VCA ART 2021

Adelita Husni Bey

[De]compositions and [un]severings

In making this selection I was drawn towards practices that spoke to the destabilizing effect of living through the current crisis, its forced isolation, its uneveness, tension and uprisings.

I looked for works that spoke softly yet stirringly, to forms of unity in struggles to recover connections severed by modernity (vis-a-vis borders, ecosystems, institutions), exploding myths through doubles, re-takes, circuits, [de]compositions. Through prop-like objects/ sculptures, delicate fragments often sitting in for others, with loss, stasis, (forced) migration/ integration (into the realm of the audible) at their center. Haunting characters: Mohamed, a clown, worms, the Art Institution guide us through a world that is both theatrical and aware of its theater, as if in the antechamber of an insurrection.

Miream Salameh, Missing Once In, Reborn Once Out, Raw clay and metal, 2021. Documentation by Damon Amb.
Matt Bailey, Act 5, Single channel video, 2020.
Tess Mehonoshen, as I prepare to leave (Installation View), Cootharaba clay, thread, 2021. Documentation by ALEC.
Ezz Monem, In search of Mohamed, Multi-channel video and sound, 35mm slides, Kodak Ektapro slide projectors, CRT TVs, bronze, 2021. Courtesy of THIS IS NO FANTASY. Documentation by ALEC.
Katie Stackhouse, Installation view: Syncopation II, Syncopation I, Song Vessel ( video ), Bronze, patina, cotton dyed with Ballee (Cherry Ballart), single-channel video with sound, bronze and performance, 2021. Documentation by Emma Byrnes.
Melody Spangaro, A Burning Sense of Urgency -36.188:147.776, Graphite on polypropylene synthetic paper, 2021.
Chelle Destefano, Blackboard!, Video installation, spit, blackboard, duster, shoes with textile, 2021. Documentation by ALEC.
Melody Woodnutt, The Ship, Kinetic sculpture using 16mm film projectors, 16mm film loops, film reels, soundscape, synaesthetic light, crocodile skull, salt, pink pigment, light, 2021.
Rachel Jessie-Rae O'Connor, Shock it rocket radio turn it around if only were another rubble bubble and water for free fall deep down and outer space switch the corners ruby ol' pal mix it reverse it revolution keep the change coming i've only got a fiver and we need a new real estates for all and round she goes and we all hang on cause leave the best place to be, Posture chair, portable speakers, canvas, aerosol paint, fabrics, cardboard, glue, thermoplastic, found plastic, woodblock printing paper, stuffing, acrylic felt, hatstand, found radio set to RRR 102.7, plastic packaging, tape, plastics, beeswax, game controllers, green bags, netting, thread, foam, foil, canvases, vinyl, wire, wood, projector, media player, usb stick, bubble wrap, fake grass, torch, yoga ball, 2021.
Ebony Hoiberg, There your heart will always be, Installation, 2021. Documentation by Claire Lambe.
Lilith Angle, hardtime, designated desk, numbered chair, Centrelink call waiting, 2021. Documentation by ALEC.
Anna McGirr, Body Language, Three channel HD digital and two channel digital audio, 15 minutes and 51 seconds, 2021. Documentation by ALEC.
Iona Mackenzie, Drain, meet Blockage, Engraved acrylic sheet, resin casting, butterfly stickers, weathered fence, 2021.
Georgie Hoadley, Email Decay: Performed in my living room, accompanied by myself on the clarinet (a dramatic reading), Video, 2021.
Susan Mountford, Cabin Pressure, Aircraft seat, wood, carpet, rollers, plush toy, plastic toy, 2021. Documentation by ALEC.
Alanna Paxton, No. 34, Digital video, found materials, 2021. Documentation by ALEC.
Ruby Zogopoulos, Ab Invito (Against Ones Will): 1949, Video, 2021.
Emily Simek, Composting... (full title truncated), Televisions with video art work, sound, digital prints on cotton fabric, sugar cane mulch, 2021.

Adelita Husni Bey

Adelita Husni Bey is an artist and pedagogue based in New York. Her work focuses on producing spaces and frameworks for political education, which double as film sets. She represented Italy at the 57th Venice Biennale and is currently teaching at The New School.

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We acknowledge and pay respect to the Traditional Owners of the lands upon which our campus is situated, the Boonwurrung and Woiwurrung people of the Kulin Nations, who have created art, made music and told their stories here for thousands of generations. We also acknowledge and extend our respect to the Traditional Owners of all lands on which our work is viewed, shared and enjoyed, and to all Elders, past, present and emerging.

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