Artists Frances Barrett (NSW), Giselle Stanborough (NSW) and Sally Rees (Tas) are the recipients of Suspended Moment: The Katthy Cavaliere Fellowship, a major new artist fellowship established in the name of Italian-born, Australian artist Katthy Cavaliere (1972-2012).
Each artist will receive $100,000 to realise an ambitious new work to be presented in three individual exhibitions at ACCA (Frances Barrett), Carriageworks (Giselle Stanborough) and Mona (Sally Rees) in 2020.
Announced in October 2018, Suspended Moment: The Katthy Cavaliere Fellowship is a major new artistic fellowship made possible with funds from the estate of the late installation and performance artist Katthy Cavaliere. Female-identifying artists or artist collectives were invited to submit proposals for an ambitious new project focused at the intersection of installation and performance art practice.
The selection panel comprised leadership and curatorial representatives from the presenting institutions, including Daniel Mudie Cunningham (Director of Programs, Carriageworks), David Walsh (Founder, Mona) and Nicole Durling (Co-Director of Exhibitions and Collections and Senior Curator, Mona), Max Delany (Director, ACCA) and Annika Kristensen (Senior Curator, ACCA).
In making the selection on 24 January, which poignantly was the 7-year anniversary of Cavaliere’s death, the panel noted: ‘From a most impressive application pool of almost 300 applications, and after much deliberation and rewarding discussion, we are delighted to announce Frances Barrett, Giselle Stanborough and Sally Rees as the Katthy Cavaliere Fellows. Each are exceptional artists working at the forefront of experimental performance and installation practices, and each presented proposals that are especially fitting of Katthy’s legacy.
‘We are now excited to progress this significant new initiative, working with the artist fellows towards three major exhibitions of large-scale and ambitious new work to be presented in the first half of 2020.
‘We commend the Katthy Cavaliere estate for their generous and inspirational support of Australian women artists.’
Frances Barrett: The future echoes. 4 April – 8 June 2020 at ACCA.
At ACCA, Frances Barrett, b 1983, Sydney will create The future echoes [working title], a sound and light installation that will transform ACCA into a space of audition. Scripted and improvised vocalisations will be composed as a looping score. The future echoes foregrounds the role of the audience as critical and active listener, proposing listening as an urgent mode of political agency.
Frances Barrett is an artist and curator who lives and works on Gadigal land. Her practice extends the paradigms of performance and conceptual art, meditating on issues of ephemerality, duration and historicity, as well as intimacy and care. Guided by a queer-feminist ethic, much of her work pivots around the modalities of listening and touch. Barrett’s recent projects include All Ears: A listening party, Campbelltown Arts Centre, 2018; Into My Arms, Ace Open, 2018; and Handle, CCS Bard Hessel Museum of Art, 2018. She was a studio artist at 4A Centre for Contemporary Asian Art for the duration of 2018, and is one member of art collective Barbara Cleveland, who in 2019 will present a new project, Thinking Business, at Sullivan + Strumpf, Sydney. Barrett is currently a PhD candidate in Curatorial Practice at Monash Art Design and Architecture.
Giselle Stanborough: Cinopticon. 27 March to 14 June 2020 at Carriageworks.
At Carriageworks, Giselle Stanborough’s Cinopticon will contemporise Foucault’s theory of the ‘panopticon’: instead of the few watching the many, today we watch each other and the few. With an affinity for Katthy Cavaliere’s performance of self, Stanborough will work with her own personal online archive to create an immersive performance installation where audiences will see their reflection in unpredictable ways.
Giselle Stanborough (b.1986, Waratah, NSW, Australia) is an intermedia artist based in Sydney. Her works combine online and offline elements to address how user generated media encourage us to identify and perform notions of self, and the relationship between connectivity and isolation. Motivated by a curiosity in the increasing indeterminacy between the private and public spheres, Stanborough’s work often addresses contemporary interpersonal experiences in relation to technology, feminism and consumer capitalism. Her work has featured in the Washington Post’s “Pictures of the Day” and has been shown at major venues such as Australian Centre for Contemporary Art (ACCA) (2018); Museum of Contemporary Art (MCA), Sydney, Australia (2017); Gertrude Contemporary, Melbourne, Australia (2015) and Next Wave Festival 2014, Melbourne, Australia (2014).
Sally Rees: Crone. 8 April 2020 – 10 August 2020 at MONA.
At Mona, Sally Rees will present Crone, a series of works comprising of animations, prints and actions. Rees will create a Crone identity as an antidote to the perceived invisibility of ageing women in contemporary society. Through the Crone, the artist seeks to redefine the female elder as a powerful and transgressive figure.
Sally Rees (b. 1970, Burnie, Tas, Australia) is an artist based in Hobart. Working across time-based, static and experimental forms, Rees’ work explores human frailty and revelation, looking to operate as an agent for social, cultural, political and personal change. Rees holds a PhD from University of Tasmania, her exhibitions includes Australian Centre for Photography (ACP), Sydney (2010), Artspace, Richmond, VA, USA, (2012), Contemporary Art Tasmania (CAT), Hobart (2011, 2014, 2016, 2018).
About Katthy Cavaliere
Katthy Cavaliere was born in 1972 in Sarteano, Italy, and migrated to Australia with her family when she was four years old. She attended UNSW Art and Design in Sydney. The recipient of the Helen Lempriere Travelling Art Scholarship in 2000, Cavaliere studied at the Accademia di Belle Arti, Brera, Milano. During this time in Italy she studied under Marina Abramović. Upon returning to Australia in 2004, Cavaliere staged an early career survey exhibition called Suspended Moment, which toured to regional galleries in NSW. The fellowship has been named to honour Cavaliere’s practice and this landmark exhibition.
Created at Artspace in Sydney, her video performance, Loved, was included in the 54th Venice Biennale, 2011.
Following her death in January 2012, Mona presented her retrospective survey Loved in 2015-16. Curated by Daniel Mudie Cunningham, the exhibition toured to Carriageworks in 2016 and was accompanied by a career-spanning monograph.
It was Cavaliere’s desire to bring to light what she did not remember of her early years in Sarteano that motived her lifelong project of packing, storing and transporting the wreckage of her personal possessions, and transforming it into performance installation works that have been exhibited in solo and group shows internationally.
Cavaliere’s work is held in the collections of Mona, Art Gallery of NSW, National Gallery of Victoria, Heide Museum of Modern Art, Artbank, UQ Art Museum, and numerous regional galleries. www.katthycavaliere.com.au
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