Brisbane Airport Fresh Cut 2009

Yes, it's that time again. Time for our annual showcase of emerging Queensland artists. Last year we revised the format of the show with support from our major partner Brisbane Airport. Now we offer four artists up to six years out of art school who have not shown at the IMA before $5,000 each to create new work for the show.

Art Exhibition previously on at IMA - Institute of Modern Art in Queensland, Australia.
From Saturday 04 July 2009 to Saturday 22 August 2009

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Published by Institute of Modern Art on Tuesday 14 July 2009.
Contact the publisher.

This year’s artists are Aaron Burton, Sarah Byrne, Tim Kerr, and Hiromi Tango. They were chosen by artist Jemima Wyman; Simon Wright, QCA Gallery Director; and Robert Leonard, IMA Director. This year’s show is big on video. Three of our four artists work principally in the medium.

Aaron Burton started out as a photojournalist, enjoying the camera as ‘a passport into other people’s lives’. In recent years he has specialised in combining still and moving images into distinctive short videos which explore personal experiences and social issues. His subjects are diverse: his grandmother, a year of political protests, a Gold Coast man prosecuted for getting about in a pink bikini, cancer patients in Wesley Hospital, a Gold Coast veterinarian. Curiosity has turned him into a frequent flyer, documenting Queensland kids on a South African ‘social justice camp’ and traveling to Sri Lanka to document reconstruction following the tsunami. Fresh Cut sees the premiere of Amazon Guard, a photographic essay on video that resulted from Burton spending a month in the city of Macapa, Brazil, with his NSW park ranger sister, Tegan. It looks at issues surrounding the preservation and conservation of the Amazon forest.

A pop-culture vulture, Sarah Byrne reworks and reorchestrates samples of found movie footage. Her ten-screen video installation Us Vs We: Molly Oh Me deconstructs and perversely reconstructs Claire Standish, the Molly Ringwald character in The Breakfast Club. Two clusters of screens show Claire at breaking point, being taunted about her home life by John Bender (Judd Nelson). But Byrne has edited Bender out, redirecting the conversation, turning Claire’s aggressive reactions to him back on herself. Solopsistic, her Mollys bicker and banter back and forth, without resolve, as tormented becomes tormentor becomes tormented.

Genre-bender Tim Kerr is a master of the spoof. His video works play fast and loose with the codes and conventions of TV and movies. Where Douglas Gordon offered the ponderous Twenty-Four-Hour Psycho, Kerr gives us the hysterical Twenty-Four-Minute Psycho, a condensed version for art lovers with attention-deficit disorder, where Anthony Perkins and Janet Leigh chatter like chipmunks. Kerr rescores an ultraviolent Hollywood fight sequence, transposing it into comedy, and edits romantic dialogue to alternating images of a potato and a peeled banana. His two channel video-work for the show, draws on the horror-film genre, riffing on its classic expectation-building devices.

Hiromi Tango’s subject—and medium—is social life. She temporarily occupies social spaces like shop windows with her self and her stuff. From there, she engages with visitors and passers-by, swapping notes, exchanging gifts, and even having them sleep over. Tango’s art of conversation and exchange messes with distinctions between public and private space and artist and audience. For our show she will park a caravan—the current incarnation of her ’Hiromi Hotel’—in the gallery. It will be filled up with fetishistic objects produced by her and collected from others. Artists who have paticipated in her previous projects will also contribute. As well as being on-site to engage with visitors, Tango will invite anyone and everyone to pitch their tent alongside her caravan.