00:00 to 07:00
Level 1, 151 Castlereagh Street, Sydney, NSW, Australia
FROM 23-03-20 TO 30-04-20
Exhibition at a glance
The exhibition “Whose story is this?…anyway!” – A dialogue between Chinese and Australian women artists was scheduled to open to the public on March 23, 2020. But due to the continued rise of Covid-19 cases in Australia, the organizer, China Cultural Centre in Sydney, now put the show on the internet for the convenience of visitors. You can access online exhibition via the link on the top of the page /or the end of the page.
Curated by Australia’s well-known art curator Nicholas Tsoutas and Chinese artist Li Hong, this exhibition displays 20 pieces of artworks in various forms, including paintings, sculptures and video works, from six artists. It is to emphasize the hard work and the high spirits of women artists who have attempted to the reconstruction and the change of contemporary arts.
Xiao Xiayong, the director of China Cultural Center in Sydney, said the artworks from the six female artists would let people feel the interpretation of art in different cultures and their mutual respect and communication. The event aims to let visitors know more about female artists coming from diverse cultural backgrounds and provide a platform for cooperation between Chinese and Australian artists.
Tsoutas said “the exhibition shows gender difference and its impact on art creation in an increasingly complex society from the perspective of females.” Visitors can get new ways of communication in the world from various points of view at the exhibition which also highlights female’s importance and gender equality in the development of contemporary arts.
“These artists tell the stories from the heart with their own style,” said Li Hong, who expected the show will encourage people to fight against the epidemic together.
China Cultural Centre in Sydney also has suspended the opening ceremony and discussion forum for this exhibition as to avoid public gathering and cross infections of Covid-19. But the centre will implement a “cloud recording mode” to promote the exhibition online, that includes the official website, Facebook, Instagram,Twitter, Youtube and Wechat official account.
Overview of the 6 artists in the exhibition
Dr. Bronwyn Bancroft is a proud Bundjalung Woman and Artist. Bronwyn has been exhibiting nationally and internationally for over three decades. Bronwyn has a diverse artistic practice including public art commissions and imagery design for private commission.
Bronwyn’s public works include: The Robyn Webster Complex at Tempe Reserve, Hugo St Redfern Mural, Weavings of Light and Life at Leichhardt Aquatic Centre, and the atrium lift shaft at Royal North Shore Hospital. Bronwyn has also licensed her artworks and book illustrations for public hospitals and buildings including Sutherland Hospital, NSW Teachers
Federation and the new Paediatric Emergency Department at Canberra Hospital (opened in 2016). Bronwyn has illustrated and/or written 41 children’s books. Her books have been translated into many languages and are distributed internationally. Bronwyn was the Australian finalist for the Ezra Jack Keats Award for Excellence in Children’s Book Illustration in 1994. In 2010 Bronwyn received the Dromkeen Medal for her contribution to Australian Literature and in 2016 was the Australian Finalist for the Hans Christian Andersen Award (Illustrator). Bronwyn was invited by the Chinese Embassy in Beijing to participate in Australian Writers Week 2017 alongside three other prominent Australian authors. Bronwyn has been a Director of her own company, Designer Aboriginals Pty Ltd since 1985.
Bronwyn is a Director of Australian Indigenous Mentoring Experience (AIME) and a member of the Commonwealth Bank Indigenous Advisory Council. Bronwyn is a Founding Member of Boomalli Aboriginal Artists Co-operative (established in 1987) and has been a volunteer senior strategist at the Cooperative since 2009.
Selected collection acquisitions:
National Gallery of Australia, Macquarie University, Art Gallery of New South Wales, Art Gallery of Western Australia, International House, University of Sydney, Parliament House Art Collection, State Library of New South Wales, State Library of Victoria, Australian Museum and Artbank, as well as in overseas collections such as Newark Museum USA, Prime Minister of Turkey, The Kelton Foundation USA, Volkerkunde Museum, Germany and Westpac USA.
Lindy Lee’s practice explores her Chinese ancestry through Taoism and Ch’an (Zen) Buddhism – philosophies that see humanity and nature as inextricably linked. She employs chance and spontaneity to produce a galaxy of images that embody the intimate connections between human existence and the cosmos. Her works are meditative, often revealing themselves through time.
Lee’s early works make reference to the Western canon of portraiture and question the notion of authenticity in artistic practice. Lee has used imagery from her family photo albums to explore the experiences of loss and transition that have spanned five generations of travel from China to Australia. In 2015, Lee collaborated with UAP on The Life of Stars, a 6-metre tall stainless steel sculpture, hand panel beaten and mirror polished. The work draws parallels between a pattern of luminous interconnecting concentric circles and the principle that everything in the universe is interrelated. A blessing of vitality and abundant energy, The Life of Stars demonstrates the idea that wellbeing naturally springs forth when the individual and the power of interconnection are in balance. With a practice spanning over three decades, Lindy Lee has a well established reputation in Australia, as well as widespread international recognition.
Recent solo exhibitions include, The Seamless Tomb, Sullivan+Strumpf, Sydney (2017); Lindy Lee: The Dark of Absolute Freedom, the University of Queensland Art Museum, Brisbane (2014); Universal Record of the Flame, 10 Chancery Lane, Hong Kong (2013); and Birth and Death, Campbelltown Art Centre, Sydney (2007).
Group exhibitions include：
Infinite conversations: Asian-Australia Artistic Exchange, National Gallery of Australia, Canberra (2018); Adelaide Biennial of Australian Art: Divided Worlds (2018); Versus Rodin: Bodies Across Time and Space, Art Gallery of South Australia, Adelaide (2017); Beyond Words: Calligraphic Traditions of Asia, Art Gallery of New South Wales, Sydney (2016-17); Marking Time, Museum of Contemporary Art, Sydney (2012); Chinese Australia, Australia China Art Foundation, Melbourne (2012); and Painthing (as one), Australian Experimental Art Foundation, Adelaide (2010). Lee has exhibited in the USA, Germany, Canada, China, Hong Kong, Japan, Malaysia, New Zealand and Singapore. In 1984, she graduated with a Bachelor of Visual Arts and a Postgraduate Diploma in painting from Sydney College of the Arts, and in 2001 she received her PhD in Fine Art from the University of New South Wales. Lee’s important public works include Life of Stars: Tenderness of Rain, at the Zheng Zhou Cultural Centre, China (2016); and a commission to create a new public space in Sydney’s Chinatown (2012), as well as significant projects currently under development throughout Asia.
Nothing seems to stand still in Li Hong’s paintings. Everything seems to be in perpetual movement, as if is caught in a process of constant change, like shadows in the wind. Li Hong’s abstraction functions in layers which restlessly intersect, collide and refract against each other in a complex weave of time and space. On the surface the work explores our human relationships with nature, but somehow Li Hong refuses or rejects the natural order of things as she prefers to submerges reality into a series of abstracted folds, where she folds memories, and layers time itself into a new space that produces different forms of meanings about life, nature and the environment and existence itself. Despite using a hard edge technique, and a limited palate of colors,blue, red and green, painted flat in irregular forms, layered against each other, like memory on top of or against another memory, li Hong manages to reveal a change in perception and shape of memory but more significantly how we experience these changes in three dimensional space, without resorting to the literal space of illusionism. Li Hongs paints a world and an environment that is in a process of transition, but the world that she sees and the environment that she feels, reflects upon the growing crisis that confronts and challenges us all collectively.
Li Hong was born in Beijing in 1959. She graduated from CAFA, the Central Academy of Fine Art in 1984, in woodblock printing, before migrating to Australia in 1987, where she undertook studies at the College of Fine Art, the University of NSW, and subsequently graduated with a MASTERS of FINE ART Degree from Sydney College of Art in 2007. Li Hong has exhibited throughout Australia, and has been curated into major exhibitions in Beijing, Tibet, the Sasaran Arts Festival in Malaysia as well as exhibitions in Hungary and USA. Her work is held in significant collections in both Australia and China.
Eugenia Raskopoulos was born in Svitavy, Czech Republic and immigrated with her family back to Greece in1959 and then to Sydney in 1963. Raskopoulos studied at Sydney College of the Arts, Sydney University (1977–79), completed her Masters of Fine Art in 1993, and then completed a PhD both at the College of Fine Arts, UNSW. Raskopoulos lectured at the University of Western Sydney from 1988 – 2006.
Raskopoulos has exhibited for over 30 years nationally and internationally:
The National, Carriageworks, Sydney – 2019. A Visibility Matrix, The Douglas Hyde Gallery, Dublin, Ireland -2018. Red, Blue, Green A History of Australian Video Art, Griffith University Gallery, Brisbane, – 2017. Endless Circulation TarraWarra Biennial, TarraWarra Museum of Art. (2016). Read your lips Australian Centre for Photography, National Artists’ Self –Portrait Prize University of Queensland Art Museum – 2013. Footnotes AGNSW – 2011. Image Anxiety PHotoEspaña, Madrid International Photography & Visual Arts Festival -2012. Light Works National Gallery of Victoria, Melbourne (2012). MUTE Art Bridge Gallery @ 798 Beijing, China-2011. Nightcomers Project, 10th Istanbul Biennale, Istanbul – 2007. Video Logic, MCA, Sydney -2008. with(out) voice Photosynkyria AAS Gallery,Thessaloniki,Greece – 2008. Fragments, Lunami Gallery Tokyo, Japan -1997. Sweet Dreams, Australian Perspecta -1993, Ironworks 88, Santa Fe Center of Photography, New Mexico – 1988.
With a career spanning across 30 years and over 300 exhibitions, artist Nike Savvas works across scale and materials completing numerous large-scale installations for the Toi Art Te Papa Wellington NZ, Art Gallery of New South Wales, Sydney; Museum of Contemporary Art, Sydney; Australian Centre for Contemporary Art, Melbourne; Artspace Sydney, IMA Brisbane, Museum of Contemporary Art Los Angeles, Leeds Art Gallery, UK, and the Southbank Centre in London.
Selected group exhibitions include Echo Chambers:
Art and Endless Reflection Deakin Univerity Art Gallery(2019) Divided Worlds Adelaide Biennale, Spacemakers and Roomshakers AGNSW (2018), Call of the Avant-Garde: Constructivism and Australian Art, Heide Museum of Modern Art, Vic (2017); Superposition of Three Types, Artspace, Sydney (2017); Quicksilver, Samstag Museum, Adelaide (2016); Paradigm Store, Howick Place, London (2014); Optical Mix, Australian Centre for Contemporary Art, Melbourne (2014); The Edge of Painting, Piper Gallery, London (2013); There was a world once, Markisches Museum, Witten, Germany (2012); Colour Bazaar: Nine Contemporary Works, Heide Museum of Modern Art, Melbourne (2011); To Make a Work of Timeless Art, Museum of Contemporary Art, Sydney (2008), Balnaves Sculpture Exhibition, Art Gallery of New South Wales, Sydney (2006); I am Australian Too, Casula Powerhouse, Sydney, Visual Music, Museum of Contemporary Art, Los Angeles (2005); Indian Triennale, New Delhi (2005); East International, Norwich, UK (2003); New Contemporaries, Camden Arts Centre, London (1998); and Primavera, Museum of Contemporary Art, Sydney (1998).
Awards and Prizes include 1996 The Anne and Gordon Samstag International Visual Arts Scholarship 2003 Museum of Contemporary Art Primavera Acquisitive Art Award 2005 Jury Prize (Gold Medal)11th Triennale of India, Dehli 2010 A.C.T. Creative Arts Fellowship, 2010 Australia Council Fellowship.
Lan Wang was born in Beijing in 1953. Since 16 she’d become a farmer in Northeast China. She studied art in the Luxun Academy of Fine Arts from 1977, and as a lecturer taught there since 1982. Member of the Artists Association of China. She got Master of Fine Arts in 1989, and move to Sydney to reunion with husband Jiawei in 1991. She had solo exhibitions in Coventry Gallery and Art Atrium Gallery, both in Sydney in past decades. As a member of Art Trail of Bundeena, she open her studio for public on the first Sunday each month from 2001 until now. In 2006-08, Lan with her husband Shen Jiawei and fellow artist Wang Xu created a large scale epic painting of Malaysian history Merdeka.
Lan won the Silver prize and the Bronze prize in the National Art Exhibition in 1989, 1984. Four of her works are in the collection of the National Art Museum of China. She said: “Painting is a language, just like any other everyday language. I want to use this language to sing in praise of nature, to express my feelings to the world, and my wish is to express something more enduring than what only is of material benefit.
“I think of painting as a playmate, a playmate more intelligent and stubborn than me. For many years we have enjoyed chasing one another, and having a lot of fun. At times there have also been arguments, however, I am glad that I have such a playmate. With it I am never lonely. I will only exist for a limited time, but art lives forever. Art sustains me, but to art I am a mere speck of dust. This is why I say I need art, even though I myself am absolutely of no consequence to art.”