Compiler

Peter Dailey, Cotyledons, mixed media, 2006. In Symbiosis at Span Galleries, 45 Flinders Lane, Melbourne, from 26 September to 7 October. Courtesty the artist and Turner Galleries (formerly the Church Gallery). Visit www.churchgallery.com.au. 

New Artsource regional residencies

Artists in WA can now take up temporary residence in a number of regional towns throughout the state as part of a new regional residency program run by Artsource. The chance to get away from the daily grind and soak up the riches of the country with free accommodation and studio space, in exchange for a little interaction with the locals – what could be better than that? Residencies open for application now include Menzies, Moora, Beverley and Ellenbrook. Interested? Call 08 9335 8366 or visit www.artsource.net.au/residencies/residencies_wa.

… and a blog, too!

Un Projects is running a temporary blog for the duration of Rapt! to develop a direct dialogue between the visiting artists, curators and our local community. The blog will be run as a website project that will be updated frequently. If this is your thing, visit www.rapt-japan.blogspot.com.  KJD

Rapt! 20 contemporary Japanese artists

Since the late 1990s, we have seen rapid social change, with a notable development being the proliferation of new media. In Japan, these changes are typefied by the rise of otaku culture (otaku is a geek or fan obsessed with anime and manga) and their association with social networks on the Internet that allow the otaku a new voice which to express themselves and a direct link with the world. Rapt! examines this ‘new style of communication’ that is particularly evident in contemporary Japan. This is not a simple introduction of Japanese contemporary art, but a cross-cultural exploration based on the extensive discussions and research of Japanese and Australian curators and researchers. Organised by Japan and Australia for the Year of Exchange, this series of exhibitions, residencies and public events will exhibit twenty Japanese contemporary artists in Australia. PICA will host the residency of Japanese artist Shiro Takatani in partnership with Central TAFE as part of the Rapt! project. Recent video works by Takatani and his collaborations with performance group Dumbtype and artists Sakamoto Ryuichi and Nakaya Fujiko, will be screened in PICA’s studios from 4 to 24 September.  Visit www.pica.org.au.

Fremantle Print Award

The 31st Fremantle Print Award is Australia’s most prestigious award and exhibition for prints and artists’ books, in any print medium, celebrating the vitality of printmaking today. The exhibition was judged by Jenepher Duncan, Curator of Contemporary Art, AGWA; Dennis Nona, artist; and Jasmin Stephens, Exhibitions Manager, Fremantle Arts Centre. Even before getting to the serious task of assessing the contenders for the awards, the judges had the opportunity to observe over 350 entrants. The award provides an annual snapshot of printmaking activities in art schools, at remote art centres and on kitchen tables around Australia. Australia’s biggest, oldest and best prize for prints is on exhibition at the Fremantle Arts Centre, 1 Finnerty Street, Fremantle, from 9 September to 22 October. Visit www.fac.org.au or call 08 9432 9555.

Under God’s hammer at AGWA

Finished in 1825, William Blake’s illustrations for the Book of Job were the last, major series produced by the British visionary artist.  They chart the woeful struggles of Job who found himself caught between God and the Devil’s wager. As well as detailing Job’s unfolding story, these etchings – which are highlights of the State Art Collection – articulate Blake’s own faith in an anti-materialistic, personalised, spiritual attitude to life on Earth and beyond.  In response to these seminal works, Scottish artist and illustrator David Shrigley has created new work especially for this exhibition.  Shrigley is known internationally for his bleakly humorous take on issues pertinent to contemporary life, including faith, and the search for meaning in the small and big pictures. Distinct from Blake’s fastidiously detailed images, Shrigley’s technique is as personally idiosyncratic as handwriting. Sketchy, tentative and shaky, it is run through with a trembling anxiety that reflects his response to our late modern world. Seen together for the first time in Under God’s hammer: William Blake versus David Shrigley, superficially, the two artists are very different; although thematically consonant, images and explorations will offer a unique look at the machinations of faith and the power of artistic vision in relation to the worlds of 1825 and 2006. From 16 September to 1 January next year at the Art Gallery of Western Australia (AGWA), 47 James Street, Perth. Visit www.artgallery.wa.gov.au. Call 08 9492 6600.