Stranger than fiction
Archie Barry, Teresa Busuttil, Nicholas Currie, Andrea Illés, Rosie Isaac, Basim Magdy, Rä di Martino, Sammaneh Pourshafighi and Joanna Kitto
29 June → 31 Aug 2024

A video still from a film by Rä di Martino. It shows a back lit figure with voluminous blonde hair and a blue neck. The have a selection of long sticks that are coming from the chest. Their neck is painted blue
Rä di Martino, 'Afterall (A Space Mambo)', 2019, still from moving image.

Stranger than fiction brings together artists engaged in troubling the boundaries between reality and fiction.

Across film, sculpture, printmaking and performance, each artist employs material and narrative experiments to reckon with the impossible challenge of representing a singular way of portraying the world or existing within it, and the absurdity in trying.

New work alongside existing projects by local, national and international artists: Archie Barry (Vic), Teresa Busuttil (SA), Nicholas Currie (Vic), Andrea Illés (Vic), Rosie Isaac (Vic), Basim Magdy (Egypt/Switzerland), Rä di Martino (Italy), and Sammaneh Pourshafighi (Vic), curated by West Space Director Joanna Kitto.

Read Joanna's essay, On storytelling and subversion.

Programs

Stranger than fiction comprised an exhibition across West Space and two project spaces upstairs in Collingwood Yards, alongside a series of evolutive programs encompassing performance, discussion, screenings and interventions.

  1. Opening, 29 June, 6 → 9pm
  2. Nicholas Currie conversation with Rodney Currie, 13 July, 1 → 2pm
  3. Archie Barry, Performance, 3 Aug, 3 → 4pm
  4. Andrea Illés, Performance, 9 → 31 Aug
  5. Basim Magdy, Lecture, 22 Aug, 12 → 1pm
  6. Stranger than fiction Symposium, co-curated by Helen Grogan and Joanna Kitto, 31 Aug, 11am → 4pm

Here, residue of this unfolding program accumulates in a responsive approach between artists and audiences. With this extended frame, the artists’ lived knowledge is a critical dimension of the work.

Read Lisa Radford's review.

Nicholas Currie and his dad, Rodney Currie, were supported by Bla(c)k Together Month, their conversation was presented for NAIDOC Week. Basim Magdy's lecture was hosted by Art Forum at Victorian College of the Arts. The Stranger than fiction Symposium was supported by City of Yarra. Thank you to Composite Moving Image, Australian Centre for Contemporary Art, Liquid Architecture, and fortyfivedownstairs for tech and furnishing, and Collingwood Yards for allowing us to expand beyond our gallery for this project.

A wide angle installation shot of west space. There are some paper works installed across the windows and a free standing board in space with the pattern of a door painted on it and an upright facing horse shoe. There is a mac desktop on the bench of the office.
A wide angle installation shot of West Space gallery. From left to right: exhibition text on the wall with the heading "Stranger than fiction", a free standing large piece of ply board with a full outfit of white shirt and dark blue pants and red hat is suspended off the board, 2 framed colourful paper works in frames on the wall and a television screen displaying a beach and palm trees.
a pair of two 'marbled' works on paper. The works are both in black frames on a white wall. The works are bright colours and contain abstracted shapes eluding to scary eyes and faces.
A rectangular sculptural artwork made of a border of blue tiles and filled with puzzle pieces suspended in blue resin sits in the corner of a room on the floorboards
Gallery space, three large windows displaying four paper prints on metal bar. One rectangle blue ceramic work displayed on wood floor.
A collection of vintage hubcaps installed into the ceiling of West Space gallery. The hubcaps are arranged to mirror a constellation. There are also pipes and wires already in the ceiling.
A free standing artwork made of a tall plywood board. On the board is a line painting resembling a screen door. There is a faux handle attached to the board as well as an upright horse shoe above the 'door' and a pink candle standing tall on the top left corner of the board. At the base of the board is a pair of black thongs.
A figure bathed in Pink and Red light stands behind a blue door that has black and white pictures of marble statues taped to it. On the door it says "S4 WEST SPACE"
A hand outstretched holds an iphone watching a livestream performance. On the phone screen we see a woman holding a microphone with long curly hair.
A view of Andrea Illes on livestream on a mac computer in the office of West Space Gallery. A blurred figure sits in the background
2 figures lean and listen to an off-white coloured wall with a sound installation projecting from within the wall
A bright projection of a close up shot of an orange eye illuminates the silhouttes of several figures watching the projection. The eye is widened in shock
A dark empty room with a large projection of a bunch of red tulips. There is a row of empty seating in front of the screen
An individual stands on a stage behind a podium stand speaking into a microphone. There is a large projection screen behind them showcasing an artwork. There are two green couches on the stage that have a microphone resting on each of them.
A man performs into a microphone in a white shirt with his eyes closed and his hand in the air. There are onlookers surrounding him looking up as he performs. There are two rows of white seats behind him, which have some guests seated.
Five individuals sit cross-legged on a green couch on a stage, lit up by a spotlight. A projection screen can be seen behind them.

Archie Barry works with performance, video, sculpture and music. Their work is autobiographical, somatic and process-led. They create self-portraiture that troubles dominant notions of personhood as stable, legible and sequential. Their practice takes shape through a genealogy of personas, devised from their experiences of mortality, power and transgender embodiment. Their artworks are a way to connect with the dead people in their life, by practicing the gifts of singing and spatial thinking inherited from loved ones. In 2019, they co-wrote (with artist Spence Messih) 'Clear Expectations: Guidelines for institutions, galleries and curators working with trans, non-binary and gender diverse artists in Australia', which has been widely received as a best practice document in Australia and internationally.

Teresa Busuttil is an Australian artist of Maltese heritage working between Tarntanya/Adelaide and Malta. Her practice blends personal stories, family history, and fantasy through multidisciplinary forms of art, including sculpture, installation, and moving image. Drawing on a kitsch aesthetic and religious iconography, Teresa explores culture, grief and memory influenced by her connection to Malta and her experiences within the Maltese diaspora.

Nicholas Currie a descendant of the Mulunjali Clan of Yugambeh people and Kuku Yalanji people of Brisbane and Beaudesert and Kuku Yalanji people of the rainforest regions of Far North Queensland. Nicholas is known for his diverse artistic and curatorial practice both in subject and medium, from abstract work on canvas, to murals and contemporary art installations, exploring social, cultural, and personal themes. The visual vocabulary links to themes of Indigeneity, emotional responses and larger community values.

Andrea Illés is a performance artist whose auto portraits explore the relational chasm between self and other. Merging dance, text, sound, and video, her enquiry emerges from the agony and euphoria she feels being perceived. Often working with states of overwhelm, Andrea is interested in the possibilities found in intense experience. Andrea was an artist in residence in the West Space Studio from February to August 2024.

Rosie Isaac is a visual artist and writer in Naarm/Melbourne. Interested in art-making that imagines different material and social futures, Rosie's research-based practice focuses on language as it is experienced in the body while reading, in relationships, and via social institutions. Rosie has recently presented across the Australian Centre for Contemporary Art, Liquid Architecture, Next Wave, Gertrude Contemporary and Adelaide Contemporary Experimental.

Basim Magdy is an artist from Assiut, Egypt, living in Basel, Switzerland whose work uses fictitious pasts and dystopic futures to critique the present. He has shown across M HKA Museum of Contemporary Art, Antwerp, Belgium; MAAT Museum of Art, Architecture and Technology, Lisbon; La Kunsthalle Mulhouse, France; Museum of Contemporary Art, Chicago; MAXXI National Museum of the 21st Century Arts, Rome; Jeu de Paume, Paris; CAPC Museum of Contemporary Art, Bordeaux; Deutsche Bank KunstHalle, Berlin; South London Gallery, London; Art in General, New York; State of Concept, Athens; and University Galleries of Illinois State University, USA.

Rä di Martino is an artist in Rome, Italy, whose work deals with our perception of reality and fiction, drawing attention to the absurdity of representing either. Her work has been shown across the Tate Modern (London); MoMA PS1 (NY); Palazzo Grassi (Venice); GAM and Fondazione Sandretto (Turin); MACRO and MAXXI (Rome); Museion (Bolzano); MCA (Chicago); HangarBicocca (Milan). Di Martino has participated in film festivals such Locarno Film Festival; VIPER Basel; Transmediale.04; New York Underground Film Festival; Kasseler Dokfest; Torino Film Festival and Venice Film Festival. In 2018, she developed the project AFTERALL with the MIBAC Italian Council Award, and in 2022 held a solo exhibition at Forte Belvedere (Florence).

Born in Tehran, Sammaneh Pourshafighi is a multidiscipinary artist in Naarm/Melbourne. She is a Queer genderfluid Muslim who arrived in Australia as a refugee after the Iranian Revolution and grew up on the Gold Coast. Across film, performance, poetry, collage, painting and photography, Sammaneh's practice examines identity politics, mental health, diasporic tensions, ethno-futurism, and the complex relationships between bodies and environments through an intersectional feminist lens, with an emphasis on colour, surprising contrasts, autobiographical events, and humour.

Joanna Kitto has been Director of West Space since late 2022. Joanna's practice is focussed on refining an inclusive, personable and receptive approach to contemporary art presentation, with an interest in generating meaningful connections between art and audiences. She has held curatorial and leadership positions across university art museums, festivals, council and artist-led initiatives in Naarm/Melbourne and Tarntanya/Adelaide, and co-founded independent publishing platform fine print.

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