“where is the map shop?” “what is it?”
“how does it fit in with the other three doors?”
“maybe you’re saying that the map shop is a state of feeling, like failure or emotion”
“maybe you’re saying that failure and emotion are places”
Tom Campbell / Kute Bash presents an investigation into critical ideas of place through textiles, objects and documentation. Begun as a site-specific project in the Bendora Arboretum, Campbell is interested in understanding how places/nature is constructed and (in this exhibition) drawing connections between fraught ideas of ‘wilderness’ and other areas where we might experience a constructed sense of nature. The works included in Arboretum / The Map Shop are designed to encourage multiple readings of place and location. Objects can become sites for inviting questions rather than asserting a universal answer. Come see several textile constructions, text-based works, and leave your feedback in the visitor’s book.
Following the route taken by his spiritual guides Mitzi, Felicia and Bernadette, In the Footsteps of Priscilla is an exhibition of new ideas and works in progress that document Christus Nóbrega’s pilgrimage across Australia after The Adventures of Priscilla, Queen of the Desert.
Brazilian artist and lecturer Professor Christus Nóbrega has been in Australia to present his solo exhibition Labirinto at Canberra Contemporary Art Space, and spent the hottest January since records began travelling from the heart of LGBTIQ+ Sydney to Central Australia. This exhibition showcases potential futures that this project may take, and poses many new questions along the way.
Christus Nóbrega is supported by the Embassy of Brazil, Canberra, and the Canberra Contemporary Art Space.
Flesh d'Lite is an exhibition by Ellen Sleeman-Taylor, recent graduate of the ANU School of Art and Design and recipient of the EASS CCAS Exhibition Award.
Ellen is interested in the politics of the digital identity, in particular, the sacrifices made by users of technology in order to enable us to live in the new conditions of existence (Émile Durkheim). There are unavoidable sacrifices of our privacy and person made in the name of participation; participation in a culture of which we inextricably are a part of. In this sense it is a false choice, we participate or we are left outside.Our digital footprint demonstrates that our actions and desires can be predicted algorithmically and by all indication, they can also be influenced. This is exploited for capital gain. The contracts we sign, both unread and unreadable, with a click of our screens make a mockery of meaningful consent.
In Flesh d'Lite Sleeman-Taylor is interested in the body and in the ownership of the 'soul'. In Discipline and Punish, Foucault describes the transition of the punitive system from openly cruel, exhibitory displays of their power and ownership over the bodies of the citizens they govern, towards the hidden, the quiet and with outward appearance of rehabilitation characteristic of the prison system. He describes how this new system amounts to the ownership of the soul. Sleeman-Taylor extrapolates these ideas and applies them to the tech giants who are arguably more powerful and influential than some governing bodies, with unprecedented access to knowledge of the most personal nature, including literal ownership of our DNA. She explores these ideas with a series of posters laden with information, soft-sculptures and digital prints and animations. The work is a soft pink that languishes around the room, the colour of 'default flesh', as stipulated by Google's algorithm.