Catalogue produced to accompany the exhibition “Pretty Air and Useful Things” , 19 July – 22 September 2012, Monash University Museum of Art, Caulfield Campus, curated by Rosemary Forde and featuring the work of Dan Bell, Sanne Mestrom, and Alex Vivian.
Focusing on the invisible forces, transgressive processes, and anarchic approaches to materials in sculptural practice, Pretty Air and Useful Things invokes the magnetism and friction of objects, and our relationship to them. Featuring artists Dan Bell, Sanné Mestrom and Alex Vivian, Pretty Air and Useful Things presents sculptural and installation works that reference the body through form, clothing, stains or scent; and the utilitarian via elements of design and commodity. In the spaces between are processes of speculation, transference, fermentation, connection, function and distortion. Using a combination of found, adapted and handmade materials, the intangible, perhaps mystical, qualities of objects are suggested.
Dan Bell’s object and installation work is informed by an anarchic approach to materials and his parallel practice as a jewellery maker. His work conjures the unseen processes of magic, transformation and interstitial states. Referencing the visual language of commodified desire and lifestyle, Bell’s work complicates notions of value.
Sanné Mestrom’s work with objects often involves invisible forces, references to art and cultural history, and explorations of the psychological or emotional significance attributed to objects. Her recent sculptural installations have included a mix of found objects, casts and copies, bringing the context and meaning of objects and materials into play.
Alex Vivian makes installation works that typically involve domestic objects and items of clothing that, having been altered via transgressive processes, are removed them from their original function. Whether installed in sprawling arrangements scattered throughout the exhibition space, or, as in more recent works, displayed as singular sculptural elements relying on the visual language of museum plinths, Vivian’s work is steeped in references to the body.
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Y3K was a two-year (2009-2011) proposition initiated by James Deutsher and Christopher L G Hill, a gallery practice as-an-extension-of an art practice and-in-support-of a wider art and design community in Melbourne and Internationally.
Over two-years Y3K exhibited World Food Books, BLESS, Christopher L.G. Hill, Emmeleine deMooij, Jota Castro, Kinga Kielczynska, Melanie Bonaj, fabrics interseason, ffiXXed, Heinz Peter Knes, James Deutsher, Matt Hinkley, Olivia Barrett, Pat Foster, Jen Berean, Rob McKenzie, SIBLING, Slow and Steady Wins the Race, Jon Campbell, LOST Projects, Alex Vivian, Daniel du Bern, Nick Selenitsch, Kain Picken, Next Wave, A Constructed World, Joshua Petherick, Helen Johnson, Bianca Hester, Misha Hollenbach, David Griggs, Sam Kiyoumarsi, Robert Langenegger, Nick Mangan, Matt Griffin, Masato Takasaka, Fiona Connor, Tahi Moore, Ida Ekblad, Art Centre Ongoing, Kit Lee, Kate Newby, Sriwhana Spong, Dylan Statham, Simon Taylor, Sophia Mitchell, Rowan Mcnaught, MM Yu. Ilia Farah Rosli, Marco Fusinato, TATE Modern, Marie Gaultier, Anna Hess, Veronica Kent, Jarrod Rawlins, Keith Al-Hasani, Ruby Lowe, Justin Clemens, Daniel Munn, Simon Denny, Dan Arps, Andrew Barber, Structural Integrity, Marco Fusinato, Rose Nolan, Dan Bell, Kate Smith, Ardi Gunawan, Nikos Pantazopoulos, Ben Tankard, Steve Kado, Virginia Overell, Mateo Tannatt, Sean Peoples, Inri Cristo, Tara Rawlins, Chateau 2F, Oscar Yanez, Hany Armanious, Ash Kilmartin, Elizabeth Gower, Lizzy Newman, Nina Sers, Maria Kozic, Ellen Pittman, Juan Davila, Janet Burchill, Jennifer McCarthy, Constanze Zikos, Hao Guo, Pow Martinez, Carissa Rodriguez, Tobias Kaspar, Piotr Łakomy, Natalie Rognsøy, Katherine Huang, Taree McKenzie, Ester Partegas, Mikala Dwyer and John Spiteri and more.
Each exhibition was accompanied by an A3 double sided unique limited edition poster designed by the artists and gallerists. These posters now form the basis for the Y3K publication.
Included in this publication, and on the occasion of it’s launch to the public two years after the cessation of the Y3K gallery space, is an accompanying text from
The Y3K publication is a limited edition of 100, and is available from World Food Books.
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