#dominik mersch

[hockeybabestars]

would it be weird if i started writing stuff about some of the wisco boys? i’m kinda lovin their team rn. they’re super cute! and i like the whole college parameters since i’m in college myself... thoughts?

[oculablog]

LUCAS DAVIDSON - Device Dependent Endorphins, 2015, Television screens, metal bars,media players, chords, 350 x 310 x 310 cm, Image courtesy of Dominik Mersch Gallery

[pieddepyper]

Gallery visit tidy to catch the final day of @gary.deirmendjian ‘s show ‘asunder’ @dominikmerschgallery great stuff sensei, classy as fuck 👌🏻 (at Dominik Mersch Gallery) https://www.instagram.com/p/CJAUY4ihfMP/?igshid=nxgznw0yij79

[maggiecast2001]

Robyn Backen SEMIMAR

Artworks

Whisper pitch

Normanslanding

Thought train

What is the figural?

Chicago text

Something that embodies an abstract concept

Denotes a form or shape

Means to communicate ideas

Imitation of the physical or the imitation of the idea

Figure of speech

Daniel crooks, Food for thought

Idiom, metaphor

The idiom “food for thought” 

metaphor of digesting knowledge 

Eerie stop motion

Divided by scenes which illustrate a different figure of speech

Platos cave

What is real?

A group born in a cave, can only see the shadows cast by the fire behind them, they believe these shadows to be the object itsself, more real than the shadows. Would they know the object to be real if they were to see it?

Philosophical notion

Michelangelo, Pieta

Allegory

Idea of the dying body

allegorical sculpture which examines the human experience of empathy

simulacrum

a representation or imitation of a person or thing

an image or representation of someone or something

engages with appearance, where icon engages with ideas

Gary hill, Circular Breathing

Meng-Yu Yan, Double Witness

Diary as a representation of her life and her time

"Yan’s videos respond to Qiu’s letters through geographic and temporal connections. They reveal how the artist engages in a literary séance with the author, reading and retracing Qiu’s novel on the exact dates she details”. 

Dominik Mersch Gallery. (n.d.). Double Witness. [online] Available at: https://dominikmerschgallery.com/exhibition/double-witness/ [Accessed 12 Apr. 2022].

Camile norment, Rapture

Glass work

Play with danger and spatial engagement

Kate Mitchell, All auras touch

Electromagnetic fielding imagery technology to map the auras of individuals

About colour, the sound and feeling of colour

What does it mean to be a mortal figure?

Gary hill, Tall ships

Marcel Duchamp, Installation view of the showing Duchamp’s string installation

Jess MacNeil, Opera House Steps (Mar '06)  

works with absence through shadow

shadow moves without identifying the object which casts it

Christina kubisch, Cloud

Electromagnetic

[janeasher]

Peta Clancy - The importance of ambiguity, of drawing in and pushing out

Australia holds a dark history; one not known by nearly enough people. Undercurrent by Peta Clancy is a deceptively simplistic work. It is only through the reading of the image that the audience is able to find strings to tug on, and it is in this process that we are led to self-directed research; a process many unfortunately have to undertake in order to understand this country’s past, and thus present. This is a practice similar to that of Hayley Millar-Baker’s work, who intentionally leaves her works ambiguously intriguing to incite her audience to begin their own journeys of discovery.

Initially, Clancy’s images offer little information; the trees, the river could be from anywhere, the old photo used shot by anyone, the title drawing a blank. However, presented within the Bendigo Art Gallery, close to the land depicted, the trees become distinctly Australian flora. With this known, the old photograph is likely of colonial origins, its technology introduced through the invaders. The title begins to suggest something occurring beneath the surface which cannot be merely seen; the process of discovery has begun and the audience begins the research.

The land with which the two photos were taken are massacre sites, part of an era of Australian history only recently reassessed. The reflection of the land is metaphorical for a land turned upside down; by flooding, by the gold rush, by invasion. This simple photo, created through the mirrored appropriation of a colonial daguerreotype and a modern image taken by Clancy, becomes anything but. It is now heavy with untold history and implication.

Nancy Rexroth’s photograph ‘A Woman’s Bed’, begins humbly too. Initially, it is a photo of a bed; finally, it is a symbol for birth, death and the life in between.

It is through this process of reading imagery, incited by seductively ambiguous photographs, that audiences are drawn to look beyond the frame. It is a particular process of communication, presented most effectively in pensive or vague manners, as exhibited excellently within Clancy’s Undercurrent series.

Bibliography

1. Clancy, P. (2021, May 11). UTS Photo-Peta Clancy-3-4-21.mp4 [Zoom Video Recording]. Google Drive https://drive.google.com/drive/u/0/folders/1qDQlIiDB05XIetjzOT81miaoasz82-jP

2. Millar-Baker, H. (2021). There we were all in one place. [catalogue]. UTS Gallery Publications.

3. McDaniel, E. Millar-Baker, H. & McDonald, S.R. (2021, April 21). There we were all in one place: Learning Experience Workshop. [Zoom Workshop]. UTS. https://art.uts.edu.au/index.php/events/there-were-all-in-one-place-learning-experience-workshop/

4. Rexer, L. (2019). The critical eye: fifteen pictures to understand photography. 25-37. Intellect Books. 

5. Clancy, P. (2018). Undercurrent (3). [Inkjet pigment print]. Dominik Mersch Gallery. https://www.dominikmerschgallery.com/product/peta-clancy-undercurrent-3/

6. Rexroth, N. (1970). A Woman’s Bed, Logan Ohio (from the series Iowa). [gelatin silver print]. Mia. https://collections.artsmia.org/art/12755/a-womans-bed-nancy-rexroth

[zacblank]

Directors Cut - Lucas Davidson

The immediate impact I found in Davidson’s work was his ability to take images of the human and convert them into abstract forms of photography. The images take shapes and spaces we understand and filter them into something unrecognisable. The consistency of mirrors throughout his work represents his playfulness with perspective and attempts to question how we perceive images and spaces. Davidson allows us with moments to be unsure and concentrated on our ways of seeing the world around us. Work like this takes us time to process and creates engagement between the viewer and the art. Davidson is rejecting the passive experience of the exhibition in favour of a kind that plays with our perspectives but also without delving into optical illusions.

In the eyes of Lucas Davidson, the artwork is never complete but rather open to future conversation and tampering. The idea of the unfinished work is relatively new to me within fine art. I can look to other mediums such as film where the final version of a project is not always set in stone. There can be major changes in the edit that result in a totally different film, leading to directors cuts, final cuts, and definitive editions. I initially assumed this was something that came with the inherent commercial nature of major film releases but I am starting to see it within more and more mediums. Similar to Samual Hodge, the work is open and available for later tinkering. Past works can be repurposed and even completely refurbished as a part of the artist's evolving vision. The lack of finality adds to the allure and mystery of a work. It also presents a sense of accessibility not only for casual viewers but artists looking to inform and improve their own practice. I was conflicted with the idea of leaving a project open like this. If I cannot finish something to perfection, how can I improve? I think the answer lies in the simple act of practicing and practicing and practicing.

Lucas Davidson 2017, I am a Strange Loop, Dominik Mersch Gallery <https://www.dominikmerschgallery.com/exhibition/7922-2/dominik_mersch_gallery_lucas_davidson_incompleteness_theorem/>

[transit-art-lounge]

http://www.dominikmerschgallery.com/artist/norbert-schwontkowski/dominik-mersch-gallery-norbert-schwontkowski-der-schlaf-2010/NORBERT SCHWONTKOWSKI

'Der-Schlaf', 2010, oil on canvas, 180 x 200 cm

[drjorighetti]

Striking a yoga pose. With a kitten ❤🐱#kitten #cat #catsonmats #sydneycatcafe #yoga #yogawithcats (at Dominik Mersch Gallery)

[photographyguestlecturetask1b]

Landscape Photography and Culture Identity

Peta Clancy is a descendant of the Bangerang people from the Murray Goulburn region of southeast Australia. Her photographs explore the hidden past of colonialism and the bloody history that threatened the survival of indigenous peoples. Through actionable photography, she seeks to rekindle awareness of aboriginal culture and reveal a history that has been hidden.

Her landscape photography "Undercurrent" is a good example. For me, at first, I saw the beautiful natural scenery of Australia through her works. These pictures of the lake and the landscape on the water formed a beautiful combination. I noticed that the water seemed to be a distinct dividing line in these photos, and even in most of the photos, there was a distinct difference in tone between the upper and lower parts of the water. At first, I thought it was a color error caused by the setting sun shining on the water, but I simply thought the scenery was beautiful and mysterious. As a foreigner, I am not very clear about the history of aborigines in Australia, but when I learned about the background of this landscape photography series, my mind was completely changed. This series of works looks at these landscapes from the perspective of indigenous people. The water is like a dividing line between the past and the present. The tranquil present contrasts with the bloody history, giving these pictures a distinctive meaning. The Dja Dja Wurrung community, where these pictures were taken, was the location of a massacre of indigenous people, but the colonial occupation of the land and the destruction of the natural environment and waterways have turned the place into a lake, leaving nothing but tranquilness，just like the brutal history never happened. If you look at these pictures from the perspective of the aborigines, how sad these pictures are.

Dominik Mersch Gallery. 2021. Peta Clancy - Dominik Mersch Gallery. [online] Available at: <https://www.dominikmerschgallery.com/artist/peta-clancy/> 

Peta Clancy. 2021. Peta Clancy. [online] Available at: <https://www.petaclancy.net/#/undercurrent/> 

Art, Design and Architecture. 2021. Dr Peta Clancy. [online] Available at: <https://www.monash.edu/mada/about-us/people/peta-clancy> 

[raymondlamuts-blog]

Lucas Davidson

The practices of Lucas Davidson are showing based on his experiences and feelings. The essential concept of his works is about 'water'. Water for him is a place of refuge, but also a terror which based on his childhood experience. Photography was not a part of his culture when he was young. After he accessed in camera and photography, he felt encountered because the primary trend of photography is analogue photography and the digital was still at the beginning. Davidson decided to develop digital photography as he thought that is anti-authority. I think his work is about breaking down the original materiality and turn the images into new things. For instance, the photo series 'Limbo' (Davidson, 2013) shows that the original photos with his family and turn them into different materials and create new works. It shows layers and different perspectives of his family members' body, but not showing the entire body. The work makes the audience seeing the whole body but not only a body. As Davidson told, he was in the flow experience in the process of creating his works. Also, his works make the audience slow down the viewing process. Photography is something temporal as we can only capture one moment once. So, here is the question: "How can we show the process of temporality in photography?' Davidson's works are guiding the audience to slow down the viewing process. For instance, the work 'I am a Strange Loop' (Daivdson, 2017) shows a configuration of mirrors. Audiences can see parts of their body in the reflection but not a whole body. The work makes the audience try to understand the meaning behind by changing the perspectives of the fragmentation. The methodology of Davidson's work is showing the process of ephemerality in a post-photography way, but not showing one entire image.

Bibliography:

Davidson, L. (2013). Limbo [Video]. Sydney: Dominik Mersch Gallery.

Davidson, L. (2017). I am a Strange Loop. Sydney: Dominik Mersch Gallery.

[soniaaristo]

“The Fall” Summer Group Show at Dominik Mersch Gallery, Sydney

“The Fall” Summer Group Show at Dominik Mersch Gallery, Sydney

Dominik Mersch Gallery, Sydney, is currently hosting a group exhibition “The Fall” Summer Group Show on view through February 21, 2019.The exhibition focuses on the theme of failure, looking at how artists often reach towards something that can never be grasped. These artists embrace doubt and elusive moments in their work, producing an unpredictable beauty that reflects on the human spirit. The…

[amandabromfield]

Philip Wolfhagen's 'Elegies' opened tonight at Dominik Mersch Gallery (at Dominik Mersch Gallery) https://www.instagram.com/p/BoOknkIhy-c/?utm_source=ig_tumblr_share&igshid=erqjss6th7ij

[gloverprojects]

A recent photograph from my Paradise series has been included in this interesting exhibition at Dominik Mersch Gallery, Sydney alongside a beautiful work by Lisa Jones.

[osprazeresdaimagem]

MARION BORGELT

'Full Circle Red / Black: No 2', 2017, dobra, poliuretano, laminado dominik mersch gallery

[helloemilythesloth-blog]

[omgparticle]

http://www.dominikmerschgallery.com/artist/lucas-davidson-2/dominik-mersch-gallery_lucas-davidson_pigment-print_unavoidable-matter/