Carriageworks, Formist Editions and Power Publications present:
Vestiges of the Tongue: Art, Language and the Body Politic
ABOUT THE PANEL DISCUSSION
How does art navigate the nuances between images and text? Pioneering photo-media and installation artist Eugenia Raskopoulos has long been prodding at that problem. A Sydney-based artist who spoke Greek before English, Raskopoulos has spent four decades interrogating language and its impact on the body, performing slippages of translation and tracing the movement of words as they migrate across time and space, becoming both remnants of history and data for future surveillance.
Whether it’s in early works such as the neon ‘No never means yes’, emblazoned on the wall of a girl’s bedroom, the performance of the word ‘democracy’, written by the artist’s foot in urine, or her destructive installation, (dis)order, for The National, Raskopoulos’ oeuvre appears both consistently engaged with the politics of its time and newly resonant in the social context of today.
Hear from selected contributors to the publication and curators of The National as they join Raskopoulos in an ongoing critique that traverses issues of gender, migration and globalisation, and the ways they shift between our eyes and our tongues.
ABOUT THE PANELLISTS
Eugenia Raskopoulos’ work explores ideas of identity, translation, language and the body. Translation in the broadest sense of the word is a thread that is continuous throughout her art practice. Eugenia Raskopoulos has exhibited in numerous exhibitions nationally and internationally including: The National, Carriageworks, Sydney (2019); my body against yours, Kronenberg Mais Wright, How To: Democracy, Campbelltown Arts Centre, (2019) (forthcoming); NSW Visual Arts Fellowship, Artbank, Sydney (2018); A Visibility Matrix, The Douglas Hyde Gallery, Dublin (2018); Red, Blue, Green: A History of Australian Video Art, Griffith University Art Gallery, Brisbane (2017); Endless Circulation: TarraWarra Biennale, TarraWarra Museum, Healesville (2016); Read your Lips, Australian Centre for Photography, Sydney (2013); Footnotes at the Art Gallery of New South Wales, Sydney (2012); Vestiges, William Wright Artists Projects, Sydney (2010); Words Are Not Hard – Intrude 366, Project Zendai MoMA, China (2008), Video Logic Museum of Contemporary Art, Sydney (2008) and Writing Towards Disappearance, ARC ONE Gallery, Melbourne (2009).
Isobel Parker Philip is Curator, Photographs at the Art Gallery of New South Wales. Her curatorial projects address the complexity and elasticity of the medium and include Imprint: Photography and the Impressionable Image, New Matter: Recent Forms of Photography and Hold Still: The Photographic Performance. She was the co-ordinating curator of Robert Mapplethorpe: The Perfect Medium and AGNSW’s representative curator for The National 2019: New Australian Art. She has independently curated exhibitions in a range of institutional contexts and serves on several advisory committees. Her written work entertains an expanded understanding of art writing practice.
Daniel Mudie Cunningham is a Melbourne-born curator, artist and writer based in Sydney. He is currently Director, Programs at Carriageworks, having been initially appointed as senior curator in 2017. Previously, he was assistant director and head curator at Artbank where he was also the editor of Sturgeon. He has also held positions at Hazelhurst Regional Gallery and Arts Centre and the University of Western Sydney, where he received his PhD in Cultural Studies in 2004.
Elliott Bryce Foulkes is an art director and designer based in Sydney.
6-8:30pm, Tuesday 16 April, 2019
Carriageworks Public Space
For enquiries, contact: firstname.lastname@example.org
ABOUT THE BOOK
With recognition for her pioneering practice long overdue, this scholarly monograph is the first survey of one of Australia’s leading photo-media artists, Eugenia Raskopoulos. Raskopoulos’ cultural background has informed more than three decades of inventive, evolving bodies of work that span across video performance, installation and photography.
Born in the Czech Republic to Greek parents before migrating from Greece to Australia in 1963, where she was introduced to English at primary school, Raskopoulos has long sustained a focused and fruitful critique of language. In Vestiges of the Tongue we see her visualising language’s slippages through performances of translation, interrogating words and their impact on the body, and tracing contemporary communication as it enters the realms of data and surveillance.
Early works such as the neon ‘No never means yes’, emblazoned on the wall of a girl’s bedroom, and the performance of the word ‘democracy’, written by the artist’s foot in urine, are just two examples from an oeuvre that, decades on, appears both consistently engaged with the politics of its time and, here reconsidered by ten leading scholars and curators, newly resonant in the social context of today.
Daniel Mudie Cunningham, Ann Finegan, Huang Du, Anneke Jaspers, Victoria Lynn, Anne Marsh, Robert Nelson, Nikos Papastergiadis, Isobel Parker Philip, and Eugenia Raskopoulos with Nicholas Tsoutas.
RRP $70 AUD
140 colour illustrations
300 x 230 mm