The Tangible Trace
TarraWarra Museum of Art
8 June – 1 September 2019
Artists:
Simryn Gill, Hiwa K, Shilpa Gupta, Carlos Capelán, Sangeeta Sandrasegar
A man kicks a flaming soccer ball through Ciudad Juárez, Mexico, tracing a pathway through the dark city. A large piece of engraved concrete is fragmented into hundreds of pieces, laying in wait for the audience to take a piece away as a trace of the work. The trace of the sun in the sky causes fluctuating shadows and ephemeral visual effects upon five large, floor to ceiling panels.
Showing from 8 June – 1 September 2019, the TarraWarra International 2019 exhibition, The Tangible Trace, explores the notion of a trace as a residue or marker of a place, situation or body of knowledge. The artworks use the metaphor of the trace to invoke sensations that can be seen, felt, experienced and even touched in our real environments through tangible fragments—natural materials, pressings, mappings, markings, journeys and gestures.
The exhibition includes the works of Francis Alÿs (Belgium/Mexico), Carlos Capelán (Uruguay/Sweden), Simryn Gill (Singapore/Malaysia/Australia), Shilpa Gupta (India), Hiwa K (Iraq/Germany) and Sangeeta Sandrasegar (Australia), including newly commissioned works by Capelán, Gupta and Sandrasegar.
Since its establishment in 2013, the TarraWarra International series has supported a number of Australian artists, including Janet Laurence, Louise Weaver, Tom Nicholson, Patrick Pound and Cyrus Tang, to exhibit their work in a global context by presenting it alongside leading contemporary artists from abroad. Each of these exhibitions has uniquely identified and meaningfully considered significant developments in contemporary art practice – from the interrelationship between the animate and inanimate, to the experience of temporality, to imaginative responses to the archive.
Simryn Gill
Domino Theory (2014)
nine wooden and glass vitrines, cubes made from termite clays, collected brick and tiles from the sea, dimensions variable, installation view. Photography: Andrew Curtis.
Simryn Gill
Domino Theory (2014)
detail, installation view, photography: Andrew Curtis.
Simryn Gill
Passing Through (2017-ongoing)
monotype prints and c-type photograph, installation view. Photography: Andrew Curtis.
Hiwa K
Pre-Image (blind as the Mother Tongue) (2017)
single-channel HD video, 16:9, colour, sound, video duration 00:17:40, ed. 5 + 2AP. Coproduced by Open-Vizor, Abbas Nokhesteh, installation view. Photography: Andrew Curtis.
Hiwa K
Pre-Image (blind as the Mother Tongue) (2017)
single-channel HD video, 16:9, colour, sound, video duration 00:17:40, ed. 5 + 2AP. Coproduced by Open-Vizor, Abbas Nokhesteh, installation view. Photography: Andrew Curtis.
Shilpa Gupta
The markings we have made on this land have increased the distance so much (2019)
engraving on concrete, interactive installation, 420 x 280 x 5cm, installation view. Photography: Andrew Curtis.
Shilpa Gupta
The markings we have made on this land have increased the distance so much (2019)
engraving on concrete, interactive installation, 420 x 280 x 5cm, installation view. Photography: Victoria Lynn.
Shilpa Gupta
The markings we have made on this land have increased the distance so much (2019)
engraving on concrete, interactive installation, piece taken to a home and posted on Instagram #Onthisland
Shilpa Gupta
Map Tracing # 7 – AU (2019)
copper pipe, 183 x 183 cm, installation view. Photography: Lou Whelan.
Carlos Capelán
Left: I Wish I Could Shimmy Like My Sister Kate (External Love) (2019),
from the Implosion series, synthetic polymer paint on canvas, 200 x 290cm;
Right: A Drop of Water (2018),
from the Implosion series, synthetic polymer paint on canvas, 132 x 168cm, installation view. Photography: Andrew Curtis.
Carlos Capelán
Left: Self Portrait as a Museum (2019)
from the Implosion series, synthetic polymer paint on canvas, 147 x 202cm
Right: Map of the World (Thursday) (2018)
from the Implosion series, synthetic polymer paint on paper, 180 x 150cm, installation view. Photography: Andrew Curtis.
Carlos Capelán
Left: Extended Family (Arrival) 2019
from the Implosion series, synthetic polymer paint on canvas, 132 x 168cm
Right: Fling (Implosion) (2019)
synthetic polymer paint on canvas, 200 x 265cm, installation view. Photography: Andrew Curtis.
Sangeeta Sandrasegar
What falls from view (2019)
hand–dyed khadi and silk, five panels: each approximately 520 x 90cm, dye studio: Heather Thomas, sound component: Symphony No. 1 Da Pacem Domine (1991), composed by Ross Edwards (APRA), published by BMG AM Pty Ltd. Performed by the Adelaide Symphony Orchestra conducted by Richard Mills, Adelaide Town Hall, 2002. Sound recording by ABC Classics. Installation view. Photography: Andrew Curtis.
Sangeeta Sandrasegar
What falls from view (2019)
hand–dyed khadi and silk, five panels: each approximately 520 x 90cm, dye studio: Heather Thomas, sound component: Symphony No. 1 Da Pacem Domine (1991), composed by Ross Edwards (APRA), published by BMG AM Pty Ltd. Performed by the Adelaide Symphony Orchestra conducted by Richard Mills, Adelaide Town Hall, 2002. Sound recording by ABC Classics. Installation view. Photography: Andrew Curtis.