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Jason Sims, Shifting Horizon, 2018, semi-reflective glass, mirror, steel, acrylic LED lighting, fans and electronics, 110 x 480 x 26 cm, Biennale of Australian Art, Art Gallery of Ballarat. 

 

Please join MARS Gallery for an exclusive day trip to Ballarat to experience BOAA – Biennale of Australian Art 2018, the largest ever showcase of living Australian Artists. 

The exclusive day trip, hosted by GB Art Consulting, includes a private tour of the Art Gallery of Ballarat, led by Curator Julie McLaren, a two course with a glass of wine, designed by renowned chef an author Gavin Draper, and a guided tour by BOAA  Director Julie Collins of her top 6 Biennale sites.

 

ITINERARY 

10:00am sharp       Meet the coach in Toorak (address supplied on confirmation)
11:15am                    Arrive at The Art Gallery of Ballarat with glass of bubbles on arrival
                                   Private tour lead by Julie McLaren, Curator of The Art Gallery of Ballarat
12:15pm                   Depart for lunch at The Mining Exchange
12:30pm                  Two course meal with a glass of wine, designed by renowned chef and author Gavin Draper
                                   Lunch is in conversation with Julie Collins Director of BOAA “leading us through her top picks of  BOAA”.
2:00pm                    Guided tour with Director, Julie Collins of her top 6 Biennale sites
3.00pm                    Depart Ballarat 
4:15pm                     Return to Toorak 

 

BOAA runs from 21 September to 6 November 2018 across 14 venues in Ballarat. 

 

 

ENQUIRE  NOW 

VIEW JASON SIMS AVAILBLE WORKS

Sophia Hewson, Untitled (natural birth), 2018, C Type print, 125 x 175, edition of 5 + 2 A/P

 

Congratulations to Sophia Hewson whose work, Untitled (natural birth) has been shortlisted for the 2018 Josephine Ulrick and Win Schubert Photography Award at HOTA Gallery. 

 

The Award is a touchstone of contemporary photographic practice in Australia, and an exciting platform for established and emerging photographers to showcase their work. The Award will be judged by Cherie McNair, Director & CEO of the Australian Centre for Photography. 

 

VIEW AVAILABLE WORKS BY SOPHIA HEWSON

Hoda Afshar, Untitled #7 (Behold series), 2015, digital photographic print, 95 x 120, edition of 5 + 2 A/P

 

Congratulations to Hoda Afshar who has been announced as one of eight young Australian artists who will exhibit in in Primavera 2018 at Museum of Contemporary Art Australia. 

 

Primavera is the MCA’s annual exhibition of young Australian artists aged 35 and under. Since 1992, the Primavera series has showcased the works of artists and curators in the early stages of their career. This year’s exhibition asks, ‘Why is identity important today?’ The participating artists consider, explore and re-examine the politics of identity, visibility and representation. Curated by Megan Robson. 

 

Hoda Afshar’s photography series, Behold, exhibited at MARS Gallery June 2018. 

 

VEIW BEHOLD EXHIBITION AT MARS GALLERY

VIEW BEHOLD CATALOGUE

A-s1/16\WL/18  aka (Androyx series), 2018, Pla, white leather, electronic , aluminium , motors Hi-tech 9380th, battery lipo 7.4v, dimensions variable.

 

 

For the last two years Mathieu Briand has been working on a project call Androyx based mainly on three concepts : unheimlich, Uncanny valley, wabi-sabi.

 

Androyx’s have the appearance of human body parts the size of a child. They are autonomous. They behave more like a cat than a dog. You can’t control them. They evolve at will, in the space they occupy. They can be considered residents. Androyx‘s are not about the identical reproduction of the human, the perfect likeness or the impeccable imitation for maximum servitude and functionality, but rather about a psychological interaction. It is no longer a question of making ‘more human than human’ but of making ‘the human more human’.

 

Mathieu Briand is a Melbourne-based artist born in Marseille, France. Briand works in various installation forms with computers, electronic music, robots, video technology and sculpture to explore systems of simulation, play and perception. His use of new technologies requires active participation and engagement, playing with the viewer’s point of view and questioning the reality of his/her perceptions.

 

Briand’s work is situated somewhere between perceptive reality and a displacement of the imagination. He uses sound, physical forms, sensory environments and mixed media to create diverse and highly innovative artworks that invite the spectator into new zones of spatial and temporal perceptions. Briand leads us into his private world — a world made up of personal references, either experienced or dreamed up —and the tricks he uses are material objects and visual events alike. These references are brought together and distanced again, with multiple entrances and no known frontiers.

 

Briand has held large-scale solo exhibition at Palais de Tokyo, Paris; Museum of Contemporary Art, Lyon; REDCAT, Los Angeles; TATE Modern Turbine Hall, London; Art Basel Unlimited; TEA, Tenerife, Spain; La Maison Rouge, Paris; MONA, Hobart.  Briand has participated in group exhibitions in major museums such as Centre Pompidou, Paris, Bloomberg Space, London; Jumex Founation, Mexico; Walker Art Center, USA; Sharjah Art Foundation, UAE; ICC, Japan; Moca Tapei, Taiwan; Site Santafe, USA; Macba Barcelona, Spain; Carriageworks, Sydney.

Hannah Raisin, Strawberry Sunday, 2010, single channel video, 30 sec, edition of 3 + 1 A/P

 

Hannah Raisin’s video work, Strawberry Sunday, is showing in the MARS Gallery bathroom until 20 December. 

 

‘Women don’t shit.’ These words were etched into my memory after being told this years ago by a fellow teenager. Strawberry Sunday humorously plays out this vision, imagining what secretions would be celebrated emitting from an ‘ideal’ woman.

 

Originally made for the show The View From Here: 19 Perspectives on Feminism, this work unpacks a desire to at once allure and repulse – creating an opportunity for the viewer to question what it is they are looking at and how the looking makes them feel.’