfolding: New Indian Textiles, RMIT Gallery, 20 MAR 2015 – 30 MAY 2015 – photo by Mark Ashkanasy.

The current exhibitions at RMIT Gallery – Unfolding: New Indian Textiles, Backs of Banaras by Terry Burrows and Art After Fukushima: Return of Godzilla close at 5 pm on Saturday 30 May. Don’t miss seeing these visually compelling shows. Here is what others are saying about them:

“Loving these brilliant colors!” That’s a typical comment from audiences who come to Unfolding: New Indian Textiles, which celebrates the handmade and strong tradition craftsmanship in Indian villages, and the innovative designers who meld the old and the new to reach out to a global audience.

“This is an outstanding exhibition of color and texture, that has opened our eyes to an India of which we were unaware,” is a comment in our visitor’s book.

This is echoed by other comments – “Indian textiles – wool stitching is incredible – excellent exhibition!”; “Visually and technically magnificent!”; “An amazing, inspiring, surprising, beautiful exhibition…a truly memorable and very beautiful experience to behold.”

RMIT Gallery: Unfolding: New Indian Textiles, 20 MAR 2015 - 30 MAY 2015 Indian textile designers are the envy of the rest of the world because they continue to have close, easy contact with all manner of hand production and crafts no longer available elsewhere. Photo by Mark Ashkanasy, 2015

RMIT Gallery: Unfolding: New Indian Textiles, 20 MAR 2015 – 30 MAY 2015
Indian textile designers are the envy of the rest of the world because they continue to have close, easy contact with all manner of hand production and crafts no longer available elsewhere. Photo by Mark Ashkanasy, 2015

The complementary exhibition Backs of Banaras, by Terry Burrows, presents a display of large photographic prints that lines up many torsos along the ghats of the Ganges at Varanasi (Banaras). Banaras is known as the city of Shiva, one of India’s most revered sites of Hindu ritual, and the exhibition invites viewers to explore another side of India.

The exhibition provides a visual contrast with Unfolding: New Indian Textiles and this dichotomy between high fashion and the textiles worn by villagers in rural India is a deliberate choice by RMIT Gallery Director and Chief Curator Suzanne Davies.

RMIT Gallery Director Suzanne Davies with artist Terry Burrows at his RMIT Gallery exhibition Baccks of Banaras, a curated selection of works from his book which they are holding. Photo: Evelyn Tsitas

RMIT Gallery Director Suzanne Davies with artist Terry Burrows at his RMIT Gallery exhibition Baccks of Banaras, a curated selection of works from his book which they are holding. Photo: Evelyn Tsitas

“The aim of the exhibitions is to showcase the 21 st century application of Indian craftsmanship to an international audience, and to reveal also the everyday, ordinary textiles worn in rural areas,” Ms Davies said.

“We wanted people to have a meditative experience when they viewed Backs of Banaras, and pause to enjoy a sense of calm.”

And it worked – in the visitor’s book, someone notes; “Terry Burrows photos were outstanding. An intriguing set that kept revealing more and more on many levels; aesthetic, social, patterns, texture, shapes – wonderful. Thoroughly enjoyed the exhibition and it opened my eyes to new ways of seeing.”

RMIT Gallery 20 Mar 2015 - 30 May 2015 Japanese Art After Fukushima: Return of Godzilla: photo by Mark Ashkanasy, 2015

RMIT Gallery
20 Mar 2015 – 30 May 2015
Japanese Art After Fukushima: Return of Godzilla: photo by Mark Ashkanasy, 2015

One of the great strengths of a university public art gallery is its ability to explore often provocative ideas and challenge viewers, showcasing how artists have responded to certain events or ideas. This is the case in the third exhibition at RMIT Gallery, shown alongside Unfolding: New Indian Textiles and Backs of Banaras.

The exhibition Japanese Art After Fukushima: Return of Godzilla is curated by Associate Professor Linda Williams, RMIT School of Art, and draws inspiration from two major events in Japan that led to radioactive contamination: the bombings of Hiroshima and Nagasaki in 1945 and the 2011 tsunami. Art After Fukushima questions the benign effects of the use of nuclear power, as explored through the work of six Japanese artists.

One visitor commented; “An excellent showing of three very different exhibitions. The Indian materials are stunning. The Japanese exhibition is so powerful and hauntingly beautiful in its vulnerability. The Backs of Banaras captures each moment in time with exquisite human stories. Thank you!”

Here at RMIT Gallery we work with a passion for the arts and are firm believers in the power of cultural diplomacy and the ability of the arts to move and affect people. Perhaps it is too big a task to ask any artform to be able to change people’s perspectives, but we do believe that well curated exhibitions have an impact on people, even if it is just an opportunity to take a moment to think – and view – things differently.

RMIT Gallery 20 Mar 2015 - 30 May 2015 Japanese Art After Fukushima: Return of Godzilla:  close up of new commissioned work by Yutaka Kobayashi - ‘Absorption Ripples – Melt down melt away’ 2015, made from  Zeolite, Lichen and mixed media.  Installation photo by Mark Ashkanasy, 2015.

RMIT Gallery
20 Mar 2015 – 30 May 2015
Japanese Art After Fukushima: Return of Godzilla: close up of new commissioned work by Yutaka Kobayashi – ‘Absorption Ripples – Melt down melt away’ 2015, made from
Zeolite, Lichen and mixed media. Installation photo by Mark Ashkanasy, 2015.

We are always attentive to the comments in our visitor book, and are often very moved by what people choose to spend time to write and tell us about their experience. Here are some more highlights:

“As a disability support pensioner with acquired brain injury, it was wonderful to attend an exhibition free of charge…thank you very much for what I saw and this wonderful opportunity.”

“Positive – positive – positive! A challenge to deadly uranium. Keep it in the ground. This art is revolutionary!”

Art After Fukushima: Ken and Julia Yonetani to speak at RMIT Gallery 26 May

Japanese Art After Fukushima: Return of Godzilla - RMIT Gallery 20 March- 30 May 2015. Installation image of work by Ken and Julia Yonetani by Mark Ashkanasy.

Installation image of work by Ken and Julia Yonetani by Mark Ashkanasy, RMIT Gallery, 2015.

Artists Ken and Julia Yonetani’s eerie light display is part of the Japanese Art After Fukushima: Return of Godzilla (20 March – 30 May) exhibition at RMIT Gallery. The artists will be making a special visit from Japan to RMIT Gallery to talk about their work in the exhibition, which has captivated audiences.

Their stunning works use vintage uranium glass borosilicate tubing and emit a green, unnatural glow which is made by the uranium reacting to a UV bulb. 

RMIT Gallery 20 Mar 2015 - 30 May 2015 Japanese Art After Fukushima: Return of Godzilla

RMIT Gallery
20 Mar 2015 – 30 May 2015
Japanese Art After Fukushima: Return of Godzilla. Photo: Mark Ashkanasy, RMIT Gallery, 2015

Renowned art critic Robert Nelson (The Age, SMH) wrote at length about the poetic qualities in the Yonetani’s work on May 19, and called the exhibition, curated by Linda Williams, “collected and thoughtful”, praising its relevance to the environmental themes presented in the thought provoking festival, Art + Climate = Change, which gathers local and international artists working with environmental ideas.

Ken + Julia Yonetani are an Australian / Japanese creative partnership whose work explores the interaction between humans, nature, science and the spiritual realm in the contemporary age.

Ken + Julia YONETANI Crystal Palace: The Great Exhibition of the Works of Industry of all Nuclear Nations (Hungary), 2012  Antique chandelier frame, uranium, glass beads, wire, UV light bulbs and electric component 44 x 44 x 44 cm

Ken + Julia YONETANI
Crystal Palace: The Great Exhibition of the Works of Industry of all Nuclear Nations (Hungary), 2012
Antique chandelier frame, uranium, glass beads, wire, UV light bulbs and electric component
44 x 44 x 44 cm. Photo Evelyn Tsitas

Conceived in response to the Fukushima Daiichi nuclear disaster in Japan in 2011, the work is comprised of 31 chandeliers. Antique chandelier frames have been refitted with uranium glass and UV lighting; once switched on, the UV bulbs cause the glass beads to glow with a haunting green. The pieces signal the 31 nuclear nations of the world, in the RMIT Gallery exhibition, Hungary and South Africa.

The size of each chandelier corresponds to the number of operating nuclear plants in each nation. The overarching title of the work references the grandiose building designed for the Great Exhibition of 1851 in London, hinting at the tension between human ambition, technological development and its costs and consequences.

Ken and Julia Yonetani will talk about the unusual materials they use in their works, such as uranium glass to provide thought-provoking contemporary installations.

Ken + Julia YONETANI Crystal Palace: The Great Exhibition of the Works of Industry of all Nuclear Nations (Hungary), 2012  Antique chandelier frame, uranium, glass beads, wire, UV light bulbs and electric component 44 x 44 x 44 cm

Ken + Julia YONETANI
Crystal Palace: The Great Exhibition of the Works of Industry of all Nuclear Nations (Hungary), 2012
Antique chandelier frame, uranium, glass beads, wire, UV light bulbs and electric component
44 x 44 x 44 cm. Photo Evelyn Tsitas

As Ken Yonetani explained to artradarjournal.com (16/01/2015) about working with uranium glass (which is slightly radioactive) in the chandeliers – two of which are on display at RMIT Gallery; “Some specialists say it is safe for our health, but we wanted to work quickly to finish the installation…the number of chandeliers we had to do was 31 and it took two years. We are still alive!”

Japanese Art After Fukushima: Return of Godzilla is part of the Art + Climate = Change 2015 Festival presented by Climarte: Arts for a Safe Climate, celebrating and identifying Australian and international artists working with environmental ideas.

This exhibition focuses focus on the work of six contemporary Japanese and Japanese-Australian artists responding to the events at the Fukushima nuclear power plant in 2011 and its environmental implications; Yutaka Kobayashi; Ichi Ikeda; Manabu Ikeda; Takashi Kuribayashi; Finger Pointing Worker; and the collaboration of  Ken and Julia Yonetani.

What: Ken and Julia Yonetani – Artist floor talk

Date: Tuesday 26 May

Time: 12.30 – 1.30 pm

Venue: RMIT Gallery, 344 Swanston Street Melbourne

Bookings: Free. Bookings (03) 9925 1717

CLIMARTE

CLIMARTE colour+

Who Speaks for the Earth?: Energy, Politics and Art Forum at Deakin Edge, Federation Square on 7 May


Thursday 7 May, 6:00 PM:  Who Speaks for the Earth?:  Energy, Politics and Art. Bookings and information.climarte-910x450_0

Japanese Art After Fukushima: Return of Godzilla - RMIT Gallery 20 March- 30 May 2015. Installation image of work by Ken and Julia Yonetani by Mark Ashkanasy.

Japanese Art After Fukushima: Return of Godzilla – RMIT Gallery 20 March- 30 May 2015. Installation image of work by Ken and Julia Yonetani by Mark Ashkanasy.

A public forum about how climate change and environmental risks are represented from different positions in the arts, politics and in debates on nuclear energy. Follow the discussion throughout the night: #earthspeaks2015

An RMIT Gallery and ART + CLIMATE = CHANGE 2015 Festival event presented by CLIMARTE, in conjunction with the AEGIS Research Network. AEGIS is a network of artists and scholars focused on the question of how the arts and humanities can respond to natural history and the global problems of climate change and loss of biodiversity.

Kindly supported by Melbourne Conversations, the City of Melbourne’s program of free talks.

Speakers:

Chair: Associate Professor Linda Williams, RMIT University (curator of the exhibition Japanese Art After Fukushima: Return of Godzilla at RMIT Gallery 20 March – 30 May).

Dr Helen Caldicott (Author and environmental activist) will speak on how conflicting interests are represented in public debates on nuclear power.

William L. Fox (Author, Nevada Center for Art + Environment) will talk about the age of the Anthropocene and its cultural representation.

Associate Professor Peter Christoff (University of Melbourne) is a political scientist, teaching and researching climate policy and environmental policy. He will speak on how the issue of climate change is addressed in politics.

Professor Kate Rigby (Monash University) will focus on how writers and philosophers are responding to the issue.

David Buckland (Cape Farewell) will speak about how the Cape Farewell Project has enabled artists and people from other fields to interpret climate change.

 Event sponsored by:

Melbourne Conversations, the City Of Melbourne’s Program of free talks
Japanese Art After Fukushima: Return of Godzilla, RMIT Gallery 20 Mar 2015 - 30 May 2015. Image - Mark Ashkanasy

Japanese Art After Fukushima: Return of Godzilla, RMIT Gallery
20 Mar 2015 – 30 May 2015. Image – Mark Ashkanasy

Easter opening times at RMIT Gallery

Enjoying the exhibition Unfolding: New Indian Textiles at RMIT Gallery. Image - Vicki Jones Photography, 2015.

Enjoying the exhibition Unfolding: New Indian Textiles at RMIT Gallery. Image – Vicki Jones Photography, 2015.

RMIT Gallery’s opening times over the Easter break are as follows:

Good Friday April 3rd: CLOSED

Saturday April 4th: 12-5PM – normal Saturday viewing times

Sunday April 5th: CLOSED

Monday April 6th: CLOSED

Tuesday April 7th: 11-5PM – normal times resume

Wednesday April 8: 11-7 pm (late night viewing)

If you are in the Melbourne CBD when we are open, please drop in to our three new exhibitions – Unfolding: New Indian Textiles; Backs of Banaras; Japanese Art After Fukushima: Return of Godzilla.
And to everyone – sincere wishes for a safe and peaceful time of the year.

Celebrating the opening of Japanese Art After Fukushima: Return of Godzilla

Yutaka Kobayashi with his new work 'Absorption Ripples - Melt down melt away' 2015 Zeolite, Lichen and mixed media, at RMIT Gallery for the exhibition Japanese Art After Fukushima: Return of Godzilla.

Yutaka Kobayashi with his new work ‘Absorption Ripples – Melt down melt away’ 2015
Zeolite, Lichen and mixed media,
at RMIT Gallery for the exhibition Japanese Art After Fukushima: Return of Godzilla. Photo by Evelyn Tsitas

Tonight at RMIT Gallery we celebrate the work of six contemporary Japanese and Japanese-Australian artists:

– Yutaka Kobayashi

– Ichi Ikeda

– Manabu Ikeda

– Takashi Kuribayashi

– Finger Pointing Worker

– And the collaboration of  Ken and Julia Yonetani.

All of the artworks, in their diverse ways, represent imaginative responses to the terrible tsunami of March/2011 and the subsequent meltdown of nuclear reactors at Fukushima. Yutaka Kobayashi’s installation work titled Absorption Ripples – Melt down melt away, is a new work commissioned for the exhibition, which, with quiet, poetic power, speaks to our tendency to forget or ignore the immediate and long term impact of nuclear accidents on land and  in the oceans.

Yutaka is a Japanese environmental artist currently based in Australia on an 18 month residency. The frequently participative outreach component of his art extends his ecological messages into the larger contexts of community. Kobayashi’s installation Absorption Ripples is inspired by the idea of how quickly people forget about great disasters and can get distracted.

Curator Linda Williams explains that the full ecological impact of radioactive material released into the Pacific Ocean after 3/11 is still not fully understood. The work in sand by Yutaka Kobayashi in this exhibition foregrounds this open-ended question as waves seem to ripple outwards from Japan into the Pacific Ocean and beyond, their effects still uncharted.

“This is such a powerful work, and in it we see similarities to Japanese traditions such as Japanese Zen gardens where monks would patiently rake around rocks. Rocks are thought of as beautiful for the Japanese quality of wabi sabi, perfection in imperfection,” Associate Professor William said.

“In the work, where you see the outline of Japan in the rocks, and the force lines of the gravel radiating out from the island itself – it evokes a kind of reverse impact of the Tsunami itself…seeing the incursion of the ocean onto the land.”

Ken + Julia YONETANI Crystal Palace: The Great Exhibition of the Works of Industry of all Nuclear Nations (Hungary), 2012 Antique chandelier frame, uranium, glass beads, wire, UV light bulbs and electric component 44 x 44 x 44 cm

Ken + Julia YONETANI
Crystal Palace: The Great Exhibition of the Works of Industry of all Nuclear Nations (Hungary), 2012
Antique chandelier frame, uranium, glass beads, wire, UV light bulbs and electric component
44 x 44 x 44 cm. Photo by Evelyn Tsitas

Works range from the faux chandeliers of the Yonetani’s with their green, glowing uranium glass named after two uranium utilising nations, Hungary and South Africa; to the confronting accusatory gesture of the anonymous Finger Pointing Worker in front of the Fukushima reactor (this work went viral on YouTube); to the the meticulous drawing of nature’s revenge over a nuclear reactor chimney by artist  Manabu Ikeda, and a new work commissioned for the exhibition by Ichi Ikeda, a Osaka-born artist whose art serves as an inspirational focal point for the exchange of water-related information, as part of the series of the works he has been doing on walks for peace (Time Shelter: Walk Together for Peace! 2015, an Installation with photographs by Tatsuro Kodama).

The exhibition is a current example of how RMIT Gallery has explored the contemporary relevance of global environmental issues with ground breaking exhibitions on this theme such as HEAT: Art & Climate Change (2008) which was the first exhibition of its kind in Australia, and 2112: Imagining the Future (2011) – exhibitions also curated by Associate professor Linda Williams, with Suzanne Davies, Director and Chief Curator of RMIT Gallery, and RMIT Gallery staff.

With this exhibition, RMIT Gallery has expanded and transformed an aspect of research undertaken by the curator, Assoc. Prof Linda Williams for an ARC Linkage project; Spatial Dialogues: Art & Climate Change which developed international dialogues between artists and cultural theorists on the material and cultural significance of water in three cities of the Asia-Pacific region : Melbourne, Shanghai and Tokyo.

Curator Linda Williams talking about a new work in japanese Art After Fukushima: Return of Godzilla, by Ichi Ikeda, Time Shelter: Walk Together for Peace! 2015  Installation with photographs by Tatsuro Kodama

Curator Linda Williams talking about a new work in Japanese Art After Fukushima: Return of Godzilla, by Ichi Ikeda, Time Shelter: Walk Together for Peace! 2015
Installation with photographs by Tatsuro Kodama. Photo by Evelyn Tsitas

From this, a new research project has developed examining the invisible forms of pollution now affecting the world’s oceans such as ocean acidification, the nano-fragmentation of micro-plastics, mercury poisoning and the insidious affects of ocean warming. Whilst such issues are being intensively investigated by scientists, so far they have been marginal to discourses in the arts and humanities. This is about to change.

There is much to reflect on in this exhibition. One might observe that, Japanese Art After Fukushima: Return of Godzilla is yet another initiative by RMIT Gallery which is a global first.

Japanese Art After Fukushima: Return of Godzilla – 27 March – 30 May at RMIT Gallery.

Japanese Art After Fukushima: Return of Godzilla

Ken + Julia YONETANI Crystal Palace: The Great Exhibition of the Works of Industry of all Nuclear Nations (Hungary), 2012  Antique chandelier frame, uranium, glass beads, wire, UV light bulbs and electric component 44 x 44 x 44 cm

Ken + Julia Yonetani
Crystal Palace: The Great Exhibition of the Works of Industry of all Nuclear Nations (Hungary), 2012
Antique chandelier frame, uranium, glass beads, wire, UV light bulbs and electric component
Installation image at RMIT Gallery by Evelyn Tsitas

Associate Professor Linda Williams will give a talk about climate change – a curator’s response, to celebrate Japanese Art After Fukushima: Return of Godzilla on Wednesday March 25 from 12.30 – 1.30 pm.

  • Activity: Linda Williams curator talk:
  • Date: Wednesday 25 March
  • Time: 12.30-1.30 pm
  • Location: RMIT Gallery 344 Swanston Street Melbourne.
  • Free: Bookings (03) 9925 1717

The exhibition looks at the ways in which Japanese artists respond to the events at the Fukushima nuclear power plant in 2011 and its environmental implications.

The exhibition is the latest example of how RMIT Gallery has explored the contemporary relevance of global environmental issues with ground breaking exhibitions on this theme such as HEAT: Art & Climate Change (2008) which was the first exhibition of its kind in Australia, and 2112: Imagining the Future (2011). These exhibitions were also co-curated by Linda Williams and RMIT Gallery.

Ken + Julia YONETANI Crystal Palace: The Great Exhibition of the Works of Industry of all Nuclear Nations (Hungary), 2012 Antique chandelier frame, uranium, glass beads, wire, UV light bulbs and electric component 44 x 44 x 44 cm

Ken + Julia Yonetani
Crystal Palace: The Great Exhibition of the Works of Industry of all Nuclear Nations (Hungary), 2012
Antique chandelier frame, uranium, glass beads, wire, UV light bulbs and electric component
Installation image at RMIT Gallery by Evelyn Tsitas

The massive radioactive monster Godzilla looms large in popular culture, originating in a series of live action Japanese (tokusatsu) films in the 1950s, where it emerged from the sea to destroy Japanese cities, leaving radioactive footprints in his wake. The nuclear bombings of Hiroshima and Nagasaki were fresh in the Japanese consciousness and the character was seen as a metaphor for nuclear weapons.

The events of 1945 also had a profound impact on the Japanese imagination, especially with the terror of invisible radioactive contamination that led to the creation of many thousands of hibakusha: people poisoned by exposure to radiation.

Ken + Julia YONETANI Crystal Palace: The Great Exhibition of the Works of Industry of all Nuclear Nations (Hungary), 2012  Antique chandelier frame, uranium, glass beads, wire, UV light bulbs and electric component 44 x 44 x 44 cm

Ken + Julia Yonetani
Crystal Palace: The Great Exhibition of the Works of Industry of all Nuclear Nations (Hungary), 2012
Antique chandelier frame, uranium, glass beads, wire, UV light bulbs and electric component. Installation image at RMIT Gallery by Evelyn Tsitas 

In the wake of the Fukushima nuclear disaster, when a tsunami tore through the Fukushima Daiichi nuclear plant, the potent image of Godzilla and his anti-nuclear subtext again forces people to question nuclear power.

At 2.45 pm in March 2011, a different kind of disaster struck Japan when a magnitude 9.0 earthquake off the Northwest coast triggered a massive tsunami that reached over 40 metres in places as it smashed its way inland for up to 10 kilometres. The tsunami also damaged the Fukushima Daiichi Nuclear Power Plant, causing explosions and melting the cores of 3 nuclear reactors. The exclusion zone first established by the government at 20 kilometres from the plant was later extended as high levels of radiation were recorded on land and in the sea, again reigniting memories of the invisible threat of radioactive contamination.

Yutaka KOBAYASHI Absorption Ripples - Melt down melt away 2015 Zeolite, Lichen and mixed media

Yutaka Kobayashi
Absorption Ripples – Melt down melt away 2015
Zeolite, Lichen and mixed media. Installation image at RMIT Gallery by Evelyn Tsitas

After the tsunami of 3/11, Godzilla emerged once again from the ocean in a film by Gareth Edwards in 2014, though this exhibition presents a very different range of reflections on the events at Fukushima. Nonetheless, these artworks are also shaped by memories of an event that occurred over 65 years before the tsunami of 2011, as contemporary artists give visual form to the deadly invisible poison of radioactive contaminants to raise questions about the uses of nuclear power as a benign source of energy.

Artists involved:

  • Ichi Ikeda, a Osaka-born artist whose art serves as an inspirational focal point for the exchange of water-related information. He has dedicated the majority of his prolific career to raising global awareness around water issues and conservation through both large and small-scale interventions.
  • Manabu Ikeda, a Japanese artist who lives and works in Wisconsin, USA, whose massive, intricate drawings are influenced by the natural world and can take up to a year to complete. His recent work focused on the turmoil of the 2011 earthquake that hit Japan.
  • Yutaka Kobayashi, a Japanese environmental artist currently based in Australia on an 18 month residency. The frequently participative outreach component of his art extends his ecological messages into the larger contexts of community. Kobayashi’s installation Absorption Ripple is inspired by the idea of how quickly people forget about great disasters and can get distracted.
  • Takashi Kuribayashi, a highly acclaimed Japanese artist whose range of environmental artworks offer an immersive experience of imagined ecologies, using the affective qualities of water as a channel to reimagining not only local ecologies, but also their interconnectedness with regional and global space.
  • Finger Pointing Worker: is an anonymous artist who appeared on a live-to-air webcam and pointed an accusatory finger directly towards a monitoring live camera in Fukushima to show that clear visual imagery in the public domain can sway the communal consciousness.
  •  Ken and Julia Yonetani, artists with an interesting Australia / Japanese creative partnership, exploring the interaction between humans, nature and science.
Yutaka KOBAYASHI at RMIT Gallery, working on his piece Absorption Ripples - Melt down melt away 2015 Zeolite, Lichen and mixed media. Image by Evelyn Tsitas

Yutaka Kobayashi at RMIT Gallery, working on his piece Absorption Ripples – Melt down melt away 2015
Zeolite, Lichen and mixed media. Image by Evelyn Tsitas

Japanese Art After Fukushima: Return of Godzilla runs from 20 March to 30 May 2015, and is is part of the Art + Climate = Change 2015 festival celebrating and identifying Australian and international artists working with environmental ideas.

Upcoming talk:

  • Activity: Linda Williams curator talk:
  • Date: Wednesday 25 March
  • Time: 12.30-1.30 pm
  • Location: RMIT Gallery 344 Swanston Street Melbourne.
  • Free: Bookings (03) 9925 1717

 

Three RMIT Gallery exhibitions opening 26 March 6-8 pm

 

RMIT Gallery official opens the exhibitions Japanese Art After Fukushima: Return of Godzilla, Unfolding: New Indian Textiles and Backs of Banaras on Thursday 26 March from 6-8 pm.

The gallery will also be showcasing a series of free artist and curator talks as part of the opening week.

Artist Yutaka Kobayashi at work at RMIT Gallery on his installation 'Absorption Ripples' for RMIT Gallery's exhibition Japanese Art After Fukushima: Return of Godzilla - official opening 6-8 pm Thursday 26 March 2015.

Artist Yutaka Kobayashi at work at RMIT Gallery on his installation ‘Absorption Ripples’ for RMIT Gallery’s exhibition Japanese Art After Fukushima: Return of Godzilla – official opening 6-8 pm Thursday 26 March 2015. Image Evelyn Tsitas

Japanese Art After Fukushima: Return of Godzilla – Curator talk

Associate Professor Linda Williams will give a talk about climate change – a curator’s response, to celebrate Japanese Art After Fukushima: Return of Godzilla (26 March – 30 May) in which Japanese artists respond to the events at the Fukushima nuclear power plant in 2011 and its environmental implications.

Title: Japanese Art After Fukushima: Return of Godzilla – curator’s talk

Date: Wednesday 25 March

Time: 12.30-1.30 pm

Venue: RMIT Gallery, 344 Swanston Street Melbourne

Bookings: (free) (03) 9925 1717

FukushimaEvite_Final

Unfolding: New Indian Textiles – curator and artist talk

At visual artist Parul Thaker's workshop in India. Image: Helen Rayment

At visual artist Parul Thaker’s workshop in India. Image: Helen Rayment

Curator Maggie Baxter’s exhibition showcases contemporary Indian textile designers and artists. She will talk about the reinvention of traditional textiles within the wider context of international art and fashion with Indian designers Himanshu Dogra (Play Clan), Parul Thaker (visual artist) and Bappaditya Biswas (bai lou).

Title: Unfolding: New Indian Textiles – curator and artist talk (26 March – 30 May)

Date: Friday 27 March

Time: – 12.30 – 2 pm

Venue: RMIT Gallery, 344 Swanston Street Melbourne

Bookings: (free) (03) 9925 1717

Backs of Banaras

This curated selection of anonymous portraits from The Banaras Back Book, taken along the banks of the river Ganges in Varanasi, provides a strangely impersonal view of private moments of contemplation or indifference.

It is also a visual essay in the textiles of the everyday and conveys much of the cultural wealth and contradiction that is contemporary India. Terry Burrows is a Research Affiliate of Sydney College of the Arts, The University of Sydney.

BanarasEvite_Final