Melbourne Art Fair

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Linda Marrinon 2019. Courtesy Roslyn Oxley9 Gallery.

Amanda Williams 2020. Courtesy The Commercial.

Amanda Williams 2020. Courtesy The Commercial.

André Hemer 2021. Courtesy Yavuz Gallery.

Patju Presley 2021. Courtesy Vivien Anderson Gallery.

Patju Presley 2021. Courtesy Vivien Anderson Gallery.

André Hemer 2021. Courtesy Yavuz Gallery.

Nabilah Nordin 2021. Courtesy Neon Parc.

Christopher Langton 2019. Courtesy Tolarno Galleries.

Matlok Griffiths 2018. Courtesy ReadingRoom.

Melbourne Convention and Exhibition Centre
17–20 February 2022

Australasia’s most progressive forum for contemporary art returns in 2022 to present new and iconic work from artists represented by 50 of the region’s most exciting galleries. With a focus on solo shows and works of scale and significance, experience a fair that is instrumental in shaping the future of art in the region, a world-class platform for contemporary art and ideas.

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Melbourne Art Fair 2022 Galleries Announced

September 21, 2021

Melbourne Art Fair Indigenous Art Centre Program recipient of the Australian Government RISE Fund

September 6, 2021

Perspectives on Place: Nevo Zisin ‘Sense of Place’

September 6, 2021

@MELBOURNEARTFAIR

Benedict dos Remedios, 'B.W.A', 2018, watercolour

Benedict dos Remedios, 'B.W.A', 2018, watercolour & acrylic on canvas, 61 x 76 cm, represented by @chalkhorsegallery

In dos Remedios's paintings, bright fading airbrushed colours fuse with acrylic and gouache painterly strokes as he blends his subjects in and out of abstraction. His practice often draws on the history of New York painting from the Abstract Expressionists up to the current living painters such as Alex Katz, Joe Bradley and Eddie Martinez. This is in part due to New York City having been the artist’s home for the past ten years, where the city’s streets, galleries and museums influenced many elements of his painting style. In dos Remedios's work we encounter an exploration of nature, deception, repetition and beauty in the context of a digitised world.

#contemporaryart #art #benedictdosremedios #chalkhorsegallery @dossssy

#Exhibition Angela Valamanesh 'The Mortician's Gar

#Exhibition Angela Valamanesh 'The Mortician's Garden' at @gallerysallydancuthbert until October 17

"The mid-1960s television series The Addams Family serves as the unlikely starting point for South Australian artist Angela Valamanesh’s new body of work The Mortician’s Garden. The exhibition’s title references the series’ matriarchal lead, the sophisticated, urbane and ghoulish Morticia Addams. The series operated on many levels of meaning but at its heart was an acceptance of difference [...]

The exhibition features an abundant array of ceramic works complimented by paintings that play off these amalgamated monstrous forms. The depiction of elements of nature has been a constant in the artist’s work. Valamanesh considers form on the micro and macro scale and fuses them together to create beauty and meaning from the improbable. These are cues to the viewer, a reminder in contemporary Australia to consider our environment, recently ravaged by bush fires and to pay attention to its uniqueness."

Image: Angela Valamanesh, 'The Mortician's Garden', install at Gallery Sally Dan-Cuthbert, Warrang/Sydney

#contemporaryart #art #angelvalamanesh #gallerysallydancuthbert

#Exhibition Dale Frank 'The Omega Variant Show' at

#Exhibition Dale Frank 'The Omega Variant Show' at @roslynoxley9

"A directness is necessary (strife is necessary). Too much discussion has verged into poetics for either reasons of fashion or inability. The tension of opposites is necessary, strife is necessary, be it even just a 'contradiction'. It is 'war' rather than peace, or stillness that demonstrates the changes or flux that is the root of being, that makes it clear that nothing, not even the most stable seeming is really at rest." - Dale Frank

Frank's space depends instead on that measured emptiness as a flat surface which sometimes proposes an illusion of solidity by its very ebb and flow. "Form" cannot exist since no boundaries occur. Lines are vectors, not contours, the dense pattern functioning as a force-field in which energies or auras are plotted. The emotional disturbances in his real-time work, each with individual features and occupying its proper temporal span, seem perfectly translated.

Image: Dale Frank, 'She often heard her Clitoris speak to her yelling enough already', 2021, interference colour pigment in Easycast, BQueen resin, expanding foam, black aluminium, Epoxyglass, on Perspex, 200 x 200 cm

#contemporaryart #art #dalefrank #roslynoxley9 @dalefrankstudio

#Announcement We are excited to announce the galle

#Announcement We are excited to announce the galleries participating in Melbourne Art Fair 2022.
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Australasia’s highly anticipated forum for contemporary art and ideas returns in the Victorian summer, 17-20 February 2022. Presented at the DCM-designed Melbourne Convention and Exhibition Centre, the Fair will present solo shows and works of scale and significance from 53 leading galleries in the region.
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Exploring the theme of ‘Djeembana/Place’, the sixteenth edition of Melbourne Art Fair offers a sense of discovery through the work of emerging and iconic artists presented as part of a dynamic program of commissions, installations, performance, conversations, and video.
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Tickets will go on sale 5 October, with First Release ticket prices available until 2 November.
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Discover the 2022 Galleries via the link in bio.
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#melbourneartfair #melbourneartfair2022 #maf2022 #artfair #art #contemporaryart

#Exhibition #ClosingSoon Philjames & Polly Borland

#Exhibition #ClosingSoon Philjames & Polly Borland, 'From Chrysanthemum, To Chysanthemum' at @nicholasthompsongallery until September 25

"From Chrysanthemum, to Chrysanthemum extends their collaboration into new and unexpected territory. Using a selection from Borland’s 2018 series Morph as the starting point, the parameters of this new series formed when Borland proposed he avoid the appropriation of known cartoon tropes. Morph’s monochromatic palette and fleshy, bulbous forms were to become the substrate for Philjames to summon his own monsters.

The polymorphic sexuality of Borland’s ambiguous creatures is inherently aberrant and monstrous. Lurking in the psyche as vestiges of the unconscious, their shapeshifting capacity is both emotional and corporeal with Borland orchestrating their vaguely human form as an exercise in empathy. The otherwise blank canvas of their stretchy nylon ‘skin’ is a palimpsest where our desires, fears and expectations can be etched – the perfect readymade canvas for an artist like Philjames." - Daniel Mudie Cunningham

Phil James is represented by @nicholasthompsongallery
Polly Borland is represented by @sullivanstrumpf

Image: Philjames and Polly Borland, 'untitled no. 69', 2021, oil on 'Morph' archival catalogue page, 30 x 22 cm

#contemporaryart #art #philjames #pollyborland #nicholasthompson @philjames @polly_borland

#Exhibition Marco Fusinato 'EXPERIMENTAL HEL

#Exhibition Marco Fusinato 'EXPERIMENTAL HELL (ATMOSPHÆRAM)' at #AnnaSchwartzGallery until October 16

"The images themselves have an infernal air, joining the paired art-historical and anonymous/news images of Fusinato’s previous record covers and the massively enlarged riot photographs of The Infinitives to suggest a kind of encyclopaedic vision of human life marked by violence, absurdity and madness. Torn out of their contexts, the images become ambiguous markers of the human condition. [...] Just as in Goya and Pasolini – two important touchstones for Fusinato – recognising the madness of the human condition becomes an affirmation, the raw material for an aesthetic experience of unremitting intensity." - Francis Plagne

Image: Marco Fusinato, EXPERIMENTAL HELL (ATMOSPHÆRAM), 2021, installation view at Anna Schwartz Gallery, Naarm/Melbourne

#contemporaryart #art #annaschwartzgallery @marcofusinatostudio