Sunday, 29 July 2012
Thursday, 26 July 2012
Trouble in Paradise Das Platform review
"Beethoven tells you what it's like to be Beethoven and Mozart tells you what it's like
Curator Dean Thompson elaborates: "This particular exhibition focuses on rock
The space is disorienting at first: as with many ambitious group shows there is a
Musician and woodblock artist Alex Gillies has taken the body of a Fender
A wall of painted records and covers by Giles Ryder and Jeremy Kibel is a flashback to the intimacy and importance of discovering music that moves you through a tangible physical object. Blocking the round shape of the record in comfortable colours onto the front of the album sleeve is also an act of projection, plastering their personality on to the records, a beautiful invitation to everyone who puts and sees themselves in the music they love.
synaesthetic, with the conflicting colours fighting one another in as tense a harmony
as possible until the painting seems to hum. Natalie Mather paints a grand and finessed orchestral score being pushed through a window. The blasting colours and uncomfortable angles of split quick machine gleam keeps the eyes moving, giving a sense of the ground shuddering beneath you as everything shatters. There are melodies punching through the discord, resolving like a car coming over a steep hill.
http://www.dasplatforms.com/
to be human. Bach tells you what it's like to be the universe." ? Douglas Adams
Douglas Adams is indirectly pointing out two things about perspective. Firstly, the
range of perspectives is gigantic, from the visceral to the celestial. Secondly, each
one has its own gorgeous value. Seems platitudinous, but to see an enormous
number of perspectives in one room makes it very involving. "Trouble in Paradise" is
the largest exhibition put on at the artist-run space Paradise Hills to date. It is vast
by design, and carefully curated. Each piece has been selected for the relationship
that it shares with music, and the exhibition as a whole is a thorough exploration of
musical experience.
Curator Dean Thompson elaborates: "This particular exhibition focuses on rock
music and the underground music scene in Melbourne and Australia. Melbourne,
with its many hidden laneways and thriving pub culture, has a rich history in
sprouting the careers of some of the many international sensations that have come
out of this country."
The space is disorienting at first: as with many ambitious group shows there is a
little confusion as to where you should start. Once you sink your teeth in, it feels like
a party full of friends you haven't met yet. The variety of mediums emphasises the
differences between the ideas of each work. There are photographs of classic rock
?n' roll figures for the fans, painted records for those focused on the personal
experience, intricate wood carvings for the technically minded and paintings that hit
the same spot as the best songs themselves.
Musician and woodblock artist Alex Gillies has taken the body of a Fender
Telecaster, carved a beautifully balanced and marvellously flamboyant Day of the
Dead theme in relief, and then used the guitar as a woodblock to create its mirror
image (a print entitled
Giant Sounds). Displayed in tandem, the guitar and print has
all of the technical expertise and exquisite results of a great, sweaty live show.A wall of painted records and covers by Giles Ryder and Jeremy Kibel is a flashback to the intimacy and importance of discovering music that moves you through a tangible physical object. Blocking the round shape of the record in comfortable colours onto the front of the album sleeve is also an act of projection, plastering their personality on to the records, a beautiful invitation to everyone who puts and sees themselves in the music they love.
Two painters at the exhibition come closest to transferring the direct impact of the
music by which they were inspired. John Aslanidis takes the form of the sound wave
for his series
Sonic Network, and echoes it in colours to jar and addict. The effect issynaesthetic, with the conflicting colours fighting one another in as tense a harmony
as possible until the painting seems to hum. Natalie Mather paints a grand and finessed orchestral score being pushed through a window. The blasting colours and uncomfortable angles of split quick machine gleam keeps the eyes moving, giving a sense of the ground shuddering beneath you as everything shatters. There are melodies punching through the discord, resolving like a car coming over a steep hill.
The full list of contributing artists includes Archibald Prize-nominee E.L.K and
photographer Søren Solkær Starbird of Denmark.
"Trouble in Paradise" 6 ? 28th July
Wednesday to Friday 3-7pm, Saturday 12-6pm
Paradise Hills, 1-9 Doonside St, Richmond VIC 3121http://www.dasplatforms.com/
Trouble in Paradise, Paradise Hills, July 6
A great review from everguide.com.au Trouble in Paradise opened at Paradise Hills on Friday night and is the largest exhibition the space has had to date. Featuring: Jon Campbell, Giles Ryder And Jeremy Kibel, Ken Taylor, John Aslanidis, Soren Solkaer, Starbird (Denmark), E.L.K., Justin Lee Williams, Fabrizio Biviano, Zoy Xoy, Alex Gillies, Ben Millar, Natalie Mather, Krishnamurti Suparka, Vanessa Lee and Andy Riley
The show reflects on how many artists draw their inspiration from music and are often informed by it or influence it in some way. This particular exhibition focuses on rock music and the underground music scene in Melbourne and Australia. Headlining the opening was Melbourne band Echo Drama.
more photos by Bianca Fioritti at http://everguide.com.au/arts-and-culture/exhibitions/gallery/trouble-in-paradise-paradise-hills-july-6.aspx
Monday, 9 July 2012
Monday, 2 July 2012
Sunday, 1 July 2012
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