Previous Exhibition

Group Exhibition —
Sideways (After 43 Minutes)

May 28 – Jul 16, 2020

About the Artists      

What has lead us to this point?

During the beginning of the COVID-19 pandemic, the world began to cease normal functions and practices of capitalism and daily life. Art galleries closed to adhere to regulations. We, as a small independent gallery in an inner-city suburb, were left with an art exhibition (43 Minutes by The KACA Projects) strung in a kind of limbo, unable to be viewed and promoted, nor able to be dismantled and bumped out. We suggested to the artists of The KACA Projects that there may be a way to evolve the concept of the fifth wall and what the KACA Projects had intended to explore. Through online discussions, The KACA Projects, together with Side Gallery, put together a COVID-19 version of an artist residency and invited the members from the original wall-painting experiment to become the new caretakers of the fifth wall. The KACA Projects relinquished power and control of the project in a ceremonial handover statement (below), and each caretaker was given a week to use the space; however they saw fit. 

Ceremonial handover statement

“The KACA Projects have ceded artistic authorial power over the wall, and the objects associated with it, to a Caretaker Committee.”

Artwork Notes

DANIEL SHERINGTON

“One of the significant jumping off points for Daniel’s residency comes from drawing parallels between statements made by German painter Georg Baselitz and the context we find ourselves in today from COVID-19. In 1987 Georg Baselitz posed the question to a hall filled with students “Does the artist still paint the (great) cave wall?”. Baselitz, having previously attributed his own rise to prominence due to working in a self-imposed isolation in his studio, instigates the mythos of the male practitioner as someone who works prolifically, tirelessly and most importantly — by himself. With KACA having provided the supposed cave wall, how does the male practitioner work in a context of actual self-isolation?"

SUSAN LINCOLN

1: CANDY MOHAIR LOOKS GOOD ON EVERYONE 17.03.20 Susan L 4.56pm As participant in 43 minutes by The KACA Projects at Side Gallery late March 2020, I used my time with The (5th) Wall to paint my nails (Candy Mohair) and to socially interact with fellow participant Dale Cooper (Jake Sun) Before I left the space, I signed the back of the wall “Candy mohair looks good on everyone.” As a Caretaker Committee member of The (5th) Wall, I used my 4-day residency to develop an alter ego Candy Mohair. Candy (with a K) was an inter-dimensional visionary, who tracked time through light, shadow and humour to socially connect and engage with community, all the while nurturing and loving The (5th) Wall.

2: CANDY IS THE WALL 08.05.20 Mel B 9.06am The final performance of original The KACA Projects “43 minutes” involved cutting sections from the wall and re-installing them adjacent to the voids left behind. I was moved during the performance when KACA appear to unconditionally love and nurture the objects first removed and then replaced back with the mother wall. The performance was teeming with fecund association. I loved the form and shape of Untitled 1 and it now hangs at home. On the back of this artwork is where Candy Mohair left her first mark.

3: CANDY HAS NO WHOLE 08.04.20 Wen W 5.35pm The void would go on to be Candy Mohair’s crystal portal. Glass and mirror sequins were strung together into irregular forms and fixed around the internal perimeter of the void. These were added after each guest left the space. A crystal growth crept around the edge of the void in an anti clockwise direction. Of note, on the other side of the portal, this creep was clockwise. When the circle was completed, after the departure of her final guest, Candy Mohair ceased to exist.

4: CANDY GOES BY FEEL 07.05.20 Susan L 4.10pm 2 white line ISO rings 1.5 m in diameter were strategically placed on the floor (6th wall?). Initially conceived as a universal symbol of love and eternity, the 2 rings developed into rings of protection that allowed safe interaction with guests in the space. Collaboration on Day 2 with Performance Artist Elenora Duce, developed the idea of threading sequins onto opposite ends of a shared 3 m length of monofilament. A safe and physical connection of light and line between Candy and her guests was born. Though voluntary, everyone chose to thread the sequins onto the fishing line. Timed 10-minute lots achieved 3 light lines per session, and these were strung overhead in a triangular form. Leftover time was for drinking, eating and playing within the safe space.

5: CANDY BELONGS TO EVERYONE BUT NO-ONE 08.05.20 Ele D 1.36pm Candy Mohair highly values social connections and participants were invited to share their life experiences whilst creating the sequin light lines. Occasionally Candy would assist with the threading, but most times she LISTENED to her guests and took notes. The notations were recorded in pink neon on the white vinyl ISO rings. Text was inscribed in a clockwise direction and when complete (in time with the crystal portal) the residency concluded. These fragments of the conversations would go on to form the Biography Notes and Fun Facts.

6: CANDY BRINGS LIGHT TO TIME In my work I use light to trigger collective memories and to give life to the inanimate object. All light reflecting materials used as part of Candy’s set, had been collected over many years, stored for purposes such as this. They will be reused in time on other projects. The vinyl ISO rings, pink tissue, neon paint pens and Candy Mohair Travel Blouse were the only materials purchased for the immersive installation. The ISO rings were the only disposable item purchased, but I felt it was necessary to the conceptual intent of Candy Mohair.

7: CANDY GLORIFIES THE HAND PRODUCTION OF BEAUTIFUL AND UNIQUE OBJECTS. 11.05.20 Susan L 2.08pm For example the artworks produced during the residency including the ephemeral works “Candy Mohair’s Glass and Light Portal 2020 and “Pink Paper Skirt for Candy 2020”

8: TIME STANDS STILL FOR CANDY 12.05.20 Susan L. 10.18 am Candy Mohair de-accelerates time. A random set of shadow lines were mapped in pink on The (5th) Wall and another set of shadows from the void were mapped onto Kraft paper. Due to gallery lighting, the dated and time-stamped pink lines continually mirrored the shadow lines throughout Candy’s residency.

9: ‘QUALITY SHOULD BE ATTRIBUTED TO HUMAN BEINGS NOT TO THINGS” Antonia Gramsci Prison Notebook 1. Sign from 2013 participatory sculpture “Gramsci Monument” 2013 by Thomas Hirschhorn.

10: CANDY (WITH A K) MOHAIR IS A CARETAKER COMMITTEE MEMBER OF THE FIFTH WALL. During her residency as Caretaker, Candy unconditionally loved, nurtured and cared for The (5th) Wall and all her visitors.

GENINE LARIN

I realised that in a sense my practice acts as an ethical intention to decolonize myself of patriarchy, capitalism, neoconservatism, all that toxic shit I have been blind to by virtue of being born into it etc. In a genealogical sense I must be indigenous to some land/s somewhere but that is long lost now. I am trying to find the similarities among the differences in my own biology; the instinctive capacity to feel fearful and threatened and to be threatening (fight/flight) and the ethical and empathic choice, in the face of fear, to create psychological and literal spaces of safety without colonising or possessing them.

The two themes that inform my performative response as a caretaker are:   Entanglement:

• I wear white and paint my exposed skin white. I emerge from the white wall not knowing that I am a part of it.

• I had the idea of using the Garnier face wash clay as white 'paint' to merge into the white capitalist/patriarchal/neoliberal wall using a commodified natural material. The irony is that existing in a capitalist society I have to purchase the clay mask; that it is a commodity that goes through the economic system. The clay mask/rock clay fragment/association came up in the gallery while I was working. 

• I spread a commodified red oxide sand all over the floor. I am reaching back to the primordial in my biology and psychology as a living being. This is an attempt to find what would be indigenous in myself. It is an empathic connection to other beings.

• I thread white wool from behind the wall to the front of the wall back and forth through and around the openings there.

• The traces of red earth on my white clothes and body as well as the looping of the wool expose my entanglement as colonizer and colonized (by gender and by birth).   Inverting the hierarchy

• I do twists and inversions in the space as a gesture of twisting and inverting my own embodied hierarchy. Rather than my body being a vehicle for my head, my head can support my body and allow it to experience things from different perspectives. This is a literal practice (yoga) that has psychic effects.

• Some of the inversions are wobbly and are supported by the wall.

NATASHA NARAIN

To be one is a privilege and I think about caretaking as an active role more than a designation. To be caring requires commitment and is as much an emotional act as it is procedural. I would emphasise the care more so than the take, where acts of nurturing and safekeeping may bring a blossoming whether that be of a place, a collection or a community. I imagine qualities of selflessness, integrity, alertness and respect are intrinsic to this role.

What does 'creating a new kind of attention to the world and the people around you', mean?

New as a word is both exciting as well as problematic in that it refers to a replacement. In a culture that promotes renovation and makeover, new replaces that which is unacceptable to current trends. Often also reducing sentimental collections of materials and objects holding memories. New is regarded as progressive, innovative and rejuvenating.

As an Australian of Bengali (South Asian) origin, the 'new' from historical lenses refer to the imposing of English language and culture at a cost to long-held traditions and languages. As well as disruption to lives and livelihoods from oppressive new changes to land ownership, and displacement from indenture.

In the context of this project, new matures into a signpost, an intervention and a period for taking stock. One that considers opinions and welcomes the 'other'. In occurring at the time of the Covid, when the personal and the local have taken precedence over the global, what new observations from our immediate environment, and conversations with our peers, friends and neighbours, are worth opening. How might we also address cultural continuity and a nurturing of interpersonal relationships as a community?

LAURA BRININ AND LEESA HICKEY

As the gallery owner and curator, we relinquished some control of the gallery and program: Leesa put the entire program for the year on hold to adhere to regulations and allowed this development to occur without concern for the outcome. Laura relinquished curatorial control of the caretaker residencies. Both of these responses were attempts to consider this “new normal” — reject the very obvious “white wall gallery business model”— and disregard the desire for a commercial (capitalist) outcome. The KACA Projects reflected, “The KACA Projects are interested in the way ‘the wall’ and its ‘objects’ have become signifiers for a new space that has opened up. A space we are thinking of like a ‘wedge’ or a ‘chasm’. A space that could conceive a social and political order where profits are not above people—one that generates a ‘new kind of intention to the world’.” 

Our view into the void, wedge or chasm was reflective. We questioned how this model works, and whether we sit within that framework.

As caretakers ourselves, we were also given a week for our residency. We thought we could retain our roles as director, curator, and caretakers, and influence the space to accept our reflected views of what this void has looked like to us. The new wall we constructed was to act as a portal or viewfinder for outsiders to look into the gallery. 1 The breezeblocks are significant not just to our brand, building and subtropical environment, but act as literal “building blocks” which mimic the mass-produced, ready made materials used by The KACA Projects in their fifth wall. Breezeblocks are also traditionally used to permit breeze and sunlight into a space. Our wall was intended to veil the inner workings of our gallery, acting as a threshold for a space that is neither here-nor-there. Taking a model or framework for a business and making it our own is also a capitalist ideal which isn’t lost on us; even the logotype we adopted for our combined director-curator residency is a mimicry of The KACA Projects: The LeLa Project. 

Second to our “sixth wall”, we invited expressions of interest from participating artists to take part in an exhibition. Both physical and digital iterations of the exhibition were exhibited during the residency program as ‘Sideways (After 43 Minutes) — Side Gallery Participating artists’. Both physical and digital components embody the shapes that were left by The KACA Projects in the fifth wall. Five particle board materials, with the shapes from the fifth wall recessed into the board, and digital vector files are available to the artist experience participants.  We invite you as artist/maker/doer to actively affect/impress upon/manipulate/evolve or devolve/make/create from the impression to suit your experience, and return the work to us as caretakers for exhibiting. 

JAKE SUN

'A' A (i) D A f t e r D C After Damiel & Cassiel Or: How I LEARNED to Stop Worrying + (((LΦVE))) the Wall

"With time, those who listened to me became my readers. They no longer sit in a circle, but apart, and one doesn't know anything about the other...but the story still rises from the depths" - The Storyteller (Wings of Desire)

At the invite of KACA Projects, I've joined a team of six artists to form a residency 'caretaker committee' for a wall, which currently resides within Side Gallery. As a way of opening creative circles and conversations in the time of Covid-19, I'm putting a call out for 'wall care' participants to join my two-part residency project, which will see the wall torn down in commemoration of the 30th Anniversary of the Fall of the Berlin Wall and the birth of its East Side Gallery. (1) For the first part, wall care participants are invited to respond to the idea/image/identity of 'wall' with a message. These messages will be written on the wall before it is broken down. (the message could be a few words, a quote, or a line from a song or poem, or anything that communicates what 'wall' currently means to you) (2) For the second part, small pieces will then be sent out 'as wall care packages' to participants, whom will be asked to respond the reality of the materials in their care. Once returned, each piece of the wall will be rebuilt into two floor-set round-tables; allowing for the second round of responses to exhibited in the space while food is shared on the floor. The core of the project's concrete poetry title, ...After Damiel & Cassiel..., takes its name from Wim Wender's two collaboratively written films Wings of Desire (1987) & Faraway, So Close! (1993). Set in Berlin three years before and after the Wall's fall, the two films, respectively, tell the stories of Damiel and Cassiel, two angels, whom, tired of playing witness, desire to become human so that they may participate in our world and find a sense of presence and connection through the embodied sensory-experiences of earthly life.

Through an interplay of text, moving image, and sound, the two films critically act as medium-reflexive allegories of mind-body dualism and humanity's divided, 20th-century condition. The wall divides East & West on the horizontal plane, but the very bricks of its own making are divided by the hierarchy of the vertical plane. Here a poetic lens intuits reflections of social division and high/low hierarchies in the Cartesian mind-body separation of the lower case 'i', as it does the reflection of Narcissus' Anthropocentric eye in a History whose genesis is seeded in visual language, specifically the technology of writing.

The technology of writing enabled language to close great distances between bodies as only spoken-word transmission had thus far. In 1900, the commencement of commercial radio enabled audio-information to travel great distances at light speed. Sounding at the speed of light, the bell toll for an old century and birth cry of a new heralded new connections and conceptions of sociality. Following 20th century transitions from cinema's silent infancy to analogue transmissions of screen media, light, in effect, co-opted sound to become synchronised as spatio-temporal markers of social distance and proximity.

On the other side of the digital revolution, it's becoming harder not to equate the idea of a wall, its rectangular shape, right-angles, and flat surfaces with the desensitising panes of screen media and the 'faraway, so close' contradiction of contemporary distance. We cross the world over connecting planes above as the cartographic planes on our screens connect us to a flat-earth below. But, to paraphrase Buckminster Fuller, up and down, high and low, are flat-earth constructs. In the rounded reality of our spherical world and breathing bodies there's simply in and out.

In 2020, Wenders' two films act as poetic allegories for what it means to be either side of a pandemic, while continuing to participate in an ongoing conversation that critically reflects upon the relationships between the stories we tell ourselves and others, the mediums and senses at play in this exchange, and the high/low hierarchies we've constructed in both our inner and outer worlds.

In her perceptive essay, The pandemic is a portal, Arundhati Roy writes, "Historically, pandemics have forced humans to break with the past and imagine their world anew. This one is no different. It is a portal, a gateway between one world and the next". Here 'anew' is not realised as something shiny and new, like certain constructs would have us believe, but rather as the re-happening of a process; as in, 'tears filled her eyes anew'.

As waters begin to rise and empires to fall, the writing on the wall weighs with heavy burden; so, how do we care for a wall? The word 'care' is etymologically seeded in the Old English words caru and cearu, "sorrow, grief, burden of mind, anxiety caused by the apprehension of evil or the weight of many burdens". But how do we break with the burdens of 'A' past that is so encoded within our languages, our technological mediums, and our habitual patterns to create them anew?

How do we break with the 'A' & 'i' of His-story's Anthropecentric script and reintegrate our own contradictions? How do we let go and break with patterns of Attachment and identification? How do we reintegrate the contradictions of an intellect that has colonised its body as a symptom of its unconscious fearful-desire to create distance between itself and mother mortality? How do we integrate the contradictions of a mythical 'i' that manifested from our primeval (in)depth and reached for the skies? How do we accept our insecurities and uncertainties, and continue to converse and question? How do we break with our Divided States of high/low to open a portal between in-and-out; an open space of trust and time, where we may create us anew? (<--edit)

These words are my first response to the idea-image-identity of 'wall'. Reflecting on the wall has acted as a reminded that all writing uncovers something of ourselves to form a partial portrait, an autobiography in a sense. To realise words on a page as process, as projection and reflection, is akin to slowly sifting through the 6 soil horizons (O, A, E, B, C & R) of ourselves, opening our past to the fertile space of the present... Whether I perceive the process of writing these pages as taking 6 weeks or 36 years, the raw roots of their story can be traced to a space-time-sprouting seed that science tells us sounded with a sensational bang, 13.8 million millennia ago. I can't claim the sole author of these pages is i, but I can carry them into our present as an open letter for a conversation that is always to be continued...

To participate in this project, please respond with a message for the wall to: AfterDC@gmail.com

Stay safe & take care, hugs on the otherside x or: how I (((LΦVE))) to stop writing & learn from the wall care committee after 43 R E D

Jake Sun (fka Jagannath Kṛṣṇa, fka Jake Boyle) is the current name of a carbon-based bipedal process who often plays the roles of man, artist, movie review, music journalist, and poet, among others, habitually confusing them all into one conflated identity. This character regularly converses, collaborates and participates in creative projects with others in Australia, India, and Germany. Having recently divided a 6-pack of new red-undies with a friend visiting from Berlin, Sun is currently walking the kind of creative paths that one only dares walk while alternating 3 pairs of recently purchased red underwear. When not braving these beasts, he has been closing distance by dancing and cooking with beets. The red hue of said garments and root vegetables alike, is felt to be a grounding colour which connects to the red of Kṛṣṇa's root chakra, the Red Cliff of Boyle's birthplace and the Red Hill Sun currently calls home.

...After Damiel & Cassiel... is part of KACA Projects' Sideways (After 43 Minutes), a project that sees them expand upon the participatory outcomes and potentials of their 43 Minutes Exhibition; March 11-24, 2020 at Side Gallery, Red Hill.

About the Artist

Daniel Sherington

As a young Australian artist, it is easy to see drawing subservient and invalidated to that of Australian painting. My practice is a response to this relationship, exploring the boundaries and interactions of drawing and painting within the context of the validated and commoditised ‘Australian’ image.

Continuing the artistic narrative established by the post-modernists, my work engages with a  visual vocabulary to explore socially responsive ideas and concepts. My work is rooted in drawing and draughtsmanship. All works stem from this cornerstone of drawing, as it exists as an artistic truth of mine.

Through the visual manipulation of iconographic qualities and artistic precedents, the lines between drawing and painting are blurred. The preferred Australian genre highlighted through the undulations and creases of the crushed can - evoking the idea of a ‘cultural landscape’. The Brett Whiteley iconised colour, Ultramarine Blue, being used as a greater representation for what can be considered an ‘Australian Palette’. The painting itself being viewed as the embodiment of the validated idea and concept – with this being translated into the concept being explicitly stated through painted text. The idea of the drawing becoming a vehicle for this idea, and in this light existing as the ‘canvas’ the paint lies on.

About the Artist

Susan Lincoln

Susan Lincoln is an established contemporary visual artist with a rich connection to regional and rural Australia, and the women in Lincoln’s family who have shared experiences of these landscapes. It is the nostalgia, unique environment, and familial connection to these places of importance that has left a signature mark on the majority of Lincoln’s works over the last decade. Lincoln’s oeuvre exhibits the lived experience of the bonds of motherhood and family; from the memories of her mother’s crystal bracelet which would reflect light, to the heartbeat performance video enacted by Lincoln and her daughter, the works always have a root hooked in the ideologies of the feminine and plays with the idea of secular spirituality. It is these themes which inform the works in this latest exhibit. 

To be in the presence of Lincoln’s work is to understand the artist’s desire to promote an experiential or immersive experience, one which is rooted in philosophy, memory and reflection; much akin to works by contemporary French Conceptual artist Christian Boltanski. Where Boltanski used similar materials and conceptual frameworks to form a recreation of the past, Lincoln’s work ventures to ascend toward a greater understanding and ultimate reflection of the past, to clarify ideas and transform heavy philosophies into objects and experiences of beauty for the future. The incredible lightness of being invites contemplation and connectivity to a selection of works on paper, video, small and large-scale sculpture,  and invites intimacy and viewer participation with the work.

The incredible lightness of being held at Side Gallery is an explorative landing strip for a larger body of work which will tour Australia in 2019–2020. 

—  Download Susan Lincoln's CV

About the Artist

Genine Larin

Genine Larin is a Brisbane based visual artist working predominantly in performative installation.  Her practice navigates phenomenological feelings, sensations and emotions via speculative compositions that combine pattern and viscerality. Within the space of practice she examines ideas and expresses feelings without being censored or oppressed by external, patriarchal ideologies. She considers aesthetic choices, based on gut feelings of attraction and repulsion, as having ethical implications.  As a result, there is a strong feminist temperament to her work and working methods. Genine completed her Master of fine arts at Queensland University of Technology in 2015 and is a current PhD candidate. 

About the Artist

Natasha Narain

As a Bengali Australian visual artist, born in India in 1970 into a Defence force family, Natasha considers herself a peripatetic traveller and speaks Hindi and Bengali. An alumnus of the prestigious Kala Bhawan or Institute of Art at Viswa Bharati University in India, she spent five formative years developing an interdisciplinary art practice free of nationalist sentiments but closely appreciative of indigenous and marginalised traditions alongside an extensive study of Western, Far Eastern and Indian Art. Natasha moved to Australia in 1993, initially living in Melbourne where she continued her interest in printmaking at the Australian Print Workshop in Fitzroy. She also conducted research into the archives of the State Library of Victoria on women in South Asian Art, followed by a public presentation. Embracing the language and culture of her new home, and her love of books, Natasha arrived at a crossroad when discovering a richly illustrated catalogue, the only one of its kind, published by the Philadelphia Museum of Art in 2010, on the Kantha, which formed a part of her maternal heritage. Deeply moved by the works, Natasha committed herself to continue this nearly lost tradition of self- reflexive, individual, hand embroidering that turned worn sarees or clothing to quilts considered sacred wraps and heirlooms for the family. For Natasha, Kantha is a starting point, but also a  point of departure as she extends the materials and methods into a large body of interrelated works, both object and process-based, to free the Kantha from its current reductive state as a pre-designed and decorative craft item.

Natasha regularly exhibits her work as a means to introduce Kantha into our cultural landscape and to engage with the local community, often through public workshops and talks. She has held numerous solo exhibitions,  participated in public art projects and enjoys testing the portability and place-making inherent in her practice by taking her works on long journeys such as driving to Dandenong near Melbourne, or visiting New Delhi and Simla in India and more recently, Philadelphia and Chicago, creating performative presentations where Kantha in turn, anchors her.  Natasha also creates spatial Kantha drawings on architectural glass and walls to practice mark-making as a form of automatic prayer inspired by the Kobhar or sacred rooms created by women in Bihar, using basic domestic materials. She sees these interventions as continuous 2D practice where Kantha becomes a filter to observe the present, such as local plants and a method of communicating with the audience by being present in the gallery space.

Natasha is currently pursuing a PhD in practice-led research at QUT in Brisbane, supported by the Australian Postgraduate Award. She is continuing to develop new strategies, materials and forms of engagement that speak from transnational and gender perspectives while creating a contemporary continuation of the Kantha. She is also passionate about restoring agency to past- practitioners by examining original works in the first hand so that select individual works can be critically examined for their version of history as well as their rich aesthetic contribution- not just an emotional connection to a distant past. Her research is accessible through QUT E prints. Concurrently, the need to settle and to be financially independent in Australia led Natasha to a parallel career in Banking, with the ANZ Bank in Melbourne followed by Commonwealth Bank in Brisbane. Natasha considers her role in both art and in banking, as a form of service and engagement with the community. She acknowledges this learning of business and life skills has assisted her in creating a sustainable practice while also reducing some of the isolation that artmaking induces.

About the Artist

Jake Sun

Jake Sun is a Brisbane-based artist whose practice investigates our personal and shared experiences of popular culture, art, and lived spaces, mining the potential for these intersections to act as sites of 'contemporary communion' and the sublime.

In an age where the incessant flood of our collective audio, screen, and text-based technologies make us prone to a certain displacement, Sun appropriates and abstracts these mediums, recontextualising them within phenomenological frameworks that critically engage people, place, sensory perception and presence. He often realises this through an exhibition-as-medium approach, working regularly with syntheses of site-specific audio-video installation, live sound, text, food, and instructional experiences. These works frequently embrace audience participation and elements of collaboration to challenge self-other binaries and reflexively explore the blurring of author-audience roles within the interdependent processes of creative action.

In 2012 Jake graduated his honours with first class from the Queensland University of Technology, where he was awarded the NAVA Ignition Prize for achievement in Professional Practice. He has since exhibited internationally and nationally within various solo and group exhibitions, and performed in events at Boxcopy, Brisbane Powerhouse, and Judith Wright Centre of Contemporary arts. He has produced three artist books and his text works have been published by contemporary art journal Das 500 and local poetry anthologies neither/nor and small packages.

In 2017-18, Jake developed a Brisbane-Kerala creative exchange project, titled taste on opening, and exhibited its first iteration from December 2018 - March 2019 at Yousuf gallery in Kochi, India. As Creative Director in Residence with House Conspiracy from March - April 2019, he developed a Brisbane-Kerala residency exchange program and curated the resulting group exhibition Glossoperteris: Black Beyond Coal and up-late fundraiser concert Club Conspiracy in support of the Wangan and Jagalingou Peoples' plight to Stop Adani. Currently, Jake is a board member of House Conspiracy and his work is being shown throughout India in the travelling group exhibition Raigad Activista 2020.

About the Curator

Laura Brinin

Laura Brinin is a Brisbane-based curator of contemporary art. She received a Bachelor of Fine Arts (Visual Arts) in 2012 and continued her visual art practice overseas in 2013 in Canada with a Visual Art residency. Upon returning home, Laura has since pursued a determined curatorial practice as noted through five years’ professional practice with the Creative Industries Precinct exhibitions and public programs office, and a practice-led curatorial development internship through Queensland University of Technology. In 2014 Laura assisted in the facilitation of multiple new media exhibitions including ANtIMATION and The New Aesthetic? at The Block. 

Laura has exhibited her own work both in Australia and overseas as well as working as an independent freelance curator across Brisbane. This primarily focussed on engagement and activation of public spaces, including running bi-monthly exhibitions at The Menagerie, and public programs such as the Papergirl Brisbane project. Laura also worked with Brisbane City Council, QUT and Brisbane Street Art Festival to produce ReForm at Kelvin Grove’s ex-military base upon Gona Parade and Parer Place.