Amarie Bergman, Equation no. 1 acrylic + graphite on canvas 20 x 20cm 2015

 

Equation no. 1 was made by playing with the idea of an equality. There is an apparent blank space on either side of the equal sign so the values of the variables appear to be secret, hidden or even unknown. The viewer may be persuaded to participate in the equation by creating one or more solutions and / or by imagining possibilities.

 

The painting is extremely quiet: its ground was made using an unusual, discreet grey tint while the two slender graphite lines, lying calmly on the surface, appear to glimmer.

 

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Pam Aitken, the dynamic director of Factory 49 in Sydney, has created the organization of a pop up gallery (and petite residency) in Paris for next year. How marvelous! I'm very fortunate to have been invited as a participant for a month and will have a solo exhibition that will open on Wednesday, 20 July and continue until Saturday, 13 August.

 

More updates to follow!

 


 

I’m delighted to be showing a new Equation painting at Le Salon des Réalités Nouvelles 2015. You are cordially invited to attend the opening on 17 October 18h-22h00.

 

The Salon will be held on 18 – 25 October from 11h – 18h00 at the Parc Floral de Paris. For details about the participating artists, transportation / access plan to the Parc and history of The Salon: http://www.realitesnouvelles.org/

 

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I'm pleased to say the images for Nitrogen 21 are now documented: check this site under solo interventions. I've also updated the text from ArtCOP21's event announcement; it can be found among Writings as Intervention: Nitrogen 21.

 

Many other exciting international art projects/events/extravaganzas are featured by ArtCOP21 until the end of December. Truly "a global festival of cultural activity!" So, there's still time to create your own project/statement - and add to the momentum for the necessity of conscious climate change.

 

ArtCOP21

Agenda culturel Paris Climat 2015

http://www.artcop21.com/

#artcop21 @arcop21

 




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Nitrogen 21 happened! All went exhilaratingly according to plan; even the weather was in synchronization. A new folder on this website is underway and will go 'live' later today.

 

http://www.artcop21.com/

#artcop21 @arcop21

 

 




 

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I'm excited to be doing a minimalist, temporary and (I hope) provocative intervention in Canberra on the topic of climate change. It will take place 19 September 2015.

 

"ArtCOP21 is an unprecedented collaboration of cultural players who are keen to instigate an ecological transition towards a healthier environment through art and cultural interventions."

 

 

Stay tuned for more news and images.

 

http://www.artcop21.com

@artcop21 #artcop21

 




 

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Interior view, 2015 image by Amarie Bergman

 

Yes! I now have a studio again at ANCA, a dynamic artist-run co-operative in Canberra. The 32 square metre space has a concrete floor with plenty of natural light, and is quiet.

 

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First light, Alta and Enzu, James Turrell, 1989-90, aquatint, 107.8 x 75.5cm (sheet), edition of 30, Peter Blum Edition, National Gallery of Australia, Canberra, purchased 2013

 

 

“A lucent procession, the fifteen aquatint etchings by James Turrell engage the sight with their articulate volumes of whiteness emanating through veils of demarcated shadows that, ever so persuasively, entrance more than our gaze…”

 



Still light, Alta and Enzu, James Turrell 1990-91, aquatint, 108.0 x 75.6cm (sheet), edition of 30, Peter Blum Edition; National Gallery of Australia, Canberra, purchased 2014

 

 

My review on two series of aquatints, First Light and Still Light, by James Turrell, has been published in Whitehot Magazine of Contemporary Art. This body of work was recently featured in Turrell’s retrospective, curated by Lucina Ward, at the National Gallery of Australia (NGA) in Canberra, after three concurrent exhibitions at Los Angeles County Museum (LACMA), the Museum of Fine Arts, Houston (MFAH), and the Solomon R. Guggenheim Museum, New York.

http://whitehotmagazine.com/articles/light-still-light-james-turrell/3203

 

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