Jacquelene Drinkall,Benjamin Denham, Gabriele Stellbaum,Haines & Hinterding, Linda Dement and Nancy Mauro-Flude, Lorenzo Sandoval, Sarah Breen Lovett,Shoufay Derz,Tabita Rezaire and The Telepathy Project (Veronica Kent and Sean Peoples), Activist Neuroaesthetics in Video Art, Image Stills, 2021.
Supported by Hauptstadtkulturfonds and New South Wales Government through Create NSW (Australia).

M16 Artspace is pleased to announce the opening of three new exhibitions.

OPENING THURSDAY 16 MARCH
6 – 8 PM

Gallery 1

Cosmotechnic Telepathics in the Age of Surveillance Capitalism

Jacquelene Drinkall; Warren Neidich; Michael Petchkovsky; Lia Kemmis; Peter Hill; Mahalya Middlemist & Laurence Hall; The Telepathy Project (Veronica Kent & Sean Peoples); Benjamin Denham; Shoufay Derz ; Tabita Rezaire; Antonia Sellbach; Gabriele Stellbaum; Lorenzo Sandoval; Sarah Breen Lovett; Linda Dement & Nancy Mauro-Flude; Carolyn McKenzie; Craig Michele Barker & Anna Munster and Haines & Hinterding.

Gallery 2

fagpile – pink is fun

Ged Jones

Gallery 3

A Stranger I Know Well

Noah Spivak

Chutespace

Hill End

Lynne Flemons

Click the button below for the Opening NIght Facebook Event!

GALLERY 1

Cosmotechnic Telepathics in the Age of Surveillance Capitalism

Jacquelene Drinkall; Warren Neidich; Michael Petchkovsky; Lia Kemmis; Peter Hill; Mahalya Middlemist & Laurence Hall; The Telepathy Project (Veronica Kent & Sean Peoples); Benjamin Denham; Shoufay Derz ; Tabita Rezaire; Antonia Sellbach; Gabriele Stellbaum; Lorenzo Sandoval; Sarah Breen Lovett; Linda Dement & Nancy Mauro-Flude; Carolyn McKenzie; Craig Michele Barker & Anna Munster and Haines & Hinterding.

Cosmotechnic Telepathics in the Age of Surveillance Capitalism examines capitalist telepathics within cognitive and surveillance capitalism.

Through investigations into digital telepathic infrastructure such as The Internet of Everything (the aim to automate all human processes), and current developments in Brain Computer Interfaces, Drinkall and her fellow artists explore the differences between ‘regenerative’ and ‘extractive’ forms of telepathy.

GALLERY 2

fagpile – pink is fun

Gerald Jones

Jones’ art created during the lockdown was shaped by their dedication to the creative process and exploration of paint. The symbol of the Roman Emperor’s head from the Colossus of Constantine, gained new meaning for the artist after the news of Ali Fazeli Monfared’s tragic beheading for being queer.

Jones has created a unique iconography in their work, featuring recurring themes of the artist’s easel and the edifice, and the head. Inviting the viewer to form their own allegory of the queer artist’s “fagpile” or detritus. In this body of work, pink plays a central role with political and emotional connotations, particularly in relation to queerness.

GALLERY 3

A Stranger I Know Well

Noah Spivak

A Stranger I Know Well aims to investigate the liminal space between narcissism and self-loathing by allowing the artist’s own insecurities to manifest themselves in a body of work that puts the gaze on display.

The exhibition’s witty and purposeful use of reflection provides the viewer space to consider the value of (self) image in our visually saturated culture.

CHUTESPACE

Hill End

Lynne Flemons

Following a residency at Hill End through the Bathurst Regional Gallery, Flemons was intrigued by the gold mining history of the village and inspired by the Holtermann Collection; photographs taken between 1872 and 1876 at Hill End.

Working with clay Flemons uses a simple house shape from a Russell Drysdale painting, of Hill End. The houses are cast then mono-printed with the photocopied photographic images. The pinpricked houses reference woman’s work in the town and the blank houses represent the vacant blocks where houses once stood.