It’s That Sometimes You Move Too Loud / January 15 – February 01 2014
It’s That Sometimes You Move Too Loud explores uncertainty in the creation of ones identity. Each artist has considered social expectations and interpreted these to look at gender, sexuality, and thought processes; then tilted them.
The work – by Christopher Sciuto, Corinna Berndt, Dirty Feminist, Drew Pettifer, Phebe Schmidt, Sophia Wallace, William McBride, Bridget Mackey and Jimmy Nuttall – asks why we inhabit our identities in the ways that we do and suggests we keep asking questions of ourselves.
As the title suggests, the exhibition presents us with a critical enquiry of the self. The artists depict the unknown, unspeakable or ambiguous, accessing the unease that can occur when we choose not to operate by the rules. Perhaps eventually we won’t need to look to gender, sexuality, queerness or other factors for codification.
Curated by Sharon Flynn, a recent Masters graduate from the Victorian College of the Arts, with the support of Arts Victoria and the Victorian College of the Arts. The exhibition forms part of the Midsumma Festival visual arts program.
Corinna Berndt has focused on a sense of the physical self in relationship to constructed environments over several works. Lorelai, a new piece for ISTYMTL, looks at vulnerable archetypes and the agency of made objects.DIRTY FEMINIST’s ideas, like their aesthetic, are loud. They reject the dichotomy in which they feel forced to choose between feminism and sexualised fun. Using the artist as subject they employ humour and the truth of their own bodies to highlight and celebrate overt female sexuality.
Bridget Mackey explores the tender balance between conversation and confrontation in Father/Daughter. She looks at how we become who we become, turning to those we say are the most responsible. Mackey renders truth from sore spots and gives you her humour as antidote.
William McBride’s performance and installation ‘andy samberg feet,’ is a movement in his ongoing examination of self and the information tide. He leans toward the inevitable conclusion that we render ourselves online yet, with the Internet as interface, we are left exposed.
Jimmy Nuttall examines anxiety and the inane. COUNTRY STRUM is a continuing, unresolved gesture performed in site-specific locales; school halls, community centres, and the hallway of the Nicholas building; to create a sense of unease. His work avoids resolution.
In Androgyne, Drew Pettifer requires his subject to perform a casual gesture: tuck their penis away from view. The bodies affect a beautiful ambiguity, in which they are released from a masculine and feminine binary, drawing attention to the contours of their very different frames, faces, identities.
Christopher Sciuto works with infatuation. Using collage, found images, and sculpture he memorialises fleeting moments in pop culture: Brad Pitt circa. 2005, an Adidas fetish that swept through Germany. He creates a teen dream narrative of ‘finding yourself,’ and forges a shrine to self-consuming media obsession.
Phebe Schmidt has presented a subtle take on the suffocation or loss of identity through plasticity. She renders body and object, figure and processed meat, with the same perfect, glacial aesthetic.
Cliteracy, coined by American artist Sophia Wallace, is about creating something so big we are forced to spend time facing it. Her social media storm is testament to this. She is creating a new slang for bodies and for sexuality, and spreading it internationally.
Press / Media:
Eric Gardiner and Meg Watson, The Ten Best Things to See at Midsumma 2014, Concrete Playground, January 5 2014
Dan Rule, Space: Around the Galleries, The Age, January 15 2014
Visual Arts Review, Robert Nelson, Sydney Morning Herald (The Age), January 22 2014
Toby Fehily, Exhibition Review, The Three Thousands
This project is supported by Arts Victoria,
Victorian College of the Arts and Midsumma Festival 2014.