9th December - 24th December 2019
Opening 6pm Wednesday 9th November
Image: Kubrick or Korine™, “24 Hour Franco”, 2019,
2-Channel TV Sculpture
24 hour Franco
Kubrick or Korine
24 Hour Franco is a TV channel conceived for cultural producer and icon James Franco which pays homage to the televisual dreams of Nam June Paik and the screen presence of Franco. The channel encases Hollywood image-flow within avant-garde form and speaks to the increasing comingling of art and celebrity in the global image economy. Launched in Canada in 2019, 24 Hour Franco is part-project and part-product: destined for the airport lounge, budget hotel and shopping mall.
Kubrick or Korine™ is the collective practice of Justin Harvey and Alex Munt. 24 Hour Franco takes central place in a series of works that occupy the interstices between art and celebrity image systems. Alex Munt is a filmmaker who works across film, photo media and moving image practices. He is a Senior Lecturer at UTS at the School of Communication in Media Arts and Production. Justin Harvey is an artist whose work engages experimental processes in the production of digital still and moving images. He is a PhD candidate in Media Arts at UNSW Art & Design.
Alex Munt would like to thank the Faculty of Arts and Sciences at UTS for their ongoing support
Image: Daniel Mudie Cunningham, Shitter, 2019
HD single channel video, silent, 21:14 min
Camera: Tim Buchanan
Courtesy of the artist
A MOP Projects exhibtion hosted by Gallerie Pompom
Daniel Mudie Cunningham
“In Daniel Mudie Cunningham’s Shitter, a prison toilet becomes the site for an obscene self-revelation of the once hidden shame that is too easily overshared in a confessional culture. In a series of tweets sent from a cell, the artist’s innermost secrets crawl across the screen like a walk of shame after a drunken one-night stand. The roll call of experience alluding to teenage kleptomania, childhood sexual abuse, drug use and porn addiction reminds us of the fluidity of criminality as a concept and how the relationship between perpetrator and victim can be a complex and shifting one.” – Carrie Miller
Shitter was commissioned by The Lock-Up for ‘Exhibit A’ curated by Carrie Miller.
Daniel Mudie Cunningham is a Sydney based artist, curator and writer working since the mid 1990s. Primarily using performance and video, Daniel’s practice draws upon personal experience by remixing the image streams of art history, queer politics, pop culture and music. His work has been widely exhibited and is held in the collections of Museum of Old and New Art, Macquarie University, DLUX Media Arts and Campbelltown Arts Centre. He is one of several artists currently in residence at Alaska Studios. Among other things in development, he is currently preparing a new work funded by the Australia Council for the Arts, which responds to the ten-year anniversary of the Cronulla Riots in December 2019.
Photos by Docqment
MOP Projects is supported by the NSW Government through Arts NSW
Image: David George Ledger, Glacier, 2016, oil on linen, 60 x 60cm.
Plastic A MOP Projects exhibtion hosted by Gallerie Pompom
Ian Williams, David George Ledger, Caspar Fairhall, Curated by Anna Louise Richardson
Plastic is an exhibition exploring the artists role in moulding the relationships between fiction and reality in contemporary painting practice. Curated by Anna Louise Richardson and showcasing the work of Western Australian emerging artists Caspar Fairhall, David George Ledger and Ian Williams this exhibition centres on the intersection between formal aspirations of landscape painting and the ubiquity of screen-based imagery.
Caspar Fairhall, David George Ledger and Ian Williams explore shared interests in alternative perceptions of spatial qualities in the landscape and built environment, discussing the impact of contemporary digital culture on equal terms with reality. The curatorial premise of Plastic focuses on digital imagery within the broader ecology of spatial painting practice and the clean aesthetic concerns of the contemporary ‘picturesque’. The title, Plastic reflects the malleability of the artist’s hand in shaping reality, the fluidity of paint, and the flexibility of the artist to adapt to their environment and embrace digitisation. Drawing on the sculptural definition of the ‘plastic arts’, Plastic appropriates this term for the painter and their capacity to manipulate the physical world into a 2D substrate. Plastic brings together a body of works that reflect an ongoing investigation into the flexible role of remediated imagery in representing, simulating or creating realities. Unpacking the relationships between digital media and the physics of perception in painting Caspar Fairhall, David George Ledger and Ian Williams demonstrate the integration of the real and virtual, discarding any distinction between fact and fiction.
David George Ledger is an emerging Western Australian artist whose practice is focused on engaging with ideas of virtual space and place. Much of his work has been an engagement with the representation of space in painting and its parallels in the architectural spaces of video games and film. The idea of a ‘paracosm’, an alternative, imagined world is central to his engagement in art making. David uses painting and drawing as a way of engaging with this imagined space.
Since completing a BA (Art) at Curtin University in 2014, he has produced two solo exhibitions of paintings in Perth in 2015 and 2017, he has also participated multiple group exhibitions including the 2017 Bunbury Biennale. David’s work is held by the City of Joondalup (WA), the Horn Collection (WA) and other private collections in Australia and overseas.
Caspar Fairhall works across various media, from painting to video and interactive art. His work is largely concerned with the relationship between the ways in which we represent space and time in images and the ways in which we think about space and time more generally.
In 2016, Caspar completed his Master of Fine Arts at the University of New South Wales; he also won the Cossack Art Award that year and took part in a residency in the Pilbara region in 2017. Both the Pilbara experience and his Masters research are central to Caspar’s recent work.
Caspar’s work is represented in the collections of the Art Gallery of Western Australia, The University of Western Australia, Edith Cowan University, Chamber of Commerce and Industry, KPMG and BankWest.
Ian Williams’ practice is an exploration of experience and familiarity within virtual environments, and how the screen operates as both a window and a barrier, separating the illusion from the physical world. Working directly from live video games, Williams investigates the photographic believability within these spaces while being mindful of their simplistic origins. He engages with the ‘en plein air’ landscape painting tradition, but rather than working outdoors in a paddock, Williams uses the computer screen as his window into an alternate landscape.
Ian graduated from the Central Institute of Technology (CIT) in 2015 with an Advanced Diploma in Visual Arts, and in 2017 completed a Bachelor of Arts at Curtin University. He has work in public and private collections in Australia and overseas, including the Curtin University and CIT collections. Williams is a finalist in the 2019 Bankwest Contemporary Art Prize (Perth) and the Macquarie Group Emerging Artists Prize (Sydney) and is currently based at Gotham Studios.
Anna Louise Richardson is an emerging Western Australian artist and curator whose practice focuses on issues of regional identity, inter-generational communication and the intersection of art, artefact and material culture.
Attending Curtin University, Anna graduated from art school in 2017. In 2018 she received a Development Grant from the Department of Culture and the Arts and a City of Perth Cultural Sponsorship for a curatorial project titled 'Worth Its Weight In Gold', and again in 2019 in support of 'We're not dead yet'. Richardson was recently a finalist in the Paul Guest Prize 2018, Fisher's Ghost Art Award 2019 and winner of the Emerging Artist Award for the Busselton Art Awards 2018. Recent projects include a solo exhibition at MARS Gallery, VIC, and curated projects 'I AM, YOU ARE, WE ARE', at Chapter House Lane in for the Human Rights Arts and Film Festival, VIC.
Currently working at Artsource, Anna has worked with the Association of Northern Kimberley and Arnhem Aboriginal Artists, NT and is studying a Masters of Cultural Materials Conservation at the University of Melbourne. She will participate in Next Wave 2020 and undertake a curatorial internship for the 2020 Adelaide Biennial. Anna is represented by MARS Gallery, VIC.
Plastic is supported by the Government of Western Australia Department of Culture and the Arts