https://piersgreville.com Artist | Piers Greville Wed, 05 Nov 2025 21:13:47 +0000 https://piersgreville.com en http://piersgreville.com/Breakfast-at-Berghain Wed, 05 Nov 2025 21:13:47 +0000 Artist | Piers Greville 458373 Piers Greville / ArtistExhibitions |&nbsp;News |&nbsp;About | Text | Contact Breakfast at BerghainMagma Galleries, Collingwood. 13th of November— 14th of December 2025 Full article in Memo Review by Philip Brophy Catalogue text by Osman Faruqi There’s a moment that exists only in the club It’s sometime after midnight, usually sometime before sunrise, when the night feels infinite. Time loses its meaning, music transcends genre, bodies dissolve into one another. On either side of this moment lies chaos, uncertainty, anxiety. Yet for a fleeting second our fears and disquiet, our concern around war, environmental collapse, the existential anguishes that pervade us, cease to exist. But it’s an illusion. Step outside, on either side of the moment, and the air is again thick with chaos, uncertainty and anxiety. In Breakfast at Berghain, Melbourne artist Piers Greville turns that momentary illusion into an investigation by turning his gaze skyward. What he’s really exploring is that threshold between collective escapism and the turmoil we’re trying to forget. As we glance into the atmosphere, where clouds behave like mirrors, we’re confronted with reflections not just of light but of the unease of our times. Explosions mistaken for sunsets or sunsets mistaken for explosions? The magic of the sublime is that it hovers precisely between beauty and terror, pain and pleasure, resting again in one exact moment. This search for catharsis and clarity amid chaos is borne out in Greville’s process, negotiating between the digital and the analogue. Some works are built on collage, algorithmic sketches from fragments of online detritus, others entirely painted by hand, an attempt to inject human uncertainty and contrast it with precision. The result is a conversation between the world as it’s fed to us, and the world as it feels when you stop and look up. Which is which? There’s another art-historical investigation at work too. Greville recasts canonical images: Delacroix’s The Barque of Dante and Géricault’s The Raft of the Medusa, to probe how we can sanitise catastrophe. In his reinterpretation of The Barque of Dante, crosses layered over the surface mimic the framing of a camera lens, collapsing a dystopian Romanticist vision of a journey into hell into surveillance imagery. Another piece isolates a single, supposedly hopeful corner of The Raft of the Medusa, cutting out the bodies that make the scene so tragic. It’s an act of omission that feels uncomfortably contemporary: a critique of how easily we crop horror out of the picture, and how easy, and sometimes necessary it can be for us to leave the dread of the world behind, if just for a moment.If Breakfast at Berghain feels at once euphoric and uneasy, it’s because that’s where we live now: suspended between the club and the crisis, looking up at clouds that might just be smoke <img width="4237" height="3531" width_o="4237" height_o="3531" src_o="https://cortex.persona.co/t/original/i/63288106af8da690d488ace81e8e28861017a274095e166b9f749d946a11670c/Piers-Greville_Breakfast_At_The_Berghain_024-LORES.jpg" data-mid="1424669" border="0" /> Piers Greville / ArtistExhibitions |&nbsp;News |&nbsp;About | Text | Contact Breakfast at BerghainMagma Galleries, Collingwood. 13th of November— 14th of... http://piersgreville.com/2025 Sun, 27 Apr 2025 23:18:14 +0000 Artist | Piers Greville 456671 Piers Greville / ArtistExhibitions&nbsp;2020&nbsp;2021&nbsp;2022&nbsp;2023&nbsp;2025&nbsp;News&nbsp;About&nbsp;Text&nbsp;Contact 2025 Breakfast at BerghainMagma Galleries, Melbourne. 13 November — 14 December 2025 <img width="4237" height="3531" width_o="4237" height_o="3531" src_o="https://cortex.persona.co/t/original/i/295cfa686c814378f2dabfc3505adef7e9a4086ab00d0bdf00a8ac8a5df71e78/Piers-Greville_Breakfast_At_The_Berghain_024-LORES.jpg" data-mid="1424845" border="0" /> Breakfast At The Berghain, 2025 oil on cotton duck 182.88cm x 152.4cm <img width="5132" height="2634" width_o="5132" height_o="2634" src_o="https://cortex.persona.co/t/original/i/40b23c9120c84c118944c38a676c8e472f0d43a1c5802d3868886dac8c99649e/251107_Piers_Greville_Crescendo_036.jpg" data-mid="1424836" border="0" /> Crescendo, 2025 oil on cotton duck 58.7cm x 30cm <img width="3216" height="1210" width_o="3216" height_o="1210" src_o="https://cortex.persona.co/t/original/i/ade54a6f9245bd7e640c4282eedac616b23879dcb329a8531bde483f47e1de30/Piers-Greville-Hurricane-Yagi-1-2-2025.jpg" data-mid="1424839" border="0" /> Typhoon Yagi1, 2, 2025 oil on clay board58.7cm x 30cm Carrying momentum from Piers Greville's recent exhibition Entropic Baroque, this newly developed body of work, Breakfast at Berghain, responds to glimmers of optimism in the tumult. The exhibition's title paraphrases a Baxter Dury lyric, alluding to Berlin’s Berghain nightclub and evoking a very particular feeling – a collective cathartic moment; a dawning as tumult turns to calm, but chaos still lingers. In these new works, Greville holds tension between sublime aesthetics and the politics of survival. The sky becomes a landscape, loaded with picturesque emotional and political values. Compelled to evoke clouds, borrowed and combined from photographs, he excavates their history as a device in paintings from the baroque to the romantic. Here the cloud serves as the central emotion, and at the same time a meteorological presence – a microcosm of climate. Entropic BaroqueDominik Mersch Gallery, Sydney. 20 September — 11 October 2025 <img width="3347" height="5033" width_o="3347" height_o="5033" src_o="https://cortex.persona.co/t/original/i/da4fefbf0ca6604cd83583665e66343fbcf70fcc617f8b81efce1ceb77570410/Piers-Greville-Last-minute-barbecue-2025.jpg" data-mid="1424842" border="0" data-scale="99"/> <img width="3347" height="5033" width_o="3347" height_o="5033" src_o="https://cortex.persona.co/t/original/i/e550eaddbe7d742e9d951c99d6c1e4c3272607597cab5dd8ed6bf1df722a7a15/Piers-Greville-At-lunch-with-my-parents-2025.jpg" data-mid="1424843" border="0" data-scale="96"/> Last-minute barbecue..., 2025 oil on aluminium composite panel, 81 x 122 cm At lunch with my parents..., 2025 oil on aluminium composite panel, 81 x 122 cm Following a terrain motif, and dealing with the historical idea of landscape painting, I am looking at the sky as an evolving landscape, subject to the same politics and baggage as any terrestrial one. There had been a recurring image on my screen of billowing forms. It entered my consciousness and got to a point where I couldn’t avoid seeing all the time: crashing surf, explosions of war, a booming avalanche, a towering volcanic plume or swirling toxic gas from riot police; then in my actual presence, out the window or at the traffic lights: the towering white cumulus clouds of a perfect summer’s day. The motif of cloud forms was initially in response to press images of street uprisings: the Umbrella protests in Hong Kong, the Black Lives Matter movement and so much more. The devastatingly symbolic and literal shrouding of citizens in toxic mist by their state is an image I cannot shake. The pathos of these figures shrouded in gas struck me as an echo of baroque cartoons, their swirling mists setting emotions of uncertainty and violence. I recorded small drawings on paper reflecting these protests and these small works led on to the development of the paintings in Entropic Baroque. My language of cropping expansive terrains, alludes to a hyperobject (1), a system too big to experience in entirety, with only a fraction being visible. In turning this cropped view to a section of sky, I am thinking of meteorological dynamics in a political dimension, on the edge of abstraction. My interest in cloud forms has emerged and re-emerged in past work: Histories Collapse, 2008; Vertical Littoris, 2011; Singularity, 2017; etc. and now in this recent body of work. I have long been attracted to their painted form in its own right but also as a through-line from histories of painting. These paintings started as disparate images, collaged from pillaged moments of chaos, both horrific and benign: avalanches, waves, bombs, bushfire, teargas, collapse, clouds and more, the turmoil of now. They are of this moment, of being alive. I introduced a cutaway subject matter: glacial forms, which are a similarly dynamic, loaded terrain. I have focussed here on glaciers in Graubunden, on the Swiss-Italian border. I was intimately familiar with these places as a teenager, distorted by memory over time and gradually replaced with the images I now have of them, an aerial photograph in an old book, or google earth. One mode is historical record, and the other a more contemporary, live record. All are identifiable marks of a time and place and longing. Raised on a diet of minimalism and materialism, Kitsch was a slur, and ornate decoration treated with suspicion. The baroque existed as a separate space, othered and tastefully contained. In this work I have stumbled into a conversation with a new baroque energy. Bela Lugosi and the Plot’s TwistA group exhibition curated by Elvis Richardson at One Star Lounge, Melbourne (May) <img width="3572" height="1998" width_o="3572" height_o="1998" src_o="https://cortex.persona.co/t/original/i/2d9f4cff3a856ab9a2421dbe4855d3c435a562e7c76ea4c88b56749b4bd6b686/1kMort-STILL-tree-circle.jpg" data-mid="1424872" border="0" /> 1000 Deaths, Part 1, 2025 4K Video (still) 2023 Objects In The MirrorMagma Galleries, Collingwood. 7th—29th October 2023 <img width="2358" height="1768" width_o="2358" height_o="1768" src_o="https://cortex.persona.co/t/original/i/bfb884099a4321633c159c7501f33f9b59d36e91a53fa3c39d142f195bed7d7d/Pardon-2023.jpg" data-mid="1424877" border="0" /> <img width="2358" height="1768" width_o="2358" height_o="1768" src_o="https://cortex.persona.co/t/original/i/13865e45b8c1c92533935683b9f5906fa0b85e691e32b75b687629757124c289/Recess-2023.jpg" data-mid="1424878" border="0" /> Pardon 2023 oil on linen, 90 x 122 cm Recess 2023 oil on linen, 90 x 122 cm Landscape and it’s identity is a loaded question anywhere on the Australian continent, but the particular site of the middle Snowy River in Ngarigu county, carries the weight of an ongoing identity crisis. It is through the tumult of indigenous history, settler narratives and contemporary climate events which these paintings interrogate. The paintings employ a particular literal lens and geometry, a parallel perspective without a vanishing point or horizon - objects in the mirror. They give a similar effect of flattened perspective to that found in certain medieval paintings as well as electron microscopy and interstellar telescopy. As if viewing the landscape from outer space, this view is seen as an explosion of a single point of view, and so of the ego. Stemming from a prior fascination with depicting projected narratives into a landscape these paintings illustrate the possibility of multiple states. To invert the truth, to strip the adornment of identity, and to do all this in retrospect is all that’s left to do. Blue World: The Valerie Taylor Art Prize for Ocean Advocacy Carriage Works, Sydney<img width="11520" height="5072" width_o="11520" height_o="5072" src_o="https://cortex.persona.co/t/original/i/c25a6ae110126f7ca4425efdebd9fd4301cf996624e36fbc44e3a8d97bf975b1/Datum-Gelidae-joined.jpg" data-mid="1424881" border="0" /> Datum Gelidæ 2023 oil on linen, 270 x 122 cm A new work has been selected to this invitation-only prize. Datum Gelidae, 2019–2023 is a newly finished painting. The title comes from ‘given the cold’ translated into latin, and refers to the now dynamic state of what might have once been looked upon as static geography. It is a painting of the Antarctic polar ice thickness, using a 2019 dataset measured by the CryoSat and ICESat-2 satellites. Stretched over three panels, it depicts our massive but vulnerable southern icecap. The irregular terrain depicted in the painting reflects both the sub-glacial terrain, but also reveals glacial accumulation and depletion across the continent. The painting’s support is a particularly delicate and raw linen, which like the sea around the Antarctic, is deep, dark and vulnerable, and which absorbs the light of all around. 2022 Manifesta14 Prishtina, Kosovo“Greville’s What Is Here, 2022, is a bridge embodied by the people themselves. Installing a frame in the middle of the river, the artist invites citizens from both sides of the city to swim in a relay of solidarity, together against the current. Meanwhile the action is watched over by two flags which present renderings of the surrounding terrain but claim no territory” What Is Here 2022 Mitrovica and Prishtina,Kosovo. Photographs by Marcello Maranzan and Alban Nuhiu, 2022 Water[Shed] at Bett Gallery in Hobart, From the Bett Gallery Website: 50 Artists. 50 Years. <img width="2056" height="1768" width_o="2056" height_o="1768" src_o="https://cortex.persona.co/t/original/i/bd128c5500a8fcc655734a8cafba3a89ce541bee02d2bf5d035d1ef09d973461/Piers-Greville-Hypolimnus-Pedderensis-2021.JPG" data-mid="1424884" border="0" />Hypolimnus Pedderensis 2021 oil on linen, 107 x 91.5 cm water[shed] is an exhibition conceived by OUTSIDE THE BOX / Earth Arts Rights and presented in collaboration with Bett Gallery to support the Restore Pedder campaign.The staging of the water[shed] from 18 February – 12 March 2022 coincides with the 50th anniversary of the last heart-breaking summer in 1972 when dams on the Huon and Serpentine Rivers were closed and the impounded waters began to rise. Lake Pedder along with over 242 square kilometres of wild landscape in the heart of lutruwita (Tasmania) was swallowed up. The original lake is not forgotten.This 50-year anniversary of loss also coincides with the first year of the United Nations Decade on Ecosystem Restoration 2021–2030. Water[shed] brings together 50 Australian and international artists exploring the ideas of ecosystem restoration, re-wilding grief, loss and celebration of the original Lake Pedder. A profound feeling of loss echoes in the black void of Pedder Dam. After a visit there in 2021, I tried to find out what I could about the webs of life shattered and gone from this place. Taking particular interest in the extinct Lake Pedder earthworm Hypolimnus pedderensis, I read that only a single specimen was ever collected, the summer before the lake was consumed. We can only presume that when the lake flooded that winter, the last of the species were drowned. That was June 1972, the same month I was born. In the absence of images of the worm online, I returned to Lutruwita/Tasmania in May to witness the lone specimen with my own eyes, suspended in ethanol in the bowels of a museum. As I studied this tiny deceased body, capturing images and drawings, I had in mind certain late paintings of Caravaggio, shortly before his death: his depiction of the quest for empirical, visceral knowledge in The Incredulity of Saint Thomas; and the The Raising of Lazarus, with not only its analogous narrative, but the corporeal frailty with its golden shimmering skin. “The Lake the Vanished...”ABC radio national (Australian Broadcasting Corporation)Listen to the interview with Julie Gough, David Keeling and Danielle Wood, aired on Wednesday 17 August 2022@ 1:22 — 29:45 Holiday In Heterotopia Dominik Mersch Gallery <img width="2600" height="1742" width_o="2600" height_o="1742" src_o="https://cortex.persona.co/t/original/i/316d9e71556118448f75e0dd3bbd88510b3df89ce6e986bbf07942a1f300175a/RecursionSeeRecursion-2022-PIERS_GREVILLE.jpg" data-mid="1424883" border="0" /> Recursion, See Recursion 2022 oil on linen, 182 x 122 cm A state of recursive, self-cancelling desire. This suite of paintings are after a place called Kunama Namadgi also known as Kosciusko, in the Australian High Country. Terrains and artefacts are represented as sculpted forms, within the field of romantic landscape views. These works question the place of settler narratives and other colonising forces in the landscape. They are pictures fuelled by the demise of a landscape, due to the objectifying and mythologising gaze it is subject to. The title: Holiday In Heterotopia alludes to a methodology of ‘thinking through sculpture’ which has led these paintings. In representing these sculptural forms in the medium of painting I suspend them as an ‘other’ place in relation to their field, a Heterotopia. 2021 The Art of Protest, Newcastle Art Gallery <img width="2524" height="1768" width_o="2524" height_o="1768" src_o="https://cortex.persona.co/t/original/i/736b82a536ceeb30dcf1fc40fcd1c7acaba98d5a0131331cefd41fa0aa1ce2a9/Piers_Greville_Phase-Space-Green-2020.jpg" data-mid="1424885" border="0" /> Phase Space Green 2022 oil on linen, 200 x 140 cm From 30th of October 2021 until 30th of January 2022, Phase Space Green, 2020 will be included in this exhibition, curated by Lisa Kirkpatrick at the Newcastle Art Gallery. The exhibition surveys a history of artwork produced in protest from Australia. From the Newcastle Art Gallery website: From community activism to global social movements, THE ART OF PROTEST features politically engaged artists past and present responding to disaster and injustice and calling for change. This exhibition surveys over 100 years of resistance, with new artists taking up the fight each decade. From worker’s rights, feminism, HIV/AIDS awareness, advocacy and compassion for all Australians, calls for environmental policy or the preservation of local heritage, through to the events of the past few tumultuous years - the COVID-19 pandemic, the apocalyptic bushfires of 2020 and an urgent need for action on climate change. Ann Newmarch’s screenprints of the 70s and 80s employ the graphic nature of the poster format to challenge traditional notions of art and gender roles whilst Tina Havelock Stevens’ performance video The Breakwater 2018 set in Newcastle, documents one of the earliest instances of community activism in Australia. Noel Counihan shines a light on the working conditions of miners juxtaposed against Simryn Gill’s photography that reveals the enormous impact an open cut mine has on the landscape. Deborah Kelly’s Coal is Over 2019 installation and homage to Yoko Ono and John Lennon’s 1969 peace campaign offers a reminder that alternative energy solutions are here and available (if we want it). Dani Marti's soft sculpture installation Orifices was created during a residency with the Galley of Modern Art, Glasgow and part of a body of work aimed at reducing social exclusion, homophobia and HIV related stigma. The decision by Glasgow City Council to censor parts of the exhibition led the artist to instead undertake the guerrilla action of installing islands of blood red scourers throughout the city, not allowing already marginalised individuals and communities be hidden away and silenced. Peter Drew and Alex Seton illustrate the continuing plight of refugees and asylum seekers through the guerrilla art of poster pasteups and carving of these stories into ancient marble. Piers Greville and Fiona Lee employ charcoal, ash and salvaged materials from the 2019/2020 bushfires as their medium, presenting a bleak reality, not of our future but our present. Maddison Gibbs skilfully combines traditional cultural practices and contemporary methods to illuminate underrepresented voices. Her sculpted fern spirit I Can’t Breathe 2021 is a simultaneous call from Aboriginal people and the environment. Joseph McGlennon and Anne Zahalka’s photographic re-creations preserve native fauna in their environment, comparing our past and present to question what will be left in our future. THE ART OF PROTEST brings together local, national and international artists, newly acquired works and highlights from Newcastle Art Gallery's collection to explore how far we've come and how far we still have to go.Exhibiting artists include: Tony ALBERT, Micky ALLAN, Glenn BARKLEY, Joseph BEUYS, Penny BYRNE, Kevin CONNOR, Grace COSSINGTON SMITH, Noel COUNIHAN, Juan DAVILA, Peter DREW, Tina FIVEASH, Honor FREEMAN, Maddison GIBBS, Simryn GILL, Piers GREVILLE, Vicki HAMILTON, Tina HAVELOCK STEVENS, Judy HEPPER, Kazutaka KANEGAE, Deborah KELLY, Therese KENYON, Rosemary LAING, Fiona LEE, Dani MARTI, Mandy MARTIN, Joseph McGLENNON, Marie McMAHON, Sally MORGAN, Ann NEWMARCH, Ken O'REGAN, Baden PAILTHORPE, Luke ROBERTS, Alex SETON, Richard TIPPING, Vicki VARVARESSOS, Gerry WEDD, Jemima WYMAN and Anne ZAHALKA. 2020 Tipping Point at Dominik Mersch GalleryMay 15-31 2020, First solo show with Dominik Mersch Gallery in Sydney. The paintings continued ongoing research into landscape and mapping and seek to capture this seismic moment in collective awareness of our place in the environment. &nbsp; SEE EXHIBITION &gt;&gt; Phase Space Green 2022 oil on linen, 200 x 140 cm Isolation Box Gallery On the 1st of April 2020, an exhibition of new paintings for 2020 launched to an empty room. In response to Covid-19, Isolation was a closed-door installation generating online image and video of the work along with artist interviews via social media. The exhibition placed paintings in a context of the human figuration, installed in a space which would usually host live model sittings.&nbsp; SEE EXHIBITION &gt;&gt; Installation view April 2020 Piers Greville / ArtistExhibitions&nbsp;2020&nbsp;2021&nbsp;2022&nbsp;2023&nbsp;2025&nbsp;News&nbsp;About&nbsp;Text&nbsp;Contact 2025 Breakfast at... http://piersgreville.com/Objects-In-The-Mirror-2023 Mon, 30 Oct 2023 02:51:12 +0000 Artist | Piers Greville 449510 Objects In The MirrorMagma Galleries, Collingwood. 7th—29th October 2023Landscape and it’s identity is a loaded question anywhere on the Australian continent, but the particular site of the middle Snowy River in Ngarigu county, carries the weight of an ongoing identity crisis. It is through the tumult of indigenous history, settler narratives and contemporary climate events which these paintings interrogate. The paintings employ a particular literal lens and geometry, a parallel perspective without a vanishing point or horizon - objects in the mirror. They give a similar effect of flattened perspective to that found in certain medieval paintings as well as electron microscopy and interstellar telescopy. As if viewing the landscape from outer space, this view is seen as an explosion of a single point of view, and so of the ego. Stemming from a prior fascination with depicting projected narratives into a landscape these paintings illustrate the possibility of multiple states. To invert the truth, to strip the adornment of identity, and to do all this in retrospect is all that’s left to do. Installation views © Magma Galleries 2023 <img width="8192" height="5464" width_o="8192" height_o="5464" src_o="https://cortex.persona.co/t/original/i/7ae33929280d2e41a2fc76542b2a665f5998d1014586df8ba158897f0e342180/_V7A9937.JPG" data-mid="1326072" border="0" /><img width="8192" height="5464" width_o="8192" height_o="5464" src_o="https://cortex.persona.co/t/original/i/79d5ef8f3d29889c78548e397b1855fbf9e4653d3c7ac2dc07766fd0bfe5854c/_V7A9966.jpg" data-mid="1326077" border="0" /><img width="7090" height="4729" width_o="7090" height_o="4729" src_o="https://cortex.persona.co/t/original/i/ca54e1d9be85430c45a355a839b912f68c99645c5823347ab1e3eff0eb689ecd/_V7A9978.jpg" data-mid="1326068" border="0" /><img width="8192" height="5464" width_o="8192" height_o="5464" src_o="https://cortex.persona.co/t/original/i/e540c9f297406744f54930d830680ea82a1a44d4f6acfe836759106675254d54/_V7A9982.jpg" data-mid="1326070" border="0" /><img width="8119" height="5076" width_o="8119" height_o="5076" src_o="https://cortex.persona.co/t/original/i/eec2be86b65568b54b739bc311a1873fcbe77afa6a52afd7ebf0bc1ec229e6d9/_V7A9970-RT.jpg" data-mid="1326074" border="0" /><img width="8192" height="5464" width_o="8192" height_o="5464" src_o="https://cortex.persona.co/t/original/i/114f89e8208d3a159b31108b947b41e9f85f3fcfbcdf99fb8f76434cd7a40a7e/_V7A9971.jpg" data-mid="1326075" border="0" /><img width="8192" height="5464" width_o="8192" height_o="5464" src_o="https://cortex.persona.co/t/original/i/36bcd7cc3525abf7cbac3e64d1da1cf5742305706a442bdbfef121dcd022e166/_V7A9975.jpg" data-mid="1326065" border="0" /><img width="8192" height="5464" width_o="8192" height_o="5464" src_o="https://cortex.persona.co/t/original/i/818d12018a34af0e04e8e09cf8f5ae529dd4bb93362f70d2083f7cbe8cec2a98/_V7A9972-RT.jpg" data-mid="1326076" border="0" /><img width="8192" height="5464" width_o="8192" height_o="5464" src_o="https://cortex.persona.co/t/original/i/5318c70b0b36d81edfaa84c25cd24df860b7f4b7d38390d3d023953403d4f7f6/_V7A9988.jpg" data-mid="1326067" border="0" /><img width="8192" height="5464" width_o="8192" height_o="5464" src_o="https://cortex.persona.co/t/original/i/cd9c46b3f3ddcdd49f360af9ab4c6c6597dd192b3bddfd879d7018cea3862bc1/_V7A9990.jpg" data-mid="1326073" border="0" /><img width="8192" height="5464" width_o="8192" height_o="5464" src_o="https://cortex.persona.co/t/original/i/fd8e82d97202decc5caf74b2dd5cf9d26c1c0412219162ba48a13e754002acdc/_V7A9987.jpg" data-mid="1326066" border="0" /> Objects In The MirrorMagma Galleries, Collingwood. 7th—29th October 2023Landscape and it’s identity is a loaded question anywhere on the Australian continent,... http://piersgreville.com/Exhibitions Thu, 08 Jun 2023 22:09:12 +0000 Artist | Piers Greville 444134 Piers Greville / ArtistExhibitions /&nbsp;2020 / 2021 / 2022 / 2023 / 2025 /&nbsp;News / About / Inter / Text / Contact 2025 2025 exhibitionsBela Lugosi and the Plot’s Twist — curated by Elvis Richardson at One Star Lounge, Melbourne (May) Entropic Baroque — Dominik Mersch Gallery, Gadigal country, Sydney (September) Breakfast at Berghain — Magma Galleries, Naarm, Melbourne (November—December) Magmaverse 25 Magma Galleries, 6 February — 8 March 2025 <img width="2400" height="1601" width_o="2400" height_o="1601" src_o="https://cortex.persona.co/t/original/i/881450dc02032313006fb2c7b41ea72275856898d6924e4ddf92464c994d415d/Magmaverse25-install-shot.jpeg" data-mid="1405531" border="0" data-scale="95"/> The PreviewDominik Mersch Gallery <img width="5013" height="3287" width_o="5013" height_o="3287" src_o="https://cortex.persona.co/t/original/i/4384a819267c53c4338932a2f9c2565527f8551465003e51a879df9c4653faec/Piers-Greville-Uncertain_Principles_2025-01.jpg" data-mid="1405533" border="0" data-scale="95"/> 2023 Objects In The MirrorMagma Galleries, Collingwood. 7th—29th October 2023 Landscape and it’s identity is a loaded question anywhere on the Australian continent, but the particular site of the middle Snowy River in Ngarigu county, carries the weight of an ongoing identity crisis. It is through the tumult of indigenous history, settler narratives and contemporary climate events which these paintings interrogate. The paintings employ a particular literal lens and geometry, a parallel perspective without a vanishing point or horizon - objects in the mirror. They give a similar effect of flattened perspective to that found in certain medieval paintings as well as electron microscopy and interstellar telescopy. As if viewing the landscape from outer space, this view is seen as an explosion of a single point of view, and so of the ego. Stemming from a prior fascination with depicting projected narratives into a landscape these paintings illustrate the possibility of multiple states. To invert the truth, to strip the adornment of identity, and to do all this in retrospect is all that’s left to do. Pardon 2023 oil on linen, 90 x 122 cm&nbsp; Recess 2023 oil on linen, 90 x 122 cm <img width="3417" height="2900" width_o="3417" height_o="2900" src_o="https://cortex.persona.co/t/original/i/e0e5b52e9168a38346c92917aa5d1502772ebc4a745cee4a5ffc31256ed25b6b/Pardon-install.jpg" data-mid="1369275" border="0" /> <img width="3417" height="2900" width_o="3417" height_o="2900" src_o="https://cortex.persona.co/t/original/i/fafc6f0738c5c275bc1ffd73eb4df7b94a2937a343587075dcf31aa22c1898b2/Recess-install.jpg" data-mid="1369274" border="0" /> &nbsp; 2023 Blue World: The Valerie Taylor Art Prize for Ocean Advocacy&nbsp;A new work has been selected to this invitation-only prize. Datum Gelidae, 2019–2023 is a newly finished painting. The title comes from ‘given the cold’ translated into latin, and refers to the now dynamic state of what might have once been looked upon as static geography. It is a painting of the Antarctic polar ice thickness, using a 2019 dataset measured by the CryoSat and ICESat-2 satellites. Stretched over three panels, it depicts our massive but vulnerable southern icecap. The irregular terrain depicted in the painting reflects both the sub-glacial terrain, but also reveals glacial accumulation and depletion across the continent. The painting’s support is a particularly delicate and raw linen, which like the sea around the Antarctic, is deep, dark and vulnerable, and which absorbs the light of all around. Datum Gelidæ 2023 oil on linen, 270 x 122 cm <img width="11520" height="5072" width_o="11520" height_o="5072" src_o="https://cortex.persona.co/t/original/i/64f78555c7b98ed8bb5a2520ceb684801d41f8f15a6f5e4944822d61541171b6/Datum-Gelidae-joined.jpg" data-mid="1369245" border="0" /> 2022 Manifesta14 Prishtina, Kosovo“Greville’s What Is Here, 2022, is a bridge embodied by the people themselves. Installing a frame in the middle of the river, the artist invites citizens from both sides of the city to swim in a relay of solidarity, together against the current. Meanwhile the action is watched over by two flags which present renderings of the surrounding terrain but claim no territory” What Is Here 2022 Mitrovica and Prishtina, Kosovo. Photographs by Marcello Maranzan and Alban Nuhiu, 2022 <img width="2400" height="1800" width_o="2400" height_o="1800" src_o="https://cortex.persona.co/t/original/i/6f047f8c68d560ab762ed0ffd58a7b1354e72af9ebf9f536846c633cc48b3bd6/new__MMM3113.jpg" data-mid="1369262" border="0" /><img width="9889" height="3720" width_o="9889" height_o="3720" src_o="https://cortex.persona.co/t/original/i/521c793cdc301f3a474efc538971c9180cc79b92b30b6a0d679767a6e0676807/What-Is-Here_diptych-Rm506-STR-Photo-Credit-ALBAN_NIHIU.jpg" data-mid="1369244" border="0" /> 2022 Water[Shed] at Bett Gallery in Hobart, From the Bett Gallery Website: 50 Artists. 50 Years.water[shed] is an exhibition conceived by OUTSIDE THE BOX /&nbsp;Earth Arts Rights and presented in collaboration with Bett Gallery to support the Restore Pedder campaign.The staging of the water[shed] from 18 February – 12 March 2022 coincides with the 50th anniversary of the last heart-breaking summer in 1972 when dams on the Huon and Serpentine Rivers were closed and the impounded waters began to rise. Lake Pedder along with over 242 square kilometres of wild landscape in the heart of lutruwita (Tasmania) was swallowed up. The original lake is not forgotten.This 50-year anniversary of loss also coincides with the first year of the United Nations Decade on Ecosystem Restoration 2021–2030. Water[shed] brings together 50 Australian and international artists exploring the ideas of ecosystem restoration, re-wilding grief, loss and celebration of the original Lake Pedder. Hypolimnus Pedderensis 2021 oil on linen, 107 x 91.5 cm <img width="4022" height="3458" width_o="4022" height_o="3458" src_o="https://cortex.persona.co/t/original/i/521c793cdc301f3a474efc538971c9180cc79b92b30b6a0d679767a6e0676807/IMG_5870.jpg" data-mid="1369246" border="0" /> Hypolimnus Pedderensis, 2021A profound feeling of loss echoes in the black void of Pedder Dam. After a visit there in 2021, I tried to find out what I could about the webs of life shattered and gone from this place. Taking particular interest in the extinct Lake Pedder earthworm Hypolimnus pedderensis, I read that only a single specimen was ever collected, the summer before the lake was consumed. We can only presume that when the lake flooded that winter, the last of the species were drowned. That was June 1972, the same month I was born. In the absence of images of the worm online, I returned to Lutruwita/Tasmania in May to witness the lone specimen with my own eyes, suspended in ethanol in the bowels of a museum. As I studied this tiny deceased body, capturing images and drawings, I had in mind certain late paintings of Caravaggio, shortly before his death: his depiction of the quest for empirical, visceral knowledge in The Incredulity of Saint Thomas; and the The Raising of Lazarus, with not only its analogous narrative, but the corporeal frailty with its golden shimmering skin. “The Lake the Vanished...”ABC radio national (Australian Broadcasting Corporation)Listen to the interview with Julie Gough, David Keeling and Danielle Wood, aired on Wednesday 17 August 2022@ 1:22 — 29:45 2022 Holiday In Heterotopiaan exhibition of new paintings, at Dominik Mersch Gallery A state of recursive, self-cancelling desire. This suite of paintings are after a place called Kunama Namadgi also known as Kosciusko, in the Australian High Country. Terrains and artefacts are represented as sculpted forms, within the field of romantic landscape views. These works question the place of settler narratives and other colonising forces in the landscape. They are pictures fuelled by the demise of a landscape, due to the objectifying and mythologising gaze it is subject to. The title: Holiday In Heterotopia alludes to a methodology of ‘thinking through sculpture’ which has led these paintings. In representing these sculptural forms in the medium of painting I suspend them as an ‘other’ place in relation to their field, a Heterotopia. Recursion, See Recursion 2022 oil on linen, 182 x 122 cm <img width="5216" height="3496" width_o="5216" height_o="3496" src_o="https://cortex.persona.co/t/original/i/62fb0cb13e31a5a8fbd2d2e17fd9724dd49a70de3a3de98a2c8b8c3a5f1e0522/RecursionSeeRecursion-2022-PIERS_GREVILLE.jpg" data-mid="1369247" border="0" /> 2021–2022 The Art of Protest, Newcastle Art GalleryFrom 30th of October 2021 until 30th of January 2022, Phase Space Green, 2020 will be included in this exhibition, curated by Lisa Kirkpatrick at the Newcastle Art Gallery. The exhibition surveys a history of artwork produced in protest from Australia.&nbsp;From the Newcastle Art Gallery website: From community activism to global social movements, THE ART OF PROTEST features politically engaged artists past and present responding to disaster and injustice and calling for change. This exhibition surveys over 100 years of resistance, with new artists taking up the fight each decade. From worker’s rights, feminism, HIV/AIDS awareness, advocacy and compassion for all Australians, calls for environmental policy or the preservation of local heritage, through to the events of the past few tumultuous years - the COVID-19 pandemic, the apocalyptic bushfires of 2020 and an urgent need for action on climate change. Ann Newmarch’s screenprints of the 70s and 80s employ the graphic nature of the poster format to challenge traditional notions of art and gender roles whilst Tina Havelock Stevens’ performance video The Breakwater 2018 set in Newcastle, documents one of the earliest instances of community activism in Australia. Noel Counihan shines a light on the working conditions of miners juxtaposed against Simryn Gill’s photography that reveals the enormous impact an open cut mine has on the landscape. Deborah Kelly’s Coal is Over 2019 installation and homage to Yoko Ono and John Lennon’s 1969 peace campaign offers a reminder that alternative energy solutions are here and available (if we want it). Dani Marti's soft sculpture installation Orifices was created during a residency with the Galley of Modern Art, Glasgow and part of a body of work aimed at reducing social exclusion, homophobia and HIV related stigma. The decision by Glasgow City Council to censor parts of the exhibition led the artist to instead undertake the guerrilla action of installing islands of blood red scourers throughout the city, not allowing already marginalised individuals and communities be hidden away and silenced. Peter Drew and Alex Seton illustrate the continuing plight of refugees and asylum seekers through the guerrilla art of poster pasteups and carving of these stories into ancient marble. Piers Greville and Fiona Lee employ charcoal, ash and salvaged materials from the 2019/2020 bushfires as their medium, presenting a bleak reality, not of our future but our present. Maddison Gibbs skilfully combines traditional cultural practices and contemporary methods to illuminate underrepresented voices. Her sculpted fern spirit I Can’t Breathe 2021 is a simultaneous call from Aboriginal people and the environment. Joseph McGlennon and Anne Zahalka’s photographic re-creations preserve native fauna in their environment, comparing our past and present to question what will be left in our future. THE ART OF PROTEST brings together local, national and international artists, newly acquired works and highlights from Newcastle Art Gallery's collection to explore how far we've come and how far we still have to go.Exhibiting artists include: Tony ALBERT, Micky ALLAN, Glenn BARKLEY, Joseph BEUYS, Penny BYRNE, Kevin CONNOR, Grace COSSINGTON SMITH, Noel COUNIHAN, Juan DAVILA, Peter DREW, Tina FIVEASH, Honor FREEMAN, Maddison GIBBS, Simryn GILL, Piers GREVILLE, Vicki HAMILTON, Tina HAVELOCK STEVENS, Judy HEPPER, Kazutaka KANEGAE, Deborah KELLY, Therese KENYON, Rosemary LAING, Fiona LEE, Dani MARTI, Mandy MARTIN, Joseph McGLENNON, Marie McMAHON, Sally MORGAN, Ann NEWMARCH, Ken O'REGAN, Baden PAILTHORPE, Luke ROBERTS, Alex SETON, Richard TIPPING, Vicki VARVARESSOS, Gerry WEDD, Jemima WYMAN and Anne ZAHALKA. Phase Space Green 2022 oil on linen, 200 x 140 cm <img width="1190" height="834" width_o="1190" height_o="834" src_o="https://cortex.persona.co/t/original/i/fff545275da928cef19f77cece8fcccdee5271948183fa6c79f24ec6724e65d3/Piers_Greville_Phase-Space-Green-2020-email.jpg" data-mid="1369251" border="0" /> 2020 Tipping Point at Dominik Mersch GalleryMay 15-31 2020, First solo show with Dominik Mersch Gallery in Sydney. The paintings continued ongoing research into landscape and mapping and seek to capture this seismic moment in collective awareness of our place in the environment. &nbsp; SEE EXHIBITION &gt;&gt; 2020 Isolation at&nbsp; Box Gallery On the 1st of April 2020, an exhibition of new paintings for 2020 launched to an empty room. In response to Covid-19, Isolation was a closed-door installation generating online image and video of the work along with artist interviews via social media. The exhibition placed paintings in a context of the human figuration, installed in a space which would usually host live model sittings.&nbsp; SEE EXHIBITION &gt;&gt; Installation view Photograph by Dan PrestonApril 2020 <img width="1250" height="966" width_o="1250" height_o="966" src_o="https://cortex.persona.co/t/original/i/e09b2c966cef8bf6bad16dd63224ed035e07962a9e1f96a5b20c1cb0d908b133/Piers-Greville_Isolation03-Dan-Preston_Photo.jpg" data-mid="1369250" border="0" /> Piers Greville / ArtistExhibitions /&nbsp;2020 / 2021 / 2022 / 2023 / 2025 /&nbsp;News / About / Inter / Text / Contact 2025 2025 exhibitionsBela Lugosi and the... http://piersgreville.com/2023 Tue, 16 May 2023 02:15:19 +0000 Artist | Piers Greville 442851 Piers Greville / News / About / Text / Contact 2023 Objects In The MirrorMagma Galleries, Collingwood. 7th—29th October 2023Landscape and it’s identity is a loaded question anywhere on the Australian continent, but the particular site of the middle Snowy River in Ngarigu county, carries the weight of an ongoing identity crisis. It is through the tumult of indigenous history, settler narratives and contemporary climate events which these paintings interrogate. The paintings employ a particular literal lens and geometry, a parallel perspective without a vanishing point or horizon - objects in the mirror. They give a similar effect of flattened perspective to that found in certain medieval paintings as well as electron microscopy and interstellar telescopy. As if viewing the landscape from outer space, this view is seen as an explosion of a single point of view, and so of the ego. Stemming from a prior fascination with depicting projected narratives into a landscape these paintings illustrate the possibility of multiple states. To invert the truth, to strip the adornment of identity, and to do all this in retrospect is all that’s left to do. <img width="8192" height="5464" width_o="8192" height_o="5464" src_o="https://cortex.persona.co/t/original/i/7fc52e1e16329ce0aff30e5f9445c7bd0798a3d9d56589069362d0bf12914868/_V7A9947.jpg" data-mid="1326063" border="0" data-scale="100"/> Blue World: The Valerie Taylor Art Prize for Ocean AdvocacyA new work has been selected to this invitation-only prize. Datum Gelidae, 2019–2023 is a newly finished painting. The title comes from ‘given the cold’ translated into latin, and refers to the now dynamic state of what might have once been looked upon as static geography. It is a painting of the Antarctic polar ice thickness, using a 2019 dataset measured by the CryoSat and ICESat-2 satellites. Stretched over three panels, it depicts our massive but vulnerable southern icecap. The irregular terrain depicted in the painting reflects both the sub-glacial terrain, but also reveals glacial accumulation and depletion across the continent. The painting’s support is a particularly delicate and raw linen, which like the sea around the Antarctic, is deep, dark and vulnerable, and which absorbs the light of all around. Piers Greville / News / About / Text / Contact 2023 Objects In The MirrorMagma Galleries, Collingwood. 7th—29th October 2023Landscape and it’s identity is... http://piersgreville.com/Holiday-In-Heterotopia Sat, 08 Oct 2022 23:45:37 +0000 Artist | Piers Greville 431836 Piers Greville / News / About / Text / Contact Holiday In Heterotopia at Dominik Mersch Gallery 14 October&nbsp; —&nbsp; 12 November 2022, a second solo show with Dominik Mersch Gallery in Sydney. The paintings continued ongoing research into landscape, with a particular focus on the colonial narratives and settler belief systems in the Kunama Namadgi region of ngarigo country, also known as NSW highcountry. <img width="5216" height="3496" width_o="5216" height_o="3496" src_o="https://cortex.persona.co/t/original/i/a5ce686f8a89b9afec025e95a06d2cbcc1434176642960f58e9ea1c612a7e0c0/OffPlanet-2022-PIERS_GREVILLE.jpg" data-mid="1237531" border="0" /> Off Planet, 2022, oil on linen, 182 x 122 cm <img width="5216" height="3496" width_o="5216" height_o="3496" src_o="https://cortex.persona.co/t/original/i/4a039f1d1bfec8ee79097cbe7ed2e3967aa0f3ce4e89da9ddc67a7dee2de5eb2/RecursionSeeRecursion-2022-PIERS_GREVILLE.jpg" data-mid="1247867" border="0" /> Recursion, See Recursion, 2022,&nbsp;oil on linen, 182 x 122 cm Piers Greville / News / About / Text / Contact Holiday In Heterotopia at Dominik Mersch Gallery 14 October&nbsp; —&nbsp; 12 November 2022, a second solo show... http://piersgreville.com/Current-Space-2022 Thu, 10 Mar 2022 23:53:49 +0000 Artist | Piers Greville 421009 What Is Here / Current Space 2022 Commissioned by Manifesta 14 Prishtina&nbsp; /&nbsp; Curated by Petrit Abazi Live stream from 20/07/2022  Twitch live stream&nbsp; /&nbsp;  Instagram Un-Bordering Worlds: New Narratives For Northern Kosovo commissioned by Manifesta 14, Prishtina. Curated by Petrit Abazi, Artists Stanislava Pinchuk&nbsp;and Piers Greville. Birraung River Sketch, Warburton, December 2021 What Is Here / Current Space 2022 Commissioned by Manifesta 14 Prishtina&nbsp; /&nbsp; Curated by Petrit Abazi Live stream from 20/07/2022  Twitch live... http://piersgreville.com/manifesta14_recent-work Mon, 28 Feb 2022 23:21:11 +0000 Artist | Piers Greville 420397 &nbsp;Piers Greville / News / About / Text / Contact Piers Greville recent work / Rel: Manifesta14Fabricated Country, 2018 – 2019 installation views <img width="2000" height="737" width_o="2000" height_o="737" src_o="https://cortex.persona.co/t/original/i/2774c21ccacddaa24ba35a4afaf4fac5de9b2c0499b23e139a579fa8c27914ac/181203_PIERS_MASTERS_EXHIBITION_0005.jpg" data-mid="1169054" border="0" />Fabricated Country, 2018 installation view at University of Melbourne, The Stables <img width="2000" height="1402" width_o="2000" height_o="1402" src_o="https://cortex.persona.co/t/original/i/4aa54fba35046bfce78f66e033345f29ea8621fc3c8bc67c78b0ac351577e1ca/Installation-view-2-Siren-Song-2019_1800px_high.jpeg" data-mid="1169053" border="0" /><img width="4480" height="6720" width_o="4480" height_o="6720" src_o="https://cortex.persona.co/t/original/i/af26d3514928bbe4cfbf340e5737535ba3a0c1cef6bedd8d3bdd4210515c6f41/PiersExhibitionSydByTimLevy-29.jpg" data-mid="1169055" border="0" />Fabricated Country, 2019 installation views, Dominik Mersch Gallery <img width="5760" height="3840" width_o="5760" height_o="3840" src_o="https://cortex.persona.co/t/original/i/2d3ec1f014a197a936cf1119708d672ac45be17d9a1b65981de760cf3632b461/FabricatedCountry_0048-rt.jpg" data-mid="1169056" border="0" /> Fabricated Country, 2018 installation view, Kings ARI Gallery Dronology 2019,&nbsp;In-Process demonstration of studio collaboration with Shaun Gladwell <img width="1052" height="1052" width_o="1052" height_o="1052" src_o="https://cortex.persona.co/t/original/i/09b8cedd82a04c5d45ab782746a8ddcc384de163bcd294e77636b412b465d0b7/Watermill-In-Process1.jpg" data-mid="1169059" border="0" />Dronology 2019, In-Process demonstration. Split-gestures in ink and Google Tilt Brush. Watermill Center NY, USA <img width="1049" height="1052" width_o="1049" height_o="1052" src_o="https://cortex.persona.co/t/original/i/8db8d7c05df6549901b5e7c55ccc765789132847339b108d51ebc7d8801129cc/Watermill-In-Process.jpg" data-mid="1169060" border="0" /> Dronology 2019, In-Process demonstration. Split-gestures in ink and Google Tilt Brush. Watermill Center NY, US Dronology is an ongoing research-based collaboration between artists Shaun Gladwell and Piers Greville. During a period of studio sharing in North Melbourne, Gladweel and Greville commenced an open ended inquiry in to the potential of drones in In-Process demonstration Using Drone controled brushes in virtual and real space Tipping Point&nbsp;2020, Dominic Mersch GalleryMay 15-31 2020, Solo exhibition with Dominik Mersch Gallery (Sydney) continues Greville’s ongoing research into landscape and mapping, seeking to capture a seismic moment of collective awareness of our place in the environment. <img width="4952" height="3439" width_o="4952" height_o="3439" src_o="https://cortex.persona.co/t/original/i/50f901dcf2c435188c2df0ace6aa01d723f123b19f5a39d6c58ce582a0d9edff/Discord-Dancing-2020-Piers_Greville.jpg" data-mid="1169062" border="0" /><img width="5019" height="3546" width_o="5019" height_o="3546" src_o="https://cortex.persona.co/t/original/i/f883df90e059c63023ebc9f52ddbe727b4ddbb51fff85cda6d1bab5508d3763c/The-Border-Anomalies-Committee-2020-Piers_Greville.jpg" data-mid="1169063" border="0" /> &nbsp;Piers Greville / News / About / Text / Contact Piers Greville recent work / Rel: Manifesta14Fabricated Country, 2018 – 2019 installation views... http://piersgreville.com/manifesta14 Tue, 18 Jan 2022 06:59:05 +0000 Artist | Piers Greville 417944 <img width="1883" height="172" width_o="1883" height_o="172" src_o="https://cortex.persona.co/t/original/i/c2c8a48be0554df9becdaa66ab3f01486fc09cb2776e38e8f2853efc52f4989e/Un-bordering-worlds--new-narratives-for-northern-Kosovo.png" data-mid="1208369" border="0" /> Commissioned by Manifesta 14: Prishtina 2022 Curated by Petrit Abazi. Artists Stanislava Pinchuk&nbsp;and Piers Greville. The contents of this webpage are under embargo until 1pm (CET) 21 July 2022. Please do not share or reproduce any content on this page without the consent of the artists, thank you. Petrit Abazi: Curatorial Premise <img width="3359" height="4819" width_o="3359" height_o="4819" src_o="https://cortex.persona.co/t/original/i/7274ec63c9592b2f592435f91f77044ec7a7f76cadc7f3732eb6232d4e6117f8/FilleteNotit-cover-hires-scan.jpg" data-mid="1188183" border="0" data-scale="29"/>&nbsp;<img width="768" height="572" width_o="768" height_o="572" src_o="https://cortex.persona.co/t/original/i/f82d777e15411512cf42490ee4d88ac1cb93dc74b9f2caf08e9d2678f063f068/scan025-arhiva-modernizma-768x572.jpeg" data-mid="1188174" border="0" data-scale="55"/> Project title: Mapping Frontier Narratives from Northern Kosovo This collaborative project is driven by three individuals: Stanislava Pinchuk, Piers Greville and Petrit Abazi. The curator,&nbsp; Abazi, has approached artists Pinchuk and Greville because he believes their art practices are perfectly suited to intelligently address the historical and contemporary issues affecting the citizens of northern Kosovo. Their strong portfolios demonstrate a genuine interest in producing socially and politically engaged art. Together, they propose to deliver a body of community-minded, research-based, narrative-informed and process-driven visual arts and literary commissions, bringing regional perspectives to Prishtina while directly responding to this Manifesta Biennial’s curatorial concepts. Growing up in Mitrovica in the 1980s and 1990s, the north and the south of the city were not the binary opposites they are today. Devoid of boundaries or divisions, Abazi saw his world as a loose web of interconnected and trans-cultural nodes of public spaces. For example, the main bridge that crosses the Ibar River was once a popular congregation point. However, bilateral post-war politics have cast a long shadow over the crossing. Instead of connecting its citizens, it separates them. While much of Kosovo is experiencing civic, cultural and economic regeneration, Mitrovica, only 37km north of the capital, is quietly regressing into a societal stalemate. The weakest link in the delicate chain stabilising the region, northern Kosovo is in desperate need of repair and unity. Therefore, it is the ideal place to investigate how public spaces and the natural environment can be reclaimed, retold and re-presented. We believe art has the power to challenge the status quo. The following proposals by Pinchuk and Greville intend to do just that. Stanislava Pinchuk: Europe without Monumentsartist proposal Pinchuk asks: How can cities rebuild themselves and how can architecture create peaceful coexistence between different groups of people? She asks this as a citizen of Kharkiv, Ukraine, living in Sarajevo. Interested in using what is already in a space or culture as a metonym for future solutions, Pinchuk proposes to make her work in the Ibar river, taking the Mitrovica Miners Monument – a concrete spomenik built by architect, civil servant &amp; urban planner Bogdan Bogdanovic – as a starting point. The structure commemorates the WWII resistance of local multi-ethnic miners against fascism. It references a common history and resistance to oppression. Modern understandings of the monument negate the bipartisan legacy once forged. Her proposed installation fragments the visual iconographies of the spomenik as a site of resistance and commonality in the river- building temporary monuments along the dried summer banks, into a structure to be climbed, enjoyed, picnicked and suntanned on. The structure will be made and used in an informal, citizen-led approach- looking at new traditions and ways of togetherness in the liminal space of the border, crawling within the empty space left by the concrete structure of the spomenik- to be nimble, re-useable, adaptable and joyous without prescriptive use. The installation appears not so much as a deconstructed spomenik, but almost as an architectural drawing of it come to life. &gt; See Stanislava Pinchuk’s recent work at: stanislavapinchuk.com <img width="5000" height="6000" width_o="5000" height_o="6000" src_o="https://cortex.persona.co/t/original/i/dbfd6a07684930473c3932983bbab59d3ae9609b79349b3cb2d77d26fe763182/Scale-overhead-drawing.jpeg" data-mid="1186624" border="0" data-scale="68"/> Europe Without Monuments. Location drawing with elements scaled and placed. <img width="2048" height="1536" width_o="2048" height_o="1536" src_o="https://cortex.persona.co/t/original/i/65309408901f39e09671d9b85bd45afec4f7865958b436bfc28999d69fd97766/drawing2.JPG" data-mid="1186801" border="0" data-scale="68"/> Europe Without Monuments. Location drawing, minumum scale scenario. <img width="2048" height="1536" width_o="2048" height_o="1536" src_o="https://cortex.persona.co/t/original/i/098f6fb80ec37161de5a16c241c7a83e5b78f6458aa6c24ad52cd18821da7af7/drawing1.JPG" data-mid="1186802" border="0" data-scale="68"/>Europe Without Monuments. Location drawing, maximum scale scenario. <img width="480" height="480" width_o="480" height_o="480" src_o="https://cortex.persona.co/t/original/i/9ebb2bfeb988de7337bbfa2a0fa67626655a659e151a587980ea12d64f8507f0/mail.jpeg" data-mid="1188123" border="0" /> Scaffolding quantity calculation sketch <img width="2048" height="1478" width_o="2048" height_o="1478" src_o="https://cortex.persona.co/t/original/i/436a575e475667aece8b957af0654dc585517eacd9cb656f55869839ef0a803c/Stanislava-Pinchuk-GrandHotelPrishtina-sketch2.JPG" data-mid="1190909" border="0" data-scale="68"/> Europe Without Monuments. Proposed Grand Hotel Prishtina installation sketch Full Text: How can cities rebuild themselves and how can architecture create peaceful coexistence between different groups of people? How can we orientate what we to do to enrich our lives toward a celebrated diversity that we would never forsake in favour of a monoculture?&nbsp; I write this as a citizen of Kharkiv, living in Sarajevo – watching in horror Day 3 of its illegal occupation, based now in a city that understands much more than most others. Officially today, we can say – war crimes, war criminals. Roads annexed. Ukrainians holding more force than expected. Cities seiged or seiging themselves in protection. Children in the casualties now. Our ruins, then and today’s, tell us who we are – how they came to be, how they were repaired, when they were repaired, by whom and in favour of what. We must, then – learn to first read our cities, before writing them. Too many cities have been written by those who don’t read – turned into living necropolises by autocrats, nefarious regimes, fundamentalists, corporations and bureaucracies. Resilient cities with soul must be written with informality – through citizens. Rebuilding should comefrom joy and unity as acts of the highest resistance – love as the driver of both policy and poetics. I am interested in using what is already in a space or culture as a metonym for future solutions – in expanding what we are already good at, or already practicing, to ourfuture needs. Today, I see in full use the extraordinary strength, freedom and heroism of everyday Ukrainians – using in full force what we already had. In this way, I propose to make my work in the Ibar river. While rivers serve as natural geographic, linguistic or economic dividers – they likewise remain facilitators, connectors of travel and movement. Waterways give opportunity to open thinkingtoward amorphous political borders - after all, how could we propose to annex a flowing current into a perfect half segment? In a city whose admirable New Bridge remains a point of tension, barricading and KFOR-MSU patrol – it is perhaps a proposition to find middle ground in a natural space to which we feel a greater softness, playfulness or kindness. A space in which there is an ability to enjoy and swim together in liminal territory. After all, if we can’t agree on a bridge - we have to just get into the river. Paired with this is the metonym of the Mitrovica Miners Monument – built by architect, civil servant &amp; urban planner Bogdan Bogdanovic. A concrete spomenik commemorating the WWII resistance of local multi-ethnic miners against fascism, and located on Mitrovica’s northern bank – the architectural sculpture references a common history and resistance to oppression unique and indispensable to the citytoday. Likewise, the mine was an important site of mobilisation and resistance in the atrocities of the 1990s. Bogdanovic, a Serbian Yugoslav architect, served as mayor of Belgrade in the rise of Milosevic. Issuing warnings and concerns of rising nationalism, and refusing complicity – Bogdanovic was ultimately ousted from his position. Exiled first to Paris, Bogdanovic relocated to Vienna until his death – wishing to remain connected to waterway of his beloved Danube. In every spomenik design, Bogdanovic himself aimed to express one of the elements: water, fire, earth or air. Building spomeniks which refused nationalist, ethnic or propagandist motifs, Bogdanovic preferred to reference nature, history and story telling – designing sites which often feel like playgrounds, or playful ruins of another mystical civilisation – that could be satwith, played on or gathered around like living parts of the city. Critically, the sites think about ancient time and deep futures – the way in which their meaning maychange with the equally critical acts of both remembering and forgetting. The Miners Monument in Mitrovica, particularly - makes reference to a coal mining cart, but also a suspended bridge between two pillars. Interestingly, the site itself has become politicised and loaded - with different languages and banks of the city giving different names for the spomenik. Some names, such as “the barbecue” nod to ahumour and unity - while some, such as the “Serb Monument” - for both its location and architect, understandably negate a certain history and bipartisan legacy once forged. As such, the reference is not only to the history of Kosovo, but also of Ukraine – in its great sacrifices to the fight against fascism and their pivotal role in the re-establishment of the European peace project and the existence of the EU — while being notably, failed by both in modern history. As such, the proposed installation fragments the visual iconographies of the Miners Monument as a site of resistance and commonality in the river – building temporary monuments along the dried summer banks, into a structure to be climbed, enjoyed, picnicked and suntanned on. The structure is made and used in an informal, citizen-led approach – looking at new traditions and ways of togetherness in the liminal space of the border, crawling within the empty space left by the concrete structure of the spomenik – to be nimble, re-useable, adaptable and joyous without prescriptive use. The installation appears not so much as a deconstructed spomenik, but almost as an architectural drawing of it come to life — with scaffolding arranged not as a replica, but as a suggestion. In empty space, what we share is loss – but also memory, togetherness – and the ability to forge toward the new. Out of the empty space of our monuments comes something vital and temporary – a proposition for rebuilding and togetherness, for a new tradition.&gt; See Stanislava Pinchuk’s recent work at:&nbsp;stanislavapinchuk.com Piers Greville: What Is Hereartist proposal Live page here <img width="4953" height="3324" width_o="4953" height_o="3324" src_o="https://cortex.persona.co/t/original/i/c82b380c892b0572464b3e216da6f0be7816217c6f2b25bc4bddbd4ea5d8cd12/Region-map-web.jpg" data-mid="1167430" border="0" data-scale="68"/> Lab River and Sitnica River, flowing out of Prishtina to Mitrovica. Ibar River, flowing from Montenegro via Mitrovica and north to Serbia.An ecological immersion, staying against the flow: The Iber River bridge in Mitrovica, in the north of Kosovo had been a flashpoint during the Kosovo war of 1998/99. Even now it is a point of territorial tension, unresolved conflict and division. Running through the centre of Mitrovica, the river has fluctuated between a community divide to a de facto national border with a checkpoint. This project proposes a reimagining of&nbsp; the role the river has in the landscape as a permeable, liminal space to be entered and engaged with. From an ecological standpoint as well, the river represents a living system to be nurtured. The act of swimming places our vulnerable bodies in a fluid connection with and to the landscape. Swimming is a symbolic act of yielding to the river’s ecology, and as in Donna J. Haraways’ title / call for action, of ‘staying with the trouble’. It is a demonstration of our ecological / political kinship and the river’s value. By swimming upstream in a river at the exact same pace as the water is flowing down, the swimmer remains stationary, only the water passes. The goal for participants in this action is to swim away a ‘distance’ of water equal to the distance along the watercourses upstream to the specified place. This symbolic act swims the distance of water between the two places, linking them. Therefore Drawing Rivers Together is conceived as a collective action of pulling the landscape together.&nbsp; Of the two main rivers which flow into Mitrovica, one flows down from Prishtina, another from the Mountains in Montenegro via Serbia. They join on the northern edge of Mitrovica and flow northwards Serbia, eventually joining other rivers to form the Danube. Swimmers swim within a framework, literally and figuratively: a propositional space, akin to architectural propositions like a Baugespann. A swim is as good as a bridge. The title What Is Here is borne of the struggle to remain, in defiance of the currents which exert an endless pressure. It is also this deep consciousness of being present which results from the meditative focus of the swimming act. Deep inside the mind of the swimmer, as the sound is distorted and suppressed, the eyes are trained on a pebble, a still marker on the riverbed. In the chaotic struggle to remain in place against a freezing river and swirling eddies, this marker becomes the meditative focus, the essence of staying with the trouble. The people of the north and south are also in this struggle, similarly they remain due to their steadfast action&nbsp; in spite of pressures flowing from far away. This is a proposition for a space to be occupied by bodies, a reframing of the space from a dividing line to a collaborative space, from a fleeting passage to an enduring space. Citizens are invited to swim in relay, to accumulate a symbolic distance over the course of the opening days and weeks of Manifesta, during which the swim is visible via a live video feed, projected in a space in Prishtina. Meanwhile, a countdown of the accrued ‘distance’ will determine when the action is over. The distance between Prishtina and Mitrovica along the Sitnica, Lab and Ibar rivers is about 48km, even given the varied flow of the Ibar River, a relay of swimmers may possibly complete this in 24hrs total. Of course, it also could take much longer.&nbsp; A livestream video of the swimto be viewed 40km away upstream in Prishtina will conceptually create a loop, the water streaming down and the video returning the stream at ameasures pace. After the swimmers stop, the video record of this swim continue to play in The Grand Hotel Prishtina, Room 506. This will comprise an enduring archive and testament to the cooperative potential of the space.&nbsp;&gt; See Piers Greville’s recent work at: piersgreville.com &nbsp;<img width="875" height="1175" width_o="875" height_o="1175" src_o="https://cortex.persona.co/t/original/i/7e7a94916d0b26fac823b57396dfe9d619678421e8a5abc03ebab36175d26b3f/River-baugespanne.jpg" data-mid="1190888" border="0" data-scale="35"/><img width="3101" height="3741" width_o="3101" height_o="3741" src_o="https://cortex.persona.co/t/original/i/881801a49f0be3acc465439a071b5a89083a26ff2b9267e710bf2a4ea20a4cf4/Iber-from-north-bank-sketch.jpg" data-mid="1186334" border="0" data-scale="39"/> What Is Here, 2022 - (L) Working sketches for a swimming framework as a reference to Baugespanne. A floating propositional architecture for swimming in the River Iber. (R) Two flags hoisted on the broken bridge, daily during the performance are adorned with two depictions of the surrounding terrain, one looking north, one looking south. <img width="739" height="415" width_o="739" height_o="415" src_o="https://cortex.persona.co/t/original/i/4b76bce47909608dd04d58c19c36546494b9e0cc265e5f9124e0ea073e622ee0/Ibar-River-sketch--Mitrovica--Kosovo-high.gif" data-mid="1188122" border="0" data-scale="41"/><img width="660" height="465" width_o="660" height_o="465" src_o="https://cortex.persona.co/t/original/i/60c7076de2e46c408f5b621b621dff9cf60eb0a78c0f05db8c5381798ef235c4/Ibar-River-sketch--Mitrovica--Kosovo-high-1.gif" data-mid="1188130" border="0" data-scale="33"/> River video sketch, overhead (L) and south bank (R) views of stationary swim. River Iber, at ‘Ura e Tre Soliterave’ 13 April 2022 <img width="621" height="494" width_o="621" height_o="494" src_o="https://cortex.persona.co/t/original/i/3f1e3b898669693f050c648c5398b33c6ddce722d70e7e228dcf9fb31fbc737d/Current-Flow-swim-frame---3D-sketch-high.gif" data-mid="1188121" border="0" /><img width="3462" height="4800" width_o="3462" height_o="4800" src_o="https://cortex.persona.co/t/original/i/3a78b6dce5434428f6e29ba943305a7971221c017a2a77e32cd696ae6ab4a757/Iber-from-north-bank-sketch2-copy.jpg" data-mid="1186351" border="0" data-scale="37"/> Swim frame design foam floats, working 3D sketch. Working premise instalation sketch, located at ‘Ura e Tre Soliterave’ over the River Iber, Mitrovica . <img width="2000" height="1149" width_o="2000" height_o="1149" src_o="https://cortex.persona.co/t/original/i/a67d6a7cc58b5d871e129a7f21d20cb70c62fc56798202ecf451c3b539224a0d/Swim-Frame-Flow-Chart-Diagram2.jpg" data-mid="1202728" border="0" data-scale="73"/>Working premise: Data flowchart. Ibar River, Mitrovica &gt; Room 506, Grand Hotel Prishtina <img width="1851" height="1480" width_o="1851" height_o="1480" src_o="https://cortex.persona.co/t/original/i/01bb32916454b40b8195e71cb229a3152d0bb7038f29d8dda9ac942b28653b9b/PGreville_Hotel_FirstSketch.jpg" data-mid="1190881" border="0" data-scale="74"/>Preliminary installation sketch: a room in Grand Hotel Prishtina&nbsp; Taking inspiration from Manifesta’s use of billboards, topographies would be painted on fabric and displayed as flags&nbsp; giving citizens a periscopic sense of their place in the greater surrounding terrain, referencing something along the lines of Hanna Arendt’s ‘enlarged mentality’. In acknowledgement of the significance of the mineral resource extraction from the region, the painted surfaces are to employ, through their use of pigments, a significant link to the geological history of the terrain. The north gazing south and the south gazing north, this work represents these diametrical gazes as if from high above, but brought closer. The flag is thought of here as a problematic saviour. Rather than flying from flagpoles, are instead re-thought as a periscope, offering an elevated view, and in doing so to an enlarged mentality. The aim being to provide a visible periscopic sense of emplacement in the greater surrounding terrain. &nbsp; While locations are to be determined through site visits and consultation with the creative mediator, curatorial team, and community, Superview’s preferred sites are within Prishtina Mitrovica. In Mitrovica, the artist’s aim is for Superview to be suspended over the river in Mitrovica, visible from the New Bridge. The cables suspending the flags form visual bonds, tentatively tying the banks together. In Prishtina, the installation is envisaged as elevated and viewed in the centre of the city. The flags depict a landscape superview, in a&nbsp;neutral isometric perspective where distances do not converge. Morning light cast from the east with no territorial markers, vegetation or mapping elements present other than simply terrain, leaving this open minded to both its identity and use. It is a flag claiming for nobody or nothing, other than asserting the terrain as an apolitical canvas. &gt; See Piers Greville’s recent work at: piersgreville.comParticipating Artists in Manifesta 14 Pristina (Kosovo) were:Petrit Abazi (1983 Kosovo) Piers Greville (1972 Australia) Stanislava Pinchuk (1988 Ukraine) Astronomy Club of Kosova (Kosovo) Bora Baboçi* (1988 Albania) Valentina Bonizzi (1982 Italy) Anna Bromley (1971 Germany) Luz Broto (1982 Spain) Lee Bul (1964 Korea) Lúa Coderch (1982 Peru) Ilir Dalipi (1981 Kosovo) Yael Davids (1968 Israel) Cevdet Erek (1974 Turkey) ETEA (Kosovo) Jakup Ferri (1981 Kosovo) Foundation 17 (Kosovo) Núria Güell (1981 Spain) Driton Hajredini (1970 Kosovo) Artan Hajrullahu (1979 Kosovo) Laureta Hajrullahu (1997 Serbia/Kosovo) Petrit Halilaj (1986 Kosovo) Flaka Haliti (1982 Kosovo) Have it Collective (Kosovo) Roni Horn (1955 USA) Majlinda Hoxha (1984 Kosovo) Astrit Ismaili (1991 Kosovo) Fitore Isufi Shukriu Koja (1982 Kosovo) Hristina Ivanoska (1974 North Macedonia) Emily Jacir (1972 Palestine) Šejla Kamerić (1976 Bosnia and Herzegovina) AntonetaKastrati (1981 Kosovo) Doruntina Kastrati (1991 Kosovo) Genti Korini (1979 Albania) Argjire Krasniqi (1989 Kosovo) Edona Kryeziu (1994 Kosovo) Katalin Ladik (1942 Hungary) Brilant Milazimi (1994 Kosovo) Hana Miletić (1982 Croatia) Alketa Xhafa Mripa (1980 Kosovo) Alban Muja (1979 Kosovo) Sami Mustafa (1984 Kosovo/France) Silvi Naçi (1981 Albania) Natasha Nedelkova (1993 North Macedonia) Tuan Andrew Nguyen (1976 Vietnam) Vigan Nimani (1981 Kosovo) Christian Nyampeta (1981 Netherlands) Adrian Paci (1969 Albania/Italy) Marta Popivoda (1982 Serbia) Marubi National Museum of Photography (Albania) Pykë Presje (Kosovo) Lala Raščić (1977 Bosnia and Herzegovina) raumlaborberlin (Germany) Alicja Rogalska (1979 Poland/UK) Roma MoMa (DE/RS) with Farija Mehmeti (1978 Roma/Kosovo) Ugo Rondinone (1964 Switzerland) Sahej Rahal (1988 India) Nusret Salihamixhiqi (1931 Kosovo) Oral History Initiative/Secondary Archive (Kosovo/Poland) Katarzyna Kozyra Foundation (Poland) Tirana Art Lab (Albania) Ambasada Kultury (Belarus) Meet Factory (Switzerland) Easttoppics (Hungary) CZKD (Serbia) BJÖRNSONOVA (Slovakia) Artsvit Gallery (Ukraine) Sekhmet Institute (Kosovo) Selma Selman (1991 Bosnia and Herzegovina) Driton Selmani (1987 Kosovo) Abi Shehu (1993 Albania) Chiharu Shiota (1972 Japan) Speculative Tourism (Israel) Starry Skies of Humanity Raoul Schrott (1964 Austria) Beth Stephens &amp; Annie Sprinkle (1960 1954 USA) Story Lab (Kosovo) tamtam (Austria/Germany) Miryana Todorova (1984 Bulgaria) Vangjush Vellahu (1987 Albania) Alije Vokshi (1945 Kosovo) Werker Collective (Netherlands) Sislej Xhafa (1970 Kosovo) Yll Xhaferi (1988 Kosovo) Miki Yui (1971 Japan) Driant Zeneli (1983 Albania) Hana Zeqa (1988 Kosovo) Lulzim Zeqiri (1978 Kosovo) Dardan Zhegrova (1991 Kosovo) Commissioned by Manifesta 14: Prishtina 2022 Curated by Petrit Abazi. Artists Stanislava Pinchuk&nbsp;and Piers Greville. The contents of this webpage are... http://piersgreville.com/2022 Tue, 21 Sep 2021 03:20:20 +0000 Artist | Piers Greville 412256 Piers Greville / News / About / Text / Contact 2022 Holiday In Heterotopiaan exhibition of new paintings, at Dominik Mersch Gallery A state of recursive, self-cancelling desire. This suite of paintings are after a place called Kunama Namadgi also known as Kosciusko, in the Australian High Country. Terrains and artefacts are represented as sculpted forms, within the field of romantic landscape views. These works question the place of settler narratives and other colonising forces in the landscape. They are pictures fuelled by the demise of a landscape, due to the objectifying and mythologising gaze it is subject to. The title: Holiday In Heterotopia alludes to a methodology of ‘thinking through sculpture’ which has led these paintings. In representing these sculptural forms in the medium of painting I suspend them as an ‘other’ place in relation to their field, a Heterotopia. <img width="5943" height="4096" width_o="5943" height_o="4096" src_o="https://cortex.persona.co/t/original/i/13c64d1f3e4427e33faabec2f4f885a7ea523defe061b26118ccc6dba0298042/Piers_IMG_0005-RT.jpg" data-mid="1238530" border="0" /> What Is Here at Manifesta14 Prishtina&nbsp;“Greville’s What Is Here, 2022, is a bridge embodied by the people themselves. Installing a frame in the middle of the river, the artist invites citizens from both sides of the city to swim in a relay of solidarity, together against the current. Meanwhile the action is watched over by two flags which present renderings of the surrounding terrain but claim no territory” <img width="5413" height="4060" width_o="5413" height_o="4060" src_o="https://cortex.persona.co/t/original/i/9ebe52f6f5fb783efa3410bf924a655020dac3bf2119da03eeaf2153dccd9801/What-Is-Here_05-Photo-Credit-MARCELLO_MARANZAN.jpg" data-mid="1230982" border="0" /> What Is Here, 2022, Mitrovica and Prishtina July — October 2022 Photographs by Marcello Maranzan 2022. Water[Shed] at Bett Gallery in Hobart,&nbsp;From the Bett Gallery Website:&nbsp;50 Artists. 50 Years.water[shed] is an exhibition conceived by OUTSIDE THE BOX&nbsp;/&nbsp;Earth Arts Rights and presented in&nbsp;collaboration&nbsp;with Bett Gallery to support&nbsp;the&nbsp;Restore Pedder campaign.The staging of the water[shed]&nbsp;from 18 February – 12 March 2022 coincides with the 50th anniversary of the last&nbsp;heart-breaking summer in 1972 when dams on the Huon and Serpentine Rivers were&nbsp;closed and the impounded waters began to rise. Lake Pedder along with over 242&nbsp;square&nbsp;kilometres of wild landscape in the heart of lutruwita (Tasmania) was&nbsp;swallowed up. The original lake is not forgotten.This 50-year anniversary of loss also coincides with the first year of the United Nations Decade on Ecosystem Restoration 2021–2030.water[shed] brings&nbsp;together 50 Australian and international artists exploring the ideas of&nbsp;ecosystem restoration, re-wilding grief, loss and celebration of the original&nbsp;Lake Pedder.The exhibition will retain 30% of the generated revenue from sales of works and these funds will be donated to the Restore Pedder campaign. <img width="1440" height="1238" width_o="1440" height_o="1238" src_o="https://cortex.persona.co/t/original/i/42d77e913bc81f9ba60499b002ba726b96933dc236d13d466ffa4281fd1dda4b/Piers-Greville-Hypolimnus-Pedderensis-2021.jpg" data-mid="1155576" border="0" data-scale="100"/> Hypolimnus Pedderensis, 2021 oil on linen, 107 x 91.5cm About the work, Hypolimnus Pedderensis, 2021 A profound feeling of loss echoes in the black void of Pedder Dam. After a visit there in 2021, I tried to find out what I could about the webs of life shattered and gone from this place. Taking particular interest in the extinct Lake Pedder earthworm Hypolimnus pedderensis, I read that only a single specimen was ever collected, the summer before the lake was consumed. We can only presume that when the lake flooded that winter, the last of the species were drowned. That was June 1972, the same month I was born. In the absence of images of the worm online, I returned to Lutruwita/Tasmania in May to witness the lone specimen with my own eyes, suspended in ethanol in the bowels of a museum. As I studied this tiny deceased body, capturing images and drawings, I had in mind certain late paintings of Caravaggio, shortly before his death: his depiction of the quest for empirical, visceral knowledge in The Incredulity of Saint Thomas; and the The Raising of Lazarus, with not only its analogous narrative, but the corporeal frailty with its golden shimmering skin. “The Lake the Vanished...” ABC radio national (Australian Broadcasting Corporation)Listen to the interview with Julie Gough, David Keeling and Danielle Wood, aired on Wednesday 17 August 2022 @ 1:22 — 29:45 Piers Greville / News / About / Text / Contact 2022 Holiday In Heterotopiaan exhibition of new paintings, at Dominik Mersch Gallery A state of recursive,...