In March 2019 photographer Nicole Reed was invited to travel to Pyongyang, Democratic People’s Republic of Korea, on assignment to photograph the city’s hotels.
Image: Nicole Reed
Her upcoming exhibition ‘Scenes from the People’s Paradise – Pyongyang’ comprises a collection of striking images taken throughout the trip and launches at SUNSTUDIOS Melbourne on July 4.
Fascinated by the city’s unusual colours, Soviet-influenced architecture, grand extravagant structures and the darkly clothed figures moving amongst them, almost like actors on a deliberately symmetrical stage, Reed was challenged as a photographer to capture moments she naturally observed within the confines of what she was permitted to photograph.
“There is a certain amount of disconnect you have to achieve to be comfortable in a place like Pyongyang. Arriving there, I had to forget about the DPRK’s status in the world and concentrate on getting to know people at ground level. Our guides were very intelligent, witty and fun-loving types, but stern when the situation demanded.
Pyongyang was once called the People’s Paradise: a place for the North Korean people to be proud of, a jewel to show off to the outside world, and a lure to repatriate Koreans who had left the country.
It is certainly beautiful on the surface, but Pyongyang is also a place that is virtually impossible to capture with truth, which I have come to terms with, as you can only photograph what you see, well, some of the time, if you are allowed.”
4 July 2019
95 Buckhurst St. South Melbourne 3205
‘I’m the little spoon’ was a message Goodie received from a Tinder match while living in New York. ‘Bed Bath and I’m the Big Spoon’ is a new body of work and installation responding to a series of intimate experiences Goodie had over the past year across the United States (where she was born) and Australia (where she grew up).
Photo: Nicole Reed
The exhibition is about love and the shapes it takes, considering the spaces that hold and house our feelings, thoughts, doubts and desires. Shared spaces of intimacy are like second skins. They take on characteristics of their inhabitants and contain collective memories. Personal reflections on the bonds formed between bodies and spaces, from moments often occurring behind closed doors, are rendered for public display; the gallery is reimagined as a bedroom.
Photo: Nicole Reed
Repurposed cardboard is massaged, taped and painted to resemble items and activities from an imagined bedroom, and installed within the space to embellish it with a domestic familiarity. A series of new paintings and sculptures portray a collection of domestic scenes. Sharing these moments publicly speaks to an open approach to relationships, where transparency and communication are key. The work gestures towards characteristics of queer and polyamorous bonds, as well as celebrating the networks of support that hold them. Private and public, platonic and romantic, domestic and professional, personal and political: complicated and never simple dichotomies dance in contemporary relationships against a background of social media, dating apps and uncertainty in the future.
Photo: Nicole Reed
‘Bed Bath and I’m the Big Spoon’ opens at MARFA GALLERY (Level 1, 288 Johnston St, Abbotsford) onFriday 7 June 2019 from 6pm. The show will be open for viewing from 8-12 June 2019.
Photo: Nicole Reed
Goodie is an artist and curator interested in orientations, suburbia and relations between spaces, objects and people. Their practice predominantly involves painting, installation, murals, writing and performance. By fabricating fictional architectures and characters, or adjusting existing architectures, they explore how public and private spaces hold objects and bodies. Furthermore, how the spaces we create reflect the values we live by and relate to slippery notions of identity, sexuality and gender.
Goodie was born in California and raised in Canberra, moving to Melbourne (Naarm) in 2014, where they live, work and love now. Goodie has exhibited and painted walls extensively throughout Australia and overseas, and has collaborated on projects with groups such as the Collingwood Arts Precinct, Juddy Roller, the Australian National University and the Abbotsford Convent. They completed a Bachelor of Fine Art at the Victorian College of the Arts in 2016. They recently completed a residency in New York at CON Artists Collective.
This Friday, join Melbourne’s infamous Mayonaize as he opens his solo show ‘Memento’ at the incredible KSR Art Bar space. The space itself is a historic site – built around 1850, and at one point was a butter factory, now incorporated into the Rialto Piazza.
Mayonaize is a contemporary fine artist specialising in a unique calligraphy script style of lettering. Since moving to Australia in 2001, graffiti has been a major influence on his eclectic oeuvre,creating a well established profile within the Melbourne street-art scene with a multitude of public works.
His pieces are distinctive for his deliberate handwork and swift,
yet precise execution of a complex and elaborate style of monochromatic text.
He lives and works in Melbourne, also working as a highly sought after tattoo artist working out of Tattoo Magic in Fitzroy.
‘Memento’ opens 4pm Friday 17 May at the KSR Art Bar Space. 525 Collins Street, Melbourne.
The godfather of street art is at it again, our good friend Blek Le Rat has finally released Rat N°5!! A beautiful 23x31cm six colour screen print on 300 gsm Arches paper, Rat N°5 features a rat carrying two baguettes and the French flag dripping down the page. In a signed limited edition of 300, with a COA signed by the artist, this one is going to sell quick!! Get in while you can here!!
OBJECT by HIROYASU TSURI 釣 博泰 / TWOONE opens Nov 23 – Dec 9 at Backwoods Gallery, 25 Easey St, Collingwood.
“There are ideas that you simply can’t express in words, logic or a singular object. Rather, the idea needs to be expressed through a story, a series of works or a collection of objects.”
Amidst growing concerns around the impact of the fashion industry and consumer waste, a series of street art interventions have appeared across the country to coincide with #BlackFriday and #CyberMonday. Bill Posters, the pseudonym for the street artist and activist who co-founded Brandalism, has been subvertising ad spaces to draw attention to the negative impacts of consumer waste and fast fashion.
Timed for release on the biggest global retail event of the year, Bill Poster’s latest campaign entitled ‘Waste World’ looks at the true consequences of the world’s rubbish – from clothes to plastics and e-waste – as well as those most affected by it. Inspired by New Internationalist’s latest issue on Waste, the street art installations take aim at brands including Nike, Pretty Little Thing, Apple and Gucci and reveal where large amounts of waste and ‘recycling’ from the western world actually ends up.
“Instead of getting beaten up this Black Friday in shopping malls for a new TV we should probably be paying more attention to where the majority of our ‘recycled’ waste actually ends up. In low-income countries, 93% of global waste is dumped due to inadequate urban provisions. Western countries can’t process their own waste, instead – they sell it to other low-income countries in Asia and Africa. It reeks of colonialism, we are literally taking a dump on millions of less privileged people with our waste” says Posters.
This latest subvertising campaign is also timed to support ‘No Ad day’, an artist led initiative that seeks to remove ads from public spaces across the world on Saturday 24th November 2018. To support other street artists and graffiti writers to take over advertising spaces in cities for No Ad Day, Bill Posters has just published the world’s first pocket sized ‘Subvertising Manual’ with Dog Section Press.
Artists can pick up a copy from Dog Section Press here: https://dogsection.bigcartel.com/product/brandalism-ad-takeover-guide
See more of Bill Posters’ street art on Insta: @BrandalismProject
In an Australian first, Art Series Hotels will challenge its guests this spring to grab a spray can, mask up and leave their mark on the walls of three of its properties. Until December 30, a white-washed room at The Blackman, The Johnson and The Olsen hotels will be transformed into a collective canvas as part of a participatory art project.
The collaborative art project follows the award-winning No Robe campaign, where Art Series guests were invited to pose nude, and the ‘Steal Banksy’ initiative, which challenged people to half inch artwork.
Urban contemporary artist Unwell Bunny (also known as Ed Bechervaise) opens his new exhibition ‘The Mountains We Climb’ on September 28th 2018, at Marfa Gallery in Melbourne.
‘The Mountains We Climb’ is a new body of work in which Ed explores Japan and its sensibilities. It has layers of feelings, from the chaos of Tokyo to the stillness of Kanazawa Hills. Each image is broken down into fragments, with slabs of colour, texture and tone that symbolise the experience, whether by night or day, dusk or dawn. This is a time capsule of travel, but also of the struggle and exploration each of us go through in growing as people and evolving beyond what we know.
‘The Mountains We Climb’ is about pushing the limits of understanding. Exploring that place that brings discomfort and pushing the elements of your processing ability. Ed has done this with his exploration of abstraction and reinterpretation, pushing forward a more sophisticated pallet. Deconstructing the elements he has recorded and reshaped through memory and feeling of Japan. Finding new cords with colour and with textual mediums that join together to form landscapes. With its global sensibility and edgy urban undertones, Ed’s motivations are both to be pleasing aesthetically while also disruptive emotionally, triggering questions in the viewer, which is both inward and outwardly focused.
Discover more at www.unwellbunny.com or Marfa Gallery http://www.marfagallery.com/exhibtion/
Internationally celebrated street artist D*FACE has been at the forefront of his practice since his initial breakthrough in 2005. Having grown up amidst the streets of London, he cultivated a keen interest in graffiti art and its disaffected mindset from an early age. As a teenager his artistic attentions turned to skate culture and the iconic skate deck designs of Jim Phillips and Vernon Courtlandt Johnson that he found in Thrasher Magazine. Inspired by their punk DIY aesthetic, D*Face attended an illustration and design course before beginning work as a freelance artist. Taking the public domain of the street as his canvas, he blended art, design and graffiti in a manner that pre-dated the emergence of street art as it is known today. Here the artist gained a great deal of attention, quickly rising to fame for the vivid nature of his designs. Despite now working in the gallery as well as the open canvas of the streets, D*Face continues to approach his work with the same anarchic energy that drove him to begin his career from the outset. His vibrant pop style and D*Dog logo have become synonymous with British street style and are recognized the world-over.
In addition to collaborating with the likes of Shepard Fairy and Banksy, D*Face has collaborated with Her Royal Highness Queen Elizabeth II on a project that involved the customization of banknotes and coins and their secret reinsertion back into public circulation. In 2005 the artist was also commissioned by the Vatican to produce a portrait in commemoration of Pope Benedict XVI’s instatement.
“HOME IS WHERE THE heART IS” is D*Face’s first ever exhibition in the Pacific Northwest. The exhibition will highlight some of his most iconic works to date including his depictions of recognizable females in the likes of Marilyn Monroe and Queen Elizabeth II.
The majority of D*Face’s work is centered around the heart throbbing, push-pull affections of love and loss, most notably visible in his series of painted romance novel book covers. Using the name of the book as context, the paintings compliment the artist’s inter- pretation of the titles. Other notable works in the exhibition will include his iconic use of Coca Cola bottles and the repetitious use of the word “RIOT.” The word is a reference to the anti-authoritarian roots of street art culture and represents the self-described “poor man’s grenade,” an object associated with dissent. The RIOT series explores the use the objects as means to instill change through protest and revolution.
“I want to encourage people to not just to see, but to look at what surrounds them and their lives, re- ecting our increasingly bizarre popular culture, re-thinking and reworking cultural gures and genres to comment on our ethos of conspicuous consumption.” – D*FACE
Opening reception on Thursday, August 2nd from 6pm-9pm at TREASON Gallery located in Pioneer Square, 319 3RD AVE S, Seattle, WA 98104.
More info available: WWW.TREASONGALLERY.COM