Co-curated with James Nguyen and presented at Wellington St Projects Gallery & Alaska Projects in March 2018.
In Anthony Bond’s curatorial article ‘TRACE – A Historical Contextualisation of the theme’, Bond presents the Trace as an entity that can enhance our understanding and depth of meaning, through the re-animation of a historical presence that is able to exist and create meaning in two different temporalities.
Inspired by this reading, ‘The Trace’ presents a body of work that explores a multiplicity of experiences that are punctuated by the forms of hybridity, rupture, fragmentation and in some cases – reunion. Through this experience, the audience is offered an opportunity to face the living past in the dying present. Featuring work from: Lindy Lee, Abdul-Rahman Abdullah, Zanny Begg, Justin Dingwall and Rushdi Anwar.
‘The fruit was sweeter then. The fish were more plentiful.’
In collaboration with artist Jason Phu, Antidote commissioned a series of video / installation works exploring what traces look like in his own life; from the strength of his familial ties to the experience of diaspora that can penetrate intergenerationally.
Read the curatorial rationale here.
IMAGE CREDITS: (FEATURED IMAGE) JUSTIN DINGWALL, Mob I, PHOTOGRAPHIC PRINT, 84 X 60 CM, EDITION 2/10, 2016. Image courtesy of Artist and .M CONTEMPORARY. (Above) THE CITY OF LADIES, ZANNY BEGG AND ELISE MCLEOD, DURATIONAL VIDEO, 2017. ALL INSTALLATION PHOTOGRAPHY BY ZAN WIMBERLEY, 2018.
WORDS FROM TONY BOND, OAM
“On the 14th March 2018 in the midst of the Biennale of Sydney crush, Wellington street Gallery in Chippendale launched an exhibition in collaboration with Antidote called ‘The Trace’. Grace Partridge (alongside colleague James Nguyen) had curated the exhibition after being introduced to one of my texts ‘Trace ‘- The catalogue of the first Liverpool Biennale of international contemporary art that I curated in England in 1999.
Grace had been directed to the text by a lecturer and grew her premise for the exhibition from that set of ideas. My proposal was derived from my commitment to making exhibitions like Biennales relevant to place and history. Also to using physical structures and cultural artifacts to engage with the texture of life in the host city. In summary, the idea of Trace was to tell stories of place using material evidence and aural histories. Like my Biennale ‘Boundary Rider’ in Sydney 1992, I elected to work with artists inspired or given permission by Marcel Duchamp to use materials and objects to speak their memories and to create affectively potent experiences.
Traces bridge past present and future connecting with our sensory faculties and drawing on the power of objects to transport us in time and place. Antidote did all of the things and all of the artists were of the first order. This could have been an integral part of the Biennale of Sydney and would have looked good in the context of what may be considered one of the best Biennale’s in Sydney recently.”