Last Weekend coming up for Screening, installation by Annelies Jahn and Oliver Wagner

open 11am-5pm Friday - Sunday until Sunday 17 June

Screening, Photo: Sue Callanan

Screening is open until 17 June

Images: Annelies Jahn

Screening in progress

Annelies Jahn and Oliver Wagner: Screening,

Annelies Jahn and Oliver Wagner's collaborative work, Screening, will open on Friday 1 June, 6-8pm, and be open 11am - 5pm, 2-17 June.

Artists' talks: Sunday 3 June 3-5pm

Screening is a collaborative site-specific installation by Annelies Jahn and Oliver Wagner. It investigates the peculiarities of ArticulateUpstairs. The viewer’s attention is directed to space and light as the predominant mediums of the work. The architectural space is broken up with fabric and the incidental light is redirected through mylar, which is laid out on the floor.

Screening connects the interior of the gallery with the busy exterior of Parramatta Road. A semi-translucent fabric screen stretched across the space both conceals and exposes the window to the street. Reflected sparks of sunlight or the glow of headlights from passing cars are projected onto the screen. The mylar mirrors the construction and silver lining of the lofty ceiling as well as reflecting light onto the white gallery walls.

 A curiosity in the nature of perception, place, the temporary and ephemeral motivate Annelies Jahn’s art practice. Through observations of objects, phenomena and actions she seeks to understand our relationship to place – our habitation. Place and space are subjects of her work, which often takes form as site-conditioned installation or intervention.

Oliver Wagner investigates specific and non-specific painting methodologies in relation to the conventions of skill, craft and care. He sees painting as a generic exercise that makes an idea visible. The bodily experience of paint’s physicality and colour’s three-dimensionality always draw him back to the object of the painted picture – an object that is related to the space in which it is shown.

Annelies and Oliver met at National Art School. In 2016 they commenced working on specific collaborative projects that bring together their methodologies.

Artists' talks by Sally Clarke & Annelies Jahn on Sunday 1 October at 3pm

Artists' talks begin on Sunday 1 October at 2pm with John Gillies speaking in the downstairs project space, followed by Sally Clarke and Annelies Jahn at 3pm upstairs.

Open 11am- 5pm Friday - Sunday until Sunday 1 October.

ROOMSHEET

Annelies Jahn 5 x 9 #2.1 / variation, 2017 string and pins 

Sally Clarke, Dismemberments: Some Stumps To Remember Our Great Artists By (drawing), 2017, modelling clay on wall

Two Wall Drawings: Annelies Jahn and Sally Clarke opens Friday 15 September 6-8pm

Open 11am - 5pm Saturday 16 September - Sunday 1 October 2017
Artist's talks: Sunday 1 October 3pm

An exhibition of two wall drawings—by Annelies Jahn and Sally Clarke.

ROOMSHEET

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Annelies Jahn presents 5 X 9 #2.2 variation, 2017, part of an ongoing drawing project that can adapt to different spaces. Using systems and process, the work uses personal units of measure and an element of chance with similar intention to the works of Sol Le Witt. The continuous line drawing of string secured with pins, is made over a loose grid. The resulting drawing is subtle with line strength dependent on both the viewing point and changing light.

It is part of an art practice that investigates space, relationship and temporality. Exploring the agency and reception of ephemerality, contingency, everydayness and context within the processes of art making, Annelies works with a variety of media such as installation, intervention, drawing, assemblage, painting, photography and video. 

instagram.com/anneliesjahn

Annelies Jahn 5 x 9 #2.1 / variation, 2017 string and pins 230 x 325 cm The Drawing Exchange NAS August 2017

Sally Clarke creates linear wall works in pink modelling clay, her medium of choice since 2013. Through a process of slow and recycled drawing, Clarke genders the line in depictions of Australian ‘bush’ themes and other visual topics to critique masculine narratives and gendered constructions of ingenuity. 

At ArticulateUpstairs Clarke presents a drawn version of her 2004 painting Dismemberments: Some Stumps to Remember Our Great Artists By, a critique of Australian landscape painting.  It references Sigmund Freud’s castration theory and the anxiety experienced by white occupiers when confronted by the ‘she’ of the bush.

http://www.sallyclarke.com.au/

Sally Clarke, Dismemberments: Some Stumps To Remember Our Great Artists By (drawing), 2017, modelling clay on wall, 275 x 275cm. Image courtesy of the artist

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