Apocalypse/Revelation: Re Looking by Irene Barberis.

Feminale; the edge of logic, intersections of luminosity.

The current exhibition, 'Apocalypse/Revelation: Re Looking 2012' is comprised of four major Projects, 'The Tapestry of Light', 'Wonderful World', 'Slow Release' and 'Apocalypse Revelation 2000'.

Art Exhibition previously on at Langford 120 in Victoria, Australia.
From Saturday 13 October 2012 to Sunday 11 November 2012
Launch Saturday 13 October 2012, 1pm-4pm

Apocalypse/Revelation: Re Looking Installation image

Published by anonymous on Tuesday 23 October 2012.
Contact the publisher.

Four Projects:
The international Tapestry of Light Project; a collaboration between artist Dr Irene Barberis, scientist Prof. David Mainwaring with international scholars, Emeritus Prof. Michelle Brown and Prof. Bernard Muir, supported by the RMIT Design Research Institute, the Australian Tapestry Workshop, RMIT University and Metasenta® International Research Centre.
Cut it out! It’s a wonderful world: Resurrection in Melbourne 2012, from the ongoing Wonderful World Series exploring issues of faith through the everyday (Feminale: a logic (I.B. 2005), and the dynamics of our changing world in a global context.
A work from the ‘Faculty of Breathing Space’ Project (What is to be done? Tokyo, Mori Museum, 2006) the large inflatable, Slow Release; installed on its belly is a futuristic vehicle, a heteratopia. This work is an expanding and slowly deflating fluorescent pink cross, into which the full book of the Apocalypse is handwritten onto the walls of it’s transparent interior architectural spaces.
The final project Apocalypse/Revelation 2000: Abstract and Figurative elements of the Apocalypse and its Representations is a selection of works from six exhibitions held at the millennial turn, contemporaneous to the British exhibition
‘The Apocalypse and the shape of things to come’, held at the British Museum 2000.

Excerpt from catalogue essay, ’The Edge of Logic" by Virginia Fraser, from interview with Irene Barberis 2012.

“It has inflected her aesthetic and philosophical life for nearly thirty years and since the mid 1980s she has repeatedly visualised its images and structure in her own practice. In the 1990s she studied representations of the Apocalypse “from the year dot” in seventeen cities in five countries, wrote a doctoral thesis on Abstract and Figurative Elements of the Apocalypse and its Representations and in 2000 Macmillan Art Publishing published a book, Revelation Apocalypse, about her work. She has translated Revelation’s words and startling figures into both imaginative and abstract images and objects and transcribed its words over and over on various surfaces using paint, chalk, ink, wood, textiles, silicone, acrylic, pvc and light.
But to read evidence of the artist’s Christian beliefs in her work as a form of crude religious proselytising makes no more sense than saying Emily Kngwarreye was trying to convince the viewers of her paintings to like yams or Jeffrey Smart to sell his viewers on freeways.
This exhibition brings together that preoccupation with Barberis’s physicality as an artist, her love for declarative high chroma colour, her practice of using smaller parts to build larger works, her engagement with the everyday and with artistic processes connecting the handmade to the industrially fabricated and the literal and figurative to the abstract and architectural; her interest in the edge, her attraction to the big”


120 Langford Street
North Melbourne