2020 EXHIBITION PROGRAM

16 JANUARY–7 FEBRUARY
This is who I am 
Lilly Lai, EJ Son, Soo-min Shim, Athena Thebus (in collaboration with Chloe Corkran) & Zoe Wong
Curated by Sharon Hong

This is who I am explores the experience of being queer Asian-Australian; the familial
connections, cultural expectations, and the binary conflicts on the disparities of the East
and West. The exhibition showcases five contemporary, emerging artists who identify
as Asian-Australian and Queer on the Asian diaspora—within the intersectionality of
our socio-political and socio-cultural climate.  

 

Zoe Wong, littlebrother1, C-Type print. Image courtesy of the artist.

 

13 FEBRUARY–20 MARCH
Geospatial Atlas
Vaughan Wozniak-O’Connor

Geospatial Atlas explores the creative potential of using tracking technologies as a drawing tool.
Presented as a fragmented atlas of biometric data and embodied glitches, this exhibition attempts
to map the emotional qualities of places as filtered through disorienting new technologies.

 

Vaughan Wozniak- O’Connor, Drone Crash, data visualisation of on site materials, drone flight
and emotional response data via galvanic skin response. Image courtesy of the artist.

 

13 FEBRUARY–20 MARCH
Photomechanical

Ciaran Begley, Jack Dunbar, Jack Harman (cur), Matthew James, Sarah Mosca & Zan Wimberley

Photomechanical explores the slippage between photo and object: how light is used as a tool
for sculpting photographic material and how these processes might adumbrate some knowledge
of the medium. The artists present a narrative of ‘light writing’ that is more emanative than reflexive
of its own nature.

 

Matthew James, Flash bulb, transparency film, 2019. Image courtesy of the artist.

 

26 MARCH–1 MAY
Species 

Jana Hawkins-Andersen

Through arrangements that display impact, touch and absorption between materials Species presents
a series of sculptural entanglements. Assembled objects are caught between states of preservation and
decay, creating a porous installation that examines intimacies, points of dissolution between materials
and positions its components as ‘unfinished’ and evolving.

 

Jana Hawkins-Andersen, creeper, installation view, 2019. Photo: Jek Maurer

 

26 MARCH–1 MAY
Link Tree
Corinna Berndt

Exploring myths surrounding the transformation from physical to intangible data, Link Tree questions
concepts of value, narrative, database and language produced by interactions with digital technology.
The works in the exhibition speak to concepts of digital hording, while revisiting ideas relating to digital
promises, cyber-myths of the 1990’s and techno utopias, examined through a generational lens.

 

Corinna Berndt, Silent Museum, video still. Image courtesy of the artist.

 

26 MARCH–1 MAY
Bolero: A Tale of Tech Support
Sophie Penkethman-Young

Bolero: A Tale of Tech Support explores the exhausting repetition of getting online support, using
Maurice Ravel’s orchestral work Bolero as a tool to describe the never ending escalation of tech ‘issues’.
This interactive work looks at late capitalism and how we interact with global corporations.

 

Sophie Penkethman-Young, hand of the artist, 2019. Image courtesy of the artist.

 

14 MAY–19 JUNE
Entre Todo, Todos (Between Everything, Everyone)
Nadia Hernández

Entre Todo, Todos (Between Everything, Everyone) is a new body of work presented as a site-specific
installation at Verge Gallery. Through the documentation of collective memories, imagery, and sounds
this exhibition articulates the intersection between hope and conflict and the taste of a country in collapse.

 

Nadia Hernández, Mi mamá a los 8 años de edad en la montaña de Sorte
(My mum at 8 years of age in the mountain of Sorte), Yaracuy
, Venezuela, 1974. Image courtesy of the artist.

 

9 JULY–13 AUGUST
Faggots Code
Kieran Bryant & Samuel Hodge

The exhibition Faggots Code is a collaborative print, video and text-based installation that looks
towards queer archives with a focus on the word ‘faggot’ within collective lived experience.
The artists aim to use the space as a way to consider the hidden queer codes in film, art,
and contemporary society.

 

Kieran Bryant and Samuel Hodge, Tickets Still Available (pasted on), Digital Archive Print from 35mm, 2013/2019. Image courtesy of the artist.

 

9 JULY–13 AUGUST
Chimeras Flash
Neil Beedie

Look, it may be liberating to be unnameable, but how do you suppose I reach you? These ghosts
in the proverbial wall are leaving me things I can only trace… 

In posturing painting as a space for both invocation & solo performances, I began asking
myself ‘What happens when we inhabit ourselves via conduits?’ A ghost story looking at the
roles contemporary myth, private cinemas, clubs & literary vagrants all play in rarifying those
who dance in the margins.

 

Neil Beedie, Doppleganglam, oil on canvas, 2019. Image courtesy of the artist.

 

20 AUGUST–25 SEPTEMBER
ABRIDGE 
Wei Leng Tay
Curated by Olivier Krischer

ABRIDGE  begins with a series of encounters and interviews with people who migrated from
Southern China
to Hong Kong in the 1970s-2000s. Presented through photography, video and
interviews, the exhibition reflects on the longing, anxiety and shifting identity that come with this
movement through entangled geographies.

This geography is today the site of massive infrastructural commitments, which seem to fulfil the
promise of national unity, straddling and blurring administrative borders. How have people, and
their lives, fit into this process of construction—of borders, of infrastructure, of national futures?

Wei Leng Tay’s ABRIDGE is co-commissioned by the China Studies Centre (The University of Sydney)
and Verge Gallery, Sydney. 

 

Wei Leng Tay, video still, 2019. Image courtesy of the artist.

 

1 OCTOBER–9 OCTOBER
USU Creative Awards | Hermes 2020

Awards night: 8 October, 5:30–7:30pm

The USU Creative Awards showcases the artistic talents of University of Sydney students
across all faculties. This exhibition celebrates music, art and literature through the launch
of Australia’s oldest literary journal, the Hermes Catalogue with prizes awarded to artists
by peers and industry professionals.

 

Squished Cockroach, The object Problem, video still. Winner USU Creative Awards, Art 2019. Image courtesy of the artist.

 

15 OCTOBER–27 OCTOBER
The Curatorial Lab 

The University of Sydney’s Curatorial Lab is a collaborative project presented by Master of Art
Curating candidates and features works by Sydney College of the Arts postgraduates. Facilitated
by the Faculty of Arts and Science, the exhibition is a presentation of contemporary discourse
and emerging art practices by the next generation of artists and curators. 

 

Tamara Voninski, Now and Then, Video. Image courtesy of the artist.

 

5 NOVEMBER–4 DECEMBER
Syntax

Kate Scardifield, Tim Bruniges, Anna McMahon, Biljana Jancic, Consuelo Cavaniglia & Genevieve Felix Reynolds (cur)

Through site-specific installation, performance and sound, this exhibition examines intersections of
architecture
and art in relation to x-y axis space, the corporeal body and the field it inhabits.

 

Consuelo Cavaniglia, Untitled (simultaneous spaces), galvanised steel, grey mirror and black acrylic, 2016. Photo: Zan Wimberley

 

FEBRUARY–MARCH 2021
From under the table I learnt how to feed you 
Justine Youssef

From under the table I learnt how to feed you considers local narratives and familial histories of undocumented
migrant labour in the face of ongoing gentrification of ‘Western Sydney’. Through methods of social engagement
and transgenerational exchange, matrilineal gestures become forms of resilience and resistance.

 

Justine Youssef, R’sasa, single channel video (video stills), 06:18min, 2018. Image courtesy of the artist.

 

FEBRUARY–MARCH 2021
Ritual My Beautiful Curse
Jayanto Tan 

Ritual My Beautiful Curse explores the identity politics of diaspora to find ways of expressing
personal experiences of ‘otherness’. As a Chinese-Indonesian immigrant living in Sydney,
from Chinese Diaspora, Tan introduces his mixed Asian cultures to contemporary Australia.

 

Ritual Everywhere But Nowhere, mixed media, dimensions variable, 2019. Image courtesy of the artist.

 

 

Image credit (top): Wei Leng Tay, video still, 2019. Image courtesy of the artist.

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