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INVITATION

17/05/2019

FUTURE PAST: TRADITION AND TRANSGRESSION IN CONTEMPORARY ART IN ASIA
Sullivan+Strumpf | Sydney
1 June - 6 July 2019

Featuring the works of Gonkar Gyatso, FX Harsono, Irfan Hendrian, Latthapon Korkiatarkul, Lindy Lee, Dawn Ng, Ramesh Mario Nithiyendran, Eko Nugroho, Albert Yonathan Setyawan, Jeremy Sharma, Jakkai Siributr, KRACK STUDIO, Adeela Suleman and Yang Yongliang

Future Past: Tradition and Transgression in Contemporary Art in Asia, brings together fourteen contemporary artists working across East Asia, Southeast Asia and the Asia Pacific to consider the ways in which current art practices in the region interface with and extend beyond the limits of historically determined artistic and cultural boundaries, where they transgress and how these collisions of past and present might inform one another to create an art of the future.

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ON NOW

17/05/2019

ADEELA SULEMAN
Ashes to Ashes
Sullivan+Strumpf | Singapore
Until 2 June 2019

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ATTEND

17/05/2019

IRFAN HENDRIAN
On/Out of Paper
Mizuma Gallery
Until 2 June 2019

On/Out of Paper is a group exhibition curated by Hermanto Soerjanto, featuring five Southeast Asian artists, including Irfan Hendrian.

Works on paper are often understood as less valuable and less significant as compared to sculptures and works on canvas, as they are commonly perceived as a study or a sketch for something bigger. This view may have been influenced by the Western art culture in which paper is seen only as temporary medium for artists to organize their thoughts or ideas before they create their artworks.

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CHECK OUT

17/05/2019

JEREMY SHARMA
Say Ocean
Esplanade Tunnel
Until 14 July 2019

Jeremy Sharma is interest in how we hold musical pitches in memory, and how we relate the sounds of music and speech to each other. In Say Ocean, he harnesses the material quality of disembodied sounds and auditory illusions to create the effect of transforming speech into song. He collected recordings of 24 local dialects and languages not commonly spoken in Singapore by people of various age groups and backgrounds.

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GO SEE

17/05/2019

FX HARSONO
SUNSHOWER: Contemporary Art From Southeast Asia 1980s to Now
Kaohsiung Museum of Fine Arts Galleries 101-105, Kaohsiung, Taiwan
Until 1 September 2019

FX Harsono is part of SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now at the Kaohsiung Museum of Fine Arts, Taiwan. The exhibition focusses on the most striking contemporary art in Southeast Asia, co-organised by the Mori Art Museum, Japan. Since the 1980s, the development of contemporary art in respective countries has reflected the changes and complexities of ethical, political, economics, cultural and historical issues of the region.

The 'sunshower' in the title refers to a meteorological phenomenon often seen in Southeast Asia, while serving as a poetic metaphor for its complex, torturous history and the vicissitudes of the region. The post-WWII decolonization throughout the world led the countries in the region to democratization and internationalization. They have undergone periods of colonization, of autocratic or military dictatorship, of economic growth and collapses. Despite the tumultuous past, the rapid economic and urban development in more recent years came truly drastic changes.

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CLOSING SOON

17/05/2019

JUDY MILLAR
The Future and The Past Perfect
Kunstmuseum St. Gallen, Switzerland
Closes 19 May 2019

For the first time, the Kunstmuseum St. Gallen is now offering the opportunity to gain an overview of Judy Millar's entire oeuvre, which she has created in Auckland and Berlin over the past forty years. In addition to her well-known series of paintings and painting installations, which the artist often created for New Zealand museum, early drawings from the 1980s will be shown as the foundation of her work.

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DON'T MISS

17/05/2019

TONY ALBERT
The National 2019 New Australian Art
House of Discards
Carriageworks
Until 23 June 2019

Commissioned by Carriageworks, Tony Albert's House of Discards is included in The National 2019 New Australian Art, curated by Daniel Mudie Cunningham (Director, Programs, Carriageworks).

In 'House of Discards' the artist departs from his unmistakable representational style. Evolving his Aboriginalia project, which refers to his collection of racist kitsch souvenirs from the 1950s, Albert creates a giant house of cards that redacts the visual content in favour of succinct and elegant abstraction between black and white.

Image credit: Zan Wimberley

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NOW SHOWING

17/05/2019

DARREN SYLVESTER
Carve a Future, Devour Everything, Become Something
National Gallery of Victoria
Until 30 June 2019

Darren Sylvester: Carve a Future, Devour Everything, Become Something is the Melbourne-based contemporary artist's first large-scale solo exhibition in a public institution. Bringing together works spanning the entire twenty years of his career, this exhibition is a timely and unique opportunity to review Sylvester's practice and reveals his continued discussions on desirability, authenticity and mortality, all presented in a high-gloss finish.

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CONGRATULATIONS

02/05/2019

ARCHIBALD & SIR JOHN SULMAN PRIZE FINALISTS
Art Gallery of NSW, Sydney
11 May - 8 September 2019

Congratulations to Karen Black, Richard Lewer, Dane Lovett and Ramesh Mario Nithiyendran, who are finalists in the Archibald and Sulman Prizes 2019 - Australia's most prestigious portrait and subject prizes!

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INVITATION

26/04/2019

TONY ALBERT
Wonderland
Sullivan+Strumpf | Sydney
4 - 18 May 2019

Opening Reception on Friday, 3 May, 6 - 8pm

Throughout the history of colonisation the impact of sustained misrepresentation has systematically subjugated and degraded the cultures and identities of First Nations people the world over. Based on a system of constructed Otherness, the representation of Indigenous peoples in Western visual culture and literature has relied on satirical exaggeration of facial features, attire, and characterizations as savage, uncivilized, villainous and subservient, especially when compared to the ‘white heroes’ within the same narratives. These images have been repeatedly pushed, exploited and trivialized since colonisation and continue to perpetuate negative notions and misconceptions about First Nations communities. This framework of reductive representation has obscured the seriousness and urgency of issues that continue to plague First Nations communities and has led to the creation of warped stereotypes which facilitate discrimination and allow ongoing oppression to be ignored. Tony Albert’s Wonderland throws into question the history and framework of this repressive system. 

A detournement of both Lewis Carroll’s ‘Wonderland’ and the now defunct Western Sydney amusement park of the same name, Albert’s Wonderland undoes the colonial notions of exoticism and Otherness denoted by the word ‘wonder’. Despite its titular reference to land and landscape, the exhibition achieves this not with depictions of country, but with reappropriated misrepresentations of First Nations people. Gathering source imagery from the likes of satirical cartoons and Sunday newspaper comics, Wonderland identifies and exposes the derisive stereotyping of Aboriginal people across popular visual culture. Regurgitating amalgamations of these cartoon images onto flat acrylic paintings illuminated by the original outdoor signage for ‘Australia’s Wonderland’, Albert reveals the post-colonial world as a dark satirical theme park in which First Nations subjects are reduced to symbols in a colonial discourse that ultimately denies them any form of agency.
 
This systematic deprivation of individuality and specificity justified colonial Australia’s status as terra nullius, anuninhabited fecund ‘Wonderland’, which allowed for the invasion and rapid colonisation of the country under international law. Reinforcing this myth, representations of First Nations people remained almost totally invisible in Australian colonial painting, an absence replaced in the late-nineteenth and early twentieth-century by oppressive degrading archetypes. In Wonderland Albert presents these en masse, producing a vast history of degredational images.
 
Wonderland is Albert’s contribution to the reclaiming of First Nations identity, positioning his art as an exemplar of postcolonial subjectivity. Through agency and reappropriation he brings new meaning to misrepresentations of First Nations people, transforming these degrading images into speaking subjects. Delving into an uncomfortable but urgent conversation, Wonderland is a window on to the historical representation of First Nations people in Western popular-culture, offering a new critical engagement with these images.

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INVITATION

19/04/2019

ADEELA SULEMAN
Ashes to Ashes
Sullivan+Strumpf | Singapore
27 April - 2 June 2019

Artist in conversation with Savita Apte: Saturday, 27 April, 4-5pm
Opening reception: Saturday, 27 April, 5-7pm

Ashes to Ashes at Sullivan and Strumpf marks Adeela Suleman’s first solo exhibition in Singapore. In a career that has  spanned more than twenty years, Suleman, who is both an educator as well as a practicing artist, is renowned for her continued commitment to sculptures that are aesthetically beguiling, socially critical, culturally rooted and universally relevant.

The works exhibited in Ashes to Ashes, should be seen both as an advancement, as well as a continuation of Suleman’s engagement with the narration and documentation of violence. Moving beyond the meticulously crafted, seductive miniatures of late 16th and early 17th century Akbari manuscripts, which Suleman quoted in earlier works, precisely because this apogee of miniature tradecraft masked violent death in poetic valour and bejewelled beauty, Suleman’s current works reflect the escalating brutalism and omnipresent malevolent, metastatic embeddedness of local and global violence.

From the very beginning, Suleman’s sculptures have mined personal experience and biography: the concept and the unlimited potentialities of the domestic domain particularly appealed to Suleman.   Her early works repurposed prosaic kitchen utensils, initially into protective headgear for women and later into connubial missiles causing cultural commentators to align her practice with vernacular popular art and/or South Asian feminism.   Rather than conform to what she considered the closed strictures of feminism, however, or be constrained by any other fashionable ‘isms’, Suleman’s sculptures continued to incorporate quotidian objects while her practice echoed her urban concerns and moved beyond the boundaries of gender, extending both the content and context of her works.

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CONGRATULATIONS

16/04/2019

TONY ALBERT
NIRIN, 22nd BIENNALE OF SYDNEY

14 March - 8 June 2020
Various locations in Sydney

Tony Albert will be included in NIRIN, the 22nd Biennale of Sydney, curated by Brook Andrew. The exhibition will be presented free to the public from Saturday, 14 March to Monday, 8 June 2020 at the Art Gallery of NSW, Artspace, Campbelltown Arts Centre, Cockatoo Island, Museum of Contemporary Art Australia and the National Art School in Sydney. NIRIN, meaning edge, is a word of Andrew's mother's Nation, the Wiradjuri people of western New South Wales. Reflecting on the 2019 International Year of Indigenous Languages, NIRIN will advocate for First Nation languages in the mainstream.

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UP NEXT

16/04/2019

TONY ALBERT
Wonderland
Sullivan+Strumpf | Sydney
4 - 25 May 2019

Tony Albert's Wonderland throws into question the historical framework of the global misrepresentation of First Nations peoples. Exposing these inaccurate and harmful representations throughout history, the exhibition includes a new series of paintings formed from regurgitations and amalgamations of found cartoon imagery, as well as found object works including the original outdoor signage for the defunct amusement park, 'Australia's Wonderland'.

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GO SEE

16/04/2019

JEREMY SHARMA
Mediated Realities
Esplanade, Singapore
18 April - 30 June 2019

Jeremy Sharma is included in Mediated Realities, a collective installation featuring the use of a spectrum of media - from the tactile and tangible, to the intangible and ephemeral, and found everyday objects. These media open windows into other realities, enabling us to critically engage the complexities of cross-cultural histories and the human condition, and to shift the ways we perceive the world.

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COMING UP

16/04/2019

ADEELA SULEMAN
Ashes to Ashes
Sullivan+Strumpf | Singapore
27 April - 2 June 2019

Ashes to Ashes continue Adeela Suleman's engagement with the narration and documentation of violence in Pakistan. Suleman's exquisitely produced, beguiling sculptural pieces speak to daily negotiations with security and reflect the tenuous experience of life in and around Karachi. Suleman regards the very act of producing art in the midst of such uncertainty and turbulence to be both a form of rebellion as well as an act of liberation.

Text by Savita Apte

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ATTEND

16/04/2019

IRFAN HENDRIAN
On/Out of Paper
Mizuma Gallery
4 May - 2 June 2019

Mizuma Gallery has announced ON/OUT OF PAPER, a group exhibition curated by Hermanto Soerjanto, featuring five Southeast Asian artists, including Irfan Hendrian.

Works on paper are often understood as less valuable and less significant as compared to sculptures and works on canvas, as they are commonly perceived as a study or a sketch for something bigger. This view may have been influenced by the Western art culture in which paper is seen only as a temporary medium for artists to organize their thoughts or ideas before they create their artworks.

> MORE INFORMATION
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CONGRATULATIONS

16/04/2019

FRANCE BARRETT
The Future Echoes
Kathy Cavaliere Fellowship
Australian Centre for Contemporary Art, ACCA
Until 8 June 2019

Congratulations to Frances Barrett, of Barbara Cleveland, for being awarded the $100,000 Kathy Cavaliere Fellowship. At ACCA, Frances Barrett (b. 1983 Sydney) will create The Future Echoes (Working Title), a sound and light installation that will transform ACCA into a space of audition. Scripted and improvised vocalisations will be composed as a looping score. The Future Echoes foregrounds the role of the audience as critical and active listeners, proposing listening as an urgent mode of political agency.

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DON'T MISS

10/04/2019

SAM JINKS
The Messenger
Hellenic Museum, Melbourne
Opening 12 April 2019

A new major commission by Sam Jinks is now showing at the Hellenic Museum.

The Messenger is a spectacular new work by internationally lauded artist Sam Jinks. The sculpture is inspired by a statue of the Greek goddess Iris, from the west pediment of the Parthenon (now in the British Museum). Sam Jinks' commission was made possible by the support of the Victorian Government and philanthropists Peter and Mary Mitrakas. It was produced as part of a cross-cultural partnership between the Hellenic Museum and the Benaki Museum, Athens.

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ANNOUNCEMENT

29/03/2019

TONY ALBERT
House of Discards
The National | Carriageworks
29 March - 23 June 2019

Interested in its inherent precocity, the house of cards is a recurring motif in Tony Albert's work. In the past, he has built the houses using playing cards taken from his collection of 'Aboriginalia', a term coined by the artist to describe objects which bear the stolen faces and pilfered cultural imagery of Aboriginal people.

In House of Discards (2019) Albert departs from his unmistakeable representational style. With the Aboriginal imagery discarded and the suit erased, the relationship between the two sides is sharply defined in a succinct abstraction. Through his practice Albert works to invert the histories of the past, allowing stolen stories to play a part. Here, in a monochromatic sleight of hand, the untold is laid bare. By returning to past forms, Albert's practice acknowledged that the past has not 'passed' while remaining eternally optimistic that it will.

Text: Aarna Fitzgerald Hanley, Assistant Curator, Visual arts, Carriageworks
Video: MiniSumo

> WATCHED VIDEO HERE
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ANNOUNCEMENT

29/03/2019

RAMESH MARIO NITHIYENDRAN
CREATOR
Casula Powerhouse Arts Centre
30 March - 12 May 2019

Opening Saturday, 30 March, 2pm

Curated by Luke Letourneau and Jenny Cheeseman with an insightful catalogue by Daniel Browning, Creator presents an extensive body of Nithiyendran's recent work including new pieces especially commissioned by Casula Powerhouse alongside loans from public and private collections. Creator combines references to Hindu temple iconography, museum displays and colonial public monuments to form a dialogue around the framing of Asian faith-based objects in museum practices.

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INVITATION

13/03/2019

ANGELA TIATIA
Narcissus
Sullivan+Strumpf | Sydney
22 March - 20 April 2019

Opening Reception: Friday, 22 March, 6-8pm
Drinks and Artist Talk: Saturday, 23 March, 4-5pm

Sullivan+Strumpf Sydney is delighted to present, Narcissus, Angela Tiatia’s first major solo exhibition in Australia. Comprising a new high definition video and photographic stills, Narcissus is a contemporary reimagining of the classical Greek myth, exploring contemporary visual culture’s worship of the self. Filmed in super slow-motion at an indoor swimming pool using a crane mounted camera, the film arcs from contemplation to catastrophe, opening on a close-up of Narcissus as he gazes longingly at his image reflected in a pool of deep black water. Referencing myriad sources from the classical to the contemporary, including historical literature and images from the internet, Narcissus takes as its starting point, the painting of the same name by Michelangelo Merisi da Caravaggio, now in the Galleria Nazionale d'Arte Anticam, Rome. Tiatia filmed the work with Director of Photography Benjamin Shirley, production company Finch Company and producer Cath Anderson, working with 80 professional actors, performance artists and crew, the largest production of her career. 

Born in Auckland, New Zealand, Angela Tiatia is of Samoan and Australian heritage. Her practice explores contemporary culture, drawing attention to its relationship to representation, gender, neo-colonialism and the commodification of the body and place, often through the lenses of history and popular culture.

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INVITATION

13/03/2019

JOANNA LAMB
Everything is Waiting
Sullivan+Strumpf | Sydney
22 March - 20 April 2019

Opening Reception: 22 March, 6-8pm
Drinks and Artist Talks: Saturday, 23 March, 4-5pm

"Everything is waiting. Waiting to be perceived, acknowledged, recognised or remembered. Drawn into some vortex of consumption to be captured, photographed, printed, uploaded and downloaded. Our experience of the world is deeply rooted in a global obsession with reproduced and digital images. 
 
My only self-imposed stipulation for this exhibition was that the paintings be based on places or objects that I had personally encountered. Everyday houses, parks, petrol stations and flower arrangements being the most relevant, convenient and relatable subject matter. 
 
These works are a conversation between remembering and experiencing. The subject matter is consumed, manipulated and reconstructed. The works are less an authentic likeness and more the product of a creative process borne out of experiencing the world through a 2D lens. A working method performed to mimic more mechanical modes of image reproduction, with the end result being a flattened, smooth and featureless surface. While retaining a sense of the familiar, the final image acquires a feeling of artifice and theatricality, conforming itself to the language of consumerist ideology. 
 
These paintings are built up gradually as individually masked and stencilled shapes of flat colour. The image gradually reveals itself as something recognisable and familiar. The lack of gesture in the surface of the paintings, doesn’t conceal the evidence of hand crafting. The works are painted on board, resulting in a smoother and flatter surface than painting on canvas. The lines are sharper, the colour more luminous. The surface is ever so slightly illumined. The colour choices add to the sense of artifice and theatricality of the works. These paintings are an enhanced and choreographed view of the world which aim to acknowledge the illusionistic nature of painting and legitimise different ways of seeing."

– Joanna Lamb, February 2019

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JOIN US

08/03/2019

ART BASEL HONG KONG 2019
29 - 31 March 2019
Hong Kong Exhibition & Convention Centre, Hong Kong, China

Galleries Section Booth 3C23
Encounters Section Booth EN12

Sullivan+Strumpf is delighted to participate in Art Basel Hong Kong 2019 with a presentation of works by artists with diverse practices in both two and three dimensions, including Tony Albert (Booth EN12 Encounters Section)Sydney Ball, Lindy Lee, Sam Leach, I Nyoman Masriadi, Ramesh Mario Nithiyendran, Alex Seton and Yang Yongliang.

The presentation includes some of the region's most exciting artists including a large-format painting by Indonesian-based I Nyoman Masriadi (b.1973, Gianyar, Bali). Masriadi’s practice combines superhuman figures with Indonesian cultural history, offering a biting social commentary on contemporary life and global pop culture. Created especially for ABHK 2019, Sri Lankan-born, Sydney-based artist Ramesh Mario Nithiyendran (b.1988, Colombo, Sri-Lanka) will show, Bi-Head, a polychrome and polished-bronze head, exploring the politics of sex, the monument, and pointing to the new possibilities to be found in gender fluid realms. Alex Seton (b.1977, Sydney, Australia) will present a pair of large-scale bronze and marble totems from his ‘Cargo’ series, a new body of work in which the artist depicts highly compressed bales of clothing, of the kind found in the second-hand clothes industry. Seton’s bronze and marble obelisks evoke the mesh of needs, concerns, environments and economies through which we are all connected. This sense of connectivity is also present inthe work of Lindy Lee (b.1954, Brisbane,Australia) in which she invokes a sense of deep time. Lee will present, Unnameable 2017, a large-scale bronzeFire Stone’and works on paper pierced and singed by flame. As each scorched mark stands for an individual moment, so too, the large bronze Fire Stone – borne of the marriage of metal and spontaneous eruptions – speaks to the infinite curve of time inherent to all life.Time, in an evolutionary sense, is also examined in Sam Leach’s finely executed oil paintings of animals and spacesuits. Leach (b. 1973 Adelaide, Australia) draws a connection between the legacy of the enlightenment found in the philosophy of Russian Cosmists and the distinctive styles of spacesuits, helmets and associated technology. Leach connects the constructed landscapes of the 17th and 18th century, the utopian ideals of 20th century formalist abstraction and the future implied by space exploration. Yang Yongliang (b.1980, Shanghai, China) will present video and photographic works exploiting a connection between traditional Chinese painting and the contemporary, implementing ancient oriental aesthetics and literati beliefs with modern language and digital techniques. Yongliang’s monochrome landscapes provide a counterpoint to a special presentation of works from the estate of the late Sydney Ball (1933-2017). Arguably Australia’s greatest colourist, Ball’s Infinexseries in automotive enamel on aluminium, comprises rigid geometric forms articulated in fields of contrasting colour – crisply chromatic formal assemblages of individual but related planes of colour which appear as if poised mid-motion.

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ATTEND

08/03/2019

TONY ALBERT
ENCOUNTERS at ART BASEL HONG KONG
Curated by Alexie Glass-Kantor
Booth EN12

For Art Basel Hong Kong Encounters curated by Alexie Glass-Kantor, Tony Albert will present a monumental sculptural project in the form of an opened 'house' structure supporting two image-texts spelling out the words ‘Native’ and ‘Home’. “Native Home” is a continuation of Albert’s celebrated text-based works in which the artist embellishes black aluminium letters with a collage of objects from his renown collection of 'Aboriginalia'. In part an homage to his predecessor and artistic hero, the artist Gordon Bennet (1955-2014), Albert's “Native Home” offers audiences a new engagement with these objects, which tell a story of the legacies of colonialism and offers us a window onto the history of Australian pop-culture’s representation of Aboriginal people.

Tony Albert’s practice interrogates contemporary legacies of colonialism in ways which prompt audiences to contemplate elemental aspects of the human condition. Mining imagery and source material from across the globe, Albert draws on both personal and collective histories to explore the ways in which optimism might be utilised to overcome adversity. His practice is concerned with identity and the ascribing of social labels; unpacking what it means to judge and be judged in the absence of recognition or understanding.

Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with a kind of urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, invisibility of Aboriginal People across the news media, literature, and the visual world. Central to this way of working is Albert’s expansive collection of Aboriginalia (a term the artist coined to describe kitschy objects and images that feature naive portrayals of Aboriginality).

In 2019 Albert is included in numerous significant group exhibitions, including the presentation of a monumental installation for Art Basel Hong Kong Encounters; the unveiling of a large-scale sculpture commissioned by Carriageworks for The National 2019: New Australian Art; his invitation by The City of Milan-PAC to exhibit in Australia: A Journey Down Under; and Enlighten Festival, Canberra, which will include I am Visible, an illuminated artwork commissioned by The National Gallery of Australia.

In 2018, Queensland Art Gallery | Gallery of Modern Art, Brisbane presented, Visible, Albert’s first major institutional solo exhibition. Visible surveyed Albert’s entire career including all aspects of his practice — from object-based assemblages, to painting, photography, video and installation — providing a powerful response to the misrepresentation of Australia’s First Peoples in popular and collectible imagery.

Albert has exhibited his work at numerous museums and institutions including the Musée d’Aquitaine, Bordeaux, France; the Singapore Art Museum; the National Museum of China, Beijing; and the Tel Aviv Museum of Art, Israel. He was also included in the 10th Biennial of Havana, Cuba, and the 2014 Adelaide Biennial of Australian Art, Dark Heart.
 
Albert is well represented in major collections including the National Gallery of Australia; the Australian War Memorial, Canberra; the Art Gallery of New South Wales; the Art Gallery of Western Australia and Brisbane’s Gallery of Modern Art—Queensland Art Gallery.

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INVITATION

27/02/2019

MUSEUM OF DAYS
Sullivan+Strumpf | Singapore
9 March - 14 April 2019

Opening on Saturday, 9 March 2019, 5 - 7pm

Museum of Days exhibits details of days, notes of observation, thoughtful reflection of everyday objects and the analysis of material forms. This originates from a simple thought that an object can never be the author of its own biography or of another object, in the way that humans are able to author theirs. The exhibition presents the artists’ personal interpretations of objects, as well as their forms recontextualised over space and time. Literally and figuratively, everyday commodities - that we know and even live with - now occupy the space of a gallery and present the stories of others’ days and lives.

Featuring the works of Tony Albert (Australia), Dawn Ng (Singapore), Kanchana Gupta (Singapore), Adeela Suleman (Pakistan), Miyanaga Aiko (Japan), Meliantha Muliawan (Indonesia) and Latthapon Korkiatarkul (Thailand).

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OPENING TONIGHT

15/02/2019

REMEMBRANCE
The American Club, Singapore
7 January - 31 March 2019

Art Launch on Friday, 15 February 2019, 6.30 - 7.30 pm

Our sense of place influences our memory in myriad ways. We form our identity in relation to the environment in which we live and work — from the country, city, town or landscape we call home, to our rooms in which we eat, sleep or raise families. These places inform our experiences, behaviors and attitudes about other places. The ideas and feelings which we develop through our interactions with the physical spaces we inhabit allow us to construct a sense of belonging, generate meaning, build attachments, and tackle change. The artists presented in this exhibition explore human-environment relations in diverse and inventive ways.

The artists presented in this exhibition include Dawn Ng, Dane Lovett, Darren Sylvester, Gregory Hodge, Hiromi Tango, Jeremy Sharma, Karen Black and Lindy Lee.

The nearest carpark is located at Royal Plaza on Scotts or Goodwood Park Hotel.
For non-members, please RSVP to megan@sullivanstrumpf.com.


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INVITATION

13/02/2019

RICHARD LEWER
Kokoda: The Adventure of A Lifetime
Sullivan+Strumpf | Sydney
23 February - 16 March 2019

Opening Saturday, 23 February 2019, 3 - 5pm

Richard Lewer’s Kokoda: The Adventure of a Life Time references the war-time propaganda sold to Australian soldiers who embarked for New Guinea during the Second World War with a romanticised image of the deadly situation and extreme conditions they were to face. Informed by his own recent experience of walking the Kokoda Track in Papua New Guinea, Lewer’s Kokoda: The Adventure of a Lifetime, responds to this history and the Kokoda Track’s enduring legacy. 

War has been a reoccurring subject in Lewer’s practice in recent years; embedded as it is in a fascination for tales of hardship, endurance and heroic tragedy. After winning the 2015 Albany Art Prize, Lewer was awarded a one­month residency in Albany Western Australia from where more than 40,000 Australian and New Zealand service men and women departed 100 years ago for World War I. The residency provided the source material for a 2016 exhibition which combined local oral histories and diary entries. Lewer’s experience in Albany coincided with the invitation to make work for Sappers & Shrapnel, an Anzac Centenary Arts and Culture Fund project at the Art Gallery of South Australia. 

Kokoda: The Adventure of a Lifetime continues Lewer’s rigorous investigation into the legacies of war. The exhibition is structured around the seven days Lewer took to complete the journey, and includes seven portraits of each of the local guides who assisted the artist and his team on the trek; two large seven-meter paintings, one representing a different aspect of the landscape on each day of the journey, the other responding to the history of the war; and a series of thirty-one drawings also responding to the history of the war. The project draws together contemporary and historical accounts of the Kokoda Track in order to understand it’s ongoing relevance.

Working across a broad range of media, video and animation, painting, and drawing Richard Lewer’s work is accessible and familiar, with a critical edge that probes what is beautiful and sinister about our society without necessarily injecting a moralising tone or political message. Less concerned with factual storytelling, Lewer’s work employs tropes of endurance, physicality and failure to explore the way that places can become repositories for the psychic residue of painful or extreme events. 

As part of this, Lewer is interested in experimenting with notions of the artist as commentator or interpreter, a concern which in his practice often involves documenting both familiar and unfamiliar places or historical events; a key component of which is exploring the relationship between studio activity and life outside the studio. In this way Lewer is often creatively motivated by his personal response to an active engagement with a subject through both research and partic- ipation. In 2018, this aspect of his practice lead him to undertake the Kokoda Track. 

Richard Lewer’s practice has a particular emphasis on engagement and participation, including his involvement with Aboriginal communities in Gumbalimba in the Northern Territory and Parnngurr in the Western Desert; as well as the Fly-In-Fly-Out mining community in Karratha, Western Australia. Participation in endurance-based performances (such as large-scale wall drawings, boxing and wood-chopping) and enaggement with others is also an integral part of his practice. 

Recent exhibitions include: Just Not Australian, Artspace Sydney (2019); Weapons for the Soldier, Hazelhurst Regional Gallery and Arts Centre, Sydney (2018); State of the Union, Ian Potter Museum of Art, Melbourne (2018); The National: New Australian Art, Carriageworks, Australia, (2017); Sappers & Shrapnel: Contemporary Art and the Art of the Trenches, Art Gallery of South Australia, (2016); Next Wave Festival (2016); The Custom of the Sea, St Paul Street Gallery, Auckland University of Technology, (2015); Epic Narratives, PICA Salon, Perth Cultural Centre, Perth, Australia, (2015).

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INVITATION

01/02/2019

ANNUAL SUMMER GROUP SHOW
Sullivan+Strumpf | Sydney
8 - 16 February 2019

Opening Friday, 8 February 2019, 6 - 8pm

To celebrate the first exhibition of our exciting 2019 program, join for the S+S Sydney Annual Summer Group Show next Friday, 8th February from 6pm.

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ANNOUNCEMENT

29/01/2019

SULLIVAN+STRUMPF | SINGAPORE

Sullivan+Strumpf wishes you a happy and prosperous Lunar New Year! We look forward to welcoming you throughout the year to our Sydney and Singapore galleries. In lieu of the festive holidays, our Singapore gallery will be closed from Tuesday, 5 February to Thursday, 7 February 2019. The gallery will reopen on Friday, 8 February 2019 with regular gallery hours.

沙利文施特伦普夫祝您及家人新春快乐,万事如意。沙利文施特伦普夫旗下的悉尼与新加坡画廊万分期待在新的一年为您打造更完美的体验。本公司将于春节2月5日至2月7日期间暂停营业。感谢您的配合与理解,祝您新春佳节愉快

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COMING UP

23/01/2019

GROUP SHOW
Sullivan+Strumpf | Sydney

Opening Friday, 8 February 2019, 6 - 8pm

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COMING UP

23/01/2019

RICHARD LEWER
KOKODA: THE ADVENTURE OF A LIFETIME
Sullivan+Strumpf | Sydney

Opening Saturday, 23 February 2019

Richard Lewer's Kokoda: The Adventure of a Lifetime references the war-time propaganda sold to Australian Soldiers who embarked for New Guinea during the Second World War with a romanticised image of the deadly situation and extreme conditions they were to face. Informed by his own recent experience of walking the Kokoda Track in Papua New Guinea, the exhibition responds to this history and Kokomo's enduring legacy.

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ATTEND

23/01/2019

TONY ALBERT & RICHARD LEWER
Just Not Australian
Artspace Sydney
Until 28 April 2019

Tony Albert and Richard Lewer are included in Just Not Australian at Artspace Sydney. The exhibition brings together 19 Australian artists across generations and mediums to deal broadly with the origins and implications of contemporary Australian nationhood.

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CHECK OUT

23/01/2019

RAMESH MARIO NITHIYENDRAN
Idols
Perth Festival, Fremantle Arts Centre
7 February - 31 March 2019

As part of the 2019 Perth Festival, Ramesh Mario Nithiyendran is included in Idols at the Fremantle Arts Centre, an exhibition which pairs his work with that of Renee So. Idolatry and mythological archetypes are reimagined in Idols allowing both artists to challenge and overturn old perspectives on gendered power structures and the aesthetics of spiritualities.

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ATTEND

23/01/2019

DARREN SYLVESTER
CARVE A FUTURE, DEVOUR EVERYTHING, BECOME SOMETHING
National Gallery of Victoria, Melbourne
1 March - 30 June 2019

"Darren Sylvester: Carve a Future, Devour Everything, Become Something" is the Melbourne-based contemporary artist's first large-scale solo exhibition in a public institution. Bringing together works spanning the entire twenty years of his career, this exhibition is a timely and unique opportunity to review Sylvester's practice and reveals his continued discussions on desirability, authenticity and mortality, all presented in a high-gloss finish.

Sylvester is a truly multidisciplinary artist who works in staged photography, sculpture, video, installation, performance and music. Everything he creates is the result of a detailed process of planning and research, with handmade sets and props photographed in his studio to resemble high street fashion campaigns and sculptural fabrications that twist subjects ranging from fast food design to an astronaut space suit to the moon itself.

Sylvester's practice is controlled, autodidactic and constantly evolving. It represents a detailed knowledge of and interest in pop culture, pop music, advertising, cinema, fashion, our relationships with each other and perhaps most significantly, our place in the universe.

Hopes and dreams, work conundrums, loss and longing, fear of death - these are subjects that appear time and time again. Aspects of his work appropriate and transform well-known products as 'readymades' as a way of looking at the ways we live with, and are shaped by, branding. NGV audiences will remember the artist's pulsating dancefloor 'For you', 2013, presented as part of the Melbourne Now exhibition, that enabled people to dance within a stylised 'make-up compact' (NGV).

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SINGAPORE ART WEEK

18/01/2019

LINDY LEE
Exploding Suns
Sullivan+Strumpf | Singapore
25 January - 24 February 2019

Opening Friday, 25 January, 7pm

As part of Gillman Barracks' Art After Dark celebrations and in conjunction with Singapore Art Week 2019, Sullivan+Strumpf is excited to present Exploding Suns, a solo exhibition by acclaimed Chinese-Australian artist Lindy Lee.

This major exhibition of Lee’s recent work marks her first solo show in Singapore, adding to an impressive exhibition history which includes group and solo exhibitions in Shanghai, Hong Kong, Kuala Lumpur, Japan, Beijing and Australia. The exhibition evokes a sense of deep time and will include new vast paper scroll works, singed and pierced by fire, large-scale flung bronze sculptures and freestanding bronze ‘Fire Stones’.

Time, in Lee’s work, is not the time of ticking clocks but the vast arc of time, phenomenological and experiential time of which we are all participants. Lee invokes this sense of deep time in bronze and works on paper which are innumerably pierced, singed by flame and soaked with water. As every scorched mark stands for an individual moment, the flung bronze works are also a register of a unique instant of time as in the Buddhist practice of flung ink - the absolute mark. So too, the large bronze Fire Stones, borne of the marriage of metal and spontaneous eruptions, speak to the infinite curve of time inherent to all life. They image the cosmos as the entirety of all things, all that has happened and everything that will happen, time endlessly unfurling. The expression of an individual life may seem ineffable in the light of this incomprehensible vastness, yet in their totality, each of our lives is a sentient unit of ontological time. Brought into existence by these remarkable conditions, Lee’s work reminds us of our position in the hugeness of time and the infinity within it.

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SINGAPORE ART WEEK

18/01/2019

ARTIST TALK
with Lindy Lee, Louis Ho and Lourdes Samson
Sullivan+Strumpf | Singapore

Sunday, 27 January 2019, 3pm

Join us in celebrating the works of Lindy Lee together with Louis Ho, Curator at the Singapore Art Museum and notable collector Lourdes Samson, discussing key themes and reflecting on a her three-decade practice, The talk is free for all.

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SINGAPORE ART WEEK

18/01/2019

KANCHANA GUPTA
Reformations: Painting in Post 2000 Singapore Art
ADM Gallery 2, Nanyang Technological University, Singapore
18 January - 6 April 2019

Opening Friday, 18 January, 6.30pm

Kanchana Gupta is included in Reformations: Painting in Post 2000 Singapore Art, a group exhibition curated by Michelle Ho. The exhibition is a survey of artists whose works respond to the medium of paint, and are distinct through their investigation of materiality and methodology in painting.

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SINGAPORE ART WEEK

18/01/2019

JEREMY SHARMA
Minimalism: Space. Light. Object.
ArtScience Museum Singapore
Until 14 April 2019

Jeremy Sharma's Spectrum Version 3 (The Monologues), commissioned by ArtScience Museum Singapore, is included in Minimalism: Space. Light. Object. the first Minimalism exhibition in Southeast Asia, featuring the coming together of Asian and Western art.

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SINGAPORE ART WEEK

18/01/2019

BUILDING CULTURAL CAPITAL FOR SOUTHEAST ASIAN ART
The Village at S.E.A. Focus, Block 7 Lock Road
Gillman Barracks

Thursday, 24 January 2019, 4.30 - 5.30pm

Join Ursula Sullivan, co-director of Sullivan+Strumpf, in a panel discussion with Aaron Seeto, Boon Hui Tan and moderated by John Wong, on the issues of building and accumulating capital, support systems and infrastructures that contributes to the growth of Southeast Asian contemporary art.

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SINGAPORE ART WEEK

17/01/2019

DAWN NG
11: A Performance Piece
Telok Ayer Arts Club, Singapore
2 McCallum Street, Singapore 069043
17, 24, 31 Jan & 14 February 2019, 8 - 9.30pm

Telok Ayer Arts Club teams up with the mercurial Singaporean artist Dawn Ng, in an exquisite showcase of performance art and human relationships that brings together 11 pairs of strangers in a bid to find affinity. 11 is a never-seen-before experiential performance piece with four exclusive showings commencing 17 January 2019, in the lead up to a Valentine's Day finale.

Tickets are priced at SGD$48+, each including a stiff drink and suitable for ages 18 and above only. Book tickets by sending an RSVP here.

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INVITATION

16/01/2019

LINDY LEE
Exploding Suns
Sullivan+Strumpf | Singapore
25 January - 24 February 2019

Opening on Friday, 25 January, 7pm
Artist Talk on Sunday, 27 January, 3pm

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> VIEW ARTIST PAGE
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DON''T MISS

15/01/2019

S.E.A. FOCUS
Booth B-08, Tent B
Gillman Barracks, Singapore
24 - 27 January 2019

Vernissage: Wednesday, 23 January 2019, 6 - 9pm
Fair Dates: Thursday - Sunday, 24 - 27 January 2019

Visit our booth B-08 at S.E.A. Focus with the works of Singapore-based artists Jeremy Sharma, Dawn Ng and Kanchana Gupta.

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JOIN US IN TAIPEI

15/01/2019

TAIPEI DANGDAI
Booth A06
Taipei Nangang Exhibition Centre
No. 1, Jingmao 2nd Road, Nangang District, Taipei City, Taiwan
18 - 20 January 2019

VIP Preview & Vernissage: Thursday, 17 January 2019
Public Fair Dates: Friday - Sunday, 18 - 20 January 2019

Sullivan+Strumpf is delighted to participate in the inaugural Taipei Dangdai this January, with works by Sydney Ball, Sam Leach, Sam Jinks, Dawn Ng and Ramesh Mario Nithiyendran.

> MORE INFORMATION
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1 ADM Jan Exhibitions Joint E invite

CHECK OUT

14/01/2019

KANCHANA GUPTA
Reformations: Painting in Post 2000 Singapore Art
ADM Gallery 2, Nanyang Technological University
18 January - 6 April 2019

Opening Friday, 18 January, 6.30pm

Kanchana Gupta is included in Reformations: Painting in Post 2000 Singapore Art, a group exhibition curated by Michelle Ho. The exhibition is a survey of artists whose works respond to the medium of paint, and are distinct through their investigation of materiality and methodology in painting.

> VIEW ARTIST PAGE
> ENQUIRE