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ANTIDOTE
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DANCING WITH THE DEAD

Khadim Ali, Soojin Chang, Dr. Fiona Foley, Dr. Mojgan Habibi, Pieter Hugo, Lindy Lee, Pierre Mukeba, Sarker Protick, Stanislava Pinchuk, Jemima Wyman

Presented in partnership with the Lock-Up, Newcastle

June 20 – August 9, 2020

 

Named after the infamous Madagascan/Malagasy ritual of Famadihana, Dancing with the Dead presents ten National and International contemporary artists whose narratives illuminate the convergence of memory and corporeality within a larger constellation of death and its surrounding multitudes — physical death, spiritual death or cultural death.

The traditional Madagascan process sees families and loved ones exhuming bodies from tombs, carefully re-wrapping, then lovingly dancing with their corpses. Dancing with the Dead takes this context as a point of discussion to give light to the intersection of death, society, intimacy and culture; and to furthermore approach death with a stronger sense of nuance, allowing the potential to view aspects of dying, regeneration and endings as transgressive metaphors. It is sombre, yes — but it is also transformative, let us re-imagine death.

Dancing with the Dead presents a timely and deeply meaningful proposition for sharing in a communal and cathartic activity, that shines light on the paradoxically unique and universal experiences of death and endings. Each artist in this exhibition brings a specific layer, texture and approach to this collective dance.

Press:

  • Mutual Art
  • RUSSH
  • Art Guide
  • Art Almanac
  • Newcastle Herald

Essays:

  • David Hansen – La mort apprivoisée
  • Curatorial Essay – Grace Partridge and Emma-Kate Wilson

 

 
Installation Photography by Fourth Street Studio.
#antidoteloves ~ ‘The Colour Line’ brings toge #antidoteloves ~ ‘The Colour Line’ brings together a presentation of new and recent works by Kamilaroi/Brisbane artist Archie Moore in dialogue with infographics by African American scholar and activist W.E.B Du Bois (1868–1963). ✨ Archie Moore’s ongoing interests include key signifiers of identity—skin, language, smell, home, flags—as well as the borders of intercultural understanding and misunderstanding, including the broader concerns of racism. For this project, Moore reflects on ideas of empirical evidence from the perspective of Indigenous Australia. Moore's new commission, ‘Graph of Perennial Disadvantage’ 2020, begins by revisiting The Australian Constitution of 1901 that stated that Aboriginal people were to be no part of statistical information. Alongside this new work, Moore will recreate and update his ‘Family Tree’ 2018 wall drawing, a sprawling chalkboard style genealogy that complicates historical diagrams drawn up by anthropologists. Picture @zanwimberley at @unswgalleries
#antidoteloves ~ In Vatanajyankur’s new performa #antidoteloves ~ In Vatanajyankur’s new performative video series titled ‘Air’, she explores her continuing 'body as objects' methodology to address the state of polluted air. Within her 4 videos, Vatanajyankur transforms her body into a vacuum as an interpretation of lungs breathing in ‘air’. Through the construction of a makeshift house, the work highlights the invasive result of air pollution, imitating the reality of ‘dust’ pollution. Using a living space as a factor, she challenges the idea of ‘assumed’ safety. The structure of the architectural space is compared to the corporeal which acts as a container; an outer skin. The interior, on the other hand, resembles the internal organs such as the human lung. In other words, the constructed house is itself the human body. Through her juxtaposition of colorful-like palette and satirical nature, the vacuum absorbs dust until the vibrance and brightness is finally seen. Brightness is a recognition of optimism while dust indicates desaturation. In symbolic of hope and despair, Vatanajyankur attempts to story tell the message of universality of life and dust. Image: 'AIR' Series. Work title: Vacuum, 4 Channels Video, 2021.
And finally, our last program announcement for 202 And finally, our last program announcement for 2021. We are thrilled to be supporting Gabrielle Goliath's 2-channel video & sound installation at the upcoming @kochibiennale — entitled 'Chorus'.
✨ 
In Chorus, members of the University of Cape Town choir sound a lament for Uyinene Mrwetyana who was raped, tortured and killed in August 2019, and whose murder sparked public outcry across South Africa. They lament not as song, but as the internally generated resonance of a hum, collectively sustained as a mutual offering of breath. In the utter loss marked by this labour, a certain recuperative gesture is nevertheless achieved, in the communal recognition of black feminine life. The performance sits, however, in uneasy relation to the stark absence of an empty rostra – an absence marked by the names of those whose lost lives similarly call for the long, collective, and as we must hope, transformative work of mourning. Please swipe for a more detailed statement >>. 

Image: Chorus, 2020, 2-channel video & sound installation, 23mins 29secs. Courtesy of the artist @gabriellegoliath and @goodman_gallery.
With a well renowned and arresting visual language With a well renowned and arresting visual language, Honey Long and Prue Stent’s practice boasts a unique and mesmerising merge of photographic and sculptural disciplines. Their work is undoubtably corporeal but also beautifully disembodied — and though quite recognisable, their aesthetic seems to always cleverly shake off the political discourse/s most ‘female’ art has ascribed to it. We are thrilled to announce that we are supporting the production of a new body of work from the duo later in 2021, and can’t wait to see what thought provoking, playful and symbolically rich work they create. 🤍💌 Pictured ‘Fis-net II’, 2017, courtesy artists and @arconegallery
We have posted about @jeddadaisyculley before so y We have posted about @jeddadaisyculley before so you will know her well! We are thrilled to announce formally that 2021 will see Antidote’s Artistic Director, Gracie Partridge, work closely with Jedda to produce a major work that combines her painting, weaving and performance practice. Watch this space 🔥🌪
In the dark times Will there also be singing? Yes, In the dark times
Will there also be singing?
Yes, there will be singing.
About the dark times.
—Bertolt Brecht
 
Developed in consultation with CAN (Clergy Abused Network Maitland), ‘Testimonial’ is an exposition of the profound effect of sexual abuse within the Church. Created from conversations with survivors and family, ‘Testimonial’ will bear witness to their stories, acknowledging trauma and celebrating resilience through words, music, and a renewed sense of congregation. Documenting the meetings and in consultation with each participant, Artistic Director Gracie Partridge will then create and record musical / video vignettes, comprised of both vocal composition and verbatim accounts, that will ultimately become a 2-channel video presentation. The work aims to be multi-layered: for them, their family, community and the world at large, who can only benefit from further understanding and processing of the injurious impacts of breaching the trust of a child. This project is in early stages so if you are interested in supporting it, please contact us via our website or reach out here. 💌 A huge thank you to CAN and Robert O’Toole for the support so far. ✨
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