Institute of Modern Art - Clients - e-flux

About

Institute of Modern Art

420 Brunswick Street
Fortitude Valley
Brisbane Queensland 4006
Australia

T +61 7 3252 5750
ima@ima.org.au

June 24, 2019

Wrong Solo, THE GUEST HOUSE, 2017. Performance documentation, Gwangju Biennale. Photo: Lee Seung Min. Courtesy of artists and the Gwangju Biennale.

Institute of Modern Art

Agatha Gothe-Snape
Certain Situations
Mandy Quadrio
The Country Within
Sebastian Moody
Seeing

April 8, 2019

[1] Megan Cope, RE FORMATION part 3 (Dubbagullee), 2017. Hand-cast concrete Sydney rock oysters, copper slag, dimensions variable. Installation view: AGNSW: The National: New Australian Art. Courtesy of the artist and THIS IS NO FANTASY dianne tanzer + nicola stein. [2] Zanny Begg, The Beehive (still), 2018. Production still. Photo: Philippa Bateman. [3] Amie Siegel, Quarry, 2015. HD video, color/sound. Installation view: South London Gallery, 2017. Courtesy the artist and Simon Preston, New York. Photo: Andy Stagg. [4] Christopher Kulendran Thomas, New Eelam, 2018. In collaboration with Annika Kuhlmann. Installation view: Museum of Contemporary Art, Chicago.

Institute of Modern Art

Haunt
Christopher Kulendran Thomas
New Eelam: Brisbane

February 1, 2019

Dale Harding, Know them in correct judgement, 2017. Rosewood, book, ochre and charcoal wall painting. Detail view: Art Gallery of New South Wales, Sydney. Photo: Art Gallery of New South Wales. Courtesy of the artist and Milani Gallery, Brisbane.

Institute of Modern Art

Dale Harding
Current Iterations
Ana Mendieta
Connecting to the Earth

September 22, 2018

Carol McGregor, black seeds, 2016 (detail). Possum skins, cotton, ochre, ash, and resin, 187 x 93 cm. Courtesy of the artist and Redland Art Gallery Collection.

Institute of Modern Art

The Commute

June 25, 2018

Installation view: Haegue Yang, SUPERPOSITION: Equilibrium & Engagement. 21st Biennale of Sydney, Museum of Contemporary Art Australia, Sydney, 2018. Also in view: Umbra Creatures by Rockhole (2017–2018) and Lethal Love (2008/2018). Photo: Studio Haegue Yang.

Institute of Modern Art

Haegue Yang
Triple Vita Nestings
Karrabing Film Collective
The Mermaids: Mirror Worlds

March 19, 2018

[1] Tom Nicholson, Cartoons for Joseph Selleny, 2014-17 (detail). 12 cartoons, charcoal drawings perforated and pounced with cheesecloth bags full of ground charcoal; wall drawing created through pouncing with cheesecloth full of ground charcoal, 1200 × 500 cm; off-set printed artist’s book to take away. At TWMA, in the TarraWarra International, 2017. Photo: Christian Capurro. [2] Ryan Presley, Blood Money, 2018. Series of four limited-edition prints. Photo: Louis Lim. [3] Lucy Forsberg, Departure, 2018. Screen capture of screen recording; single channel video, 4 mins. Courtesy the artist.

Institute of Modern Art

Tom Nicholson
Drawings and correspondence
Ryan Presley
Prosperity
Lucy Forsberg
Transparency and other worries

November 14, 2017

(1) Goldin+Senneby, Headless. From the Public Record, with Angus Cameron (economic geographer), K.D. (fictional author), Kim Einarsson (curator/writer), Anna Heymowska (set designer), Marcus Lindeen (director), Eva Rexed (actor). Installation view: Index, Stockholm, 2009. (2) Goldin+Senneby, peace dollar (production still), 2016. (3) Amalia Pica, Workshop, 2017. Tools made by chimpanzees out of forest wood to extract food such as honey or insects, felt pen, nails. Courtesy the artist and NC-Arte, Bogotá. Photo: Oscar Monsalve. (4) Amalia Pica, Silverware, 2017. Tools made by chimpanzees out of forest wood, cast in silver. Courtesy the artist and NC-Arte, Bogotá. Photo: Oscar Monsalve.

Institute of Modern Art

Goldin+Senneby
Standard Length of a Miracle (The Bootleg)
Amalia Pica
please open hurry

July 28, 2017

Ross Manning, dichroic filter piece (extended projection), 2012–14. Courtesy the artist and Milani Gallery.

Institute of Modern Art

Ross Manning
Dissonant Rhythms

May 1, 2017

Céline Condorelli, view of Models for a Qualitative Society, Kunsthalle Lissabon, Lisbon, Portugal, 2016. Photo: Bruno Lopes.

Institute of Modern Art

Céline Condorelli
Corps à Corps

February 6, 2017

Willem de Rooij, Ebb Rains, 2017.

Institute of Modern Art

Willem de Rooij
Ebb Rains

November 22, 2016

Céline Condorelli, Á Droite et à Gauche (Sans Lunettes) (On the Right and on the Left (Without Glasses)), 2016. Commissioned by the IMA and 11th Gwangju Biennale and supported by the Keir Foundation. Installation view, 11th Gwangju Biennale. Photo: Johann Arens.

Institute of Modern Art

2017 exhibition program

July 26, 2016

Luke Willis Thompson, Cemetery of Uniforms and Liveries (Graeme), 2016. Commissioned by the IMA. Courtesy of the artist and Hopkinson Mossman and Galerie Nagel Draxler.

Institute of Modern Art

Winter 2016 exhibitions and commissions

June 28, 2016

Nicholas Mangan, Matter over mined (detail), 2012. C-print on cotton paper, 69 x 103 cm. Courtesy the artist; Sutton Gallery, Melbourne, Hopkinson Mossman, Auckland and LABOR, Mexico City.

Institute of Modern Art

Nicholas Mangan
Limits to Growth

April 30, 2016

Helmut Newton, View of Distillation Unit through doorway of Amenities Block, c. 1955. Courtesy of the State Library of Victoria, Gift; Shell Co. of Australia Ltd.; 2005. Design: Ziga Testen.

Institute of Modern Art

Frontier Imaginaries

February 8, 2016

Rana Hamadeh, Whirling Trickster's Skirt (prop from The Sleepwalkers), detail from installation at Nottingham Contemporary, 2015. Photo: Andy Keate.

The Showroom / Institute of Modern Art

Rana Hamadeh
The Sleepwalkers

October 16, 2015

Gordon Bennett, Study for Possession Island (1991). Oil, acrylic and gouache on illustration board, 65 x 100 cm. Collection of Wavell State High School, Brisbane. © The Estate of Gordon Bennett. Photo: John O’Brien.

Institute of Modern Art, Brisbane

Gordon Bennett and Slavs and Tatars

July 29, 2015

Patrick Staff, The Foundation (still), 2014. HD video, 28 minutes. Co-commissioned by Institute of Modern Art, Brisbane; Chisenhale Gallery, London; Contemporary Art Gallery, Vancouver; and Spike Island, Bristol. Co-produced by Chisenhale Gallery and Spike Island. Courtesy of the artist.

Institute of Modern Art, Brisbane

Patrick Staff and Dale Harding

May 25, 2015

View of Imaginary Accord, with Ross Manning’s memory matrix and antiquity (for synchronized multichannel video), 2015. Mixed media installation. Courtesy of the artist and Milani Gallery, Brisbane. Photo: Carl Warner.

Institute of Modern Art, Brisbane

Imaginary Accord

February 4, 2015

In order of appearance: 1. Hito Steyerl, Strike, 2010. Installation with 46-inch flatscreen mounted on two free-standing poles, video, HDV, 28 seconds. 2. Zach Blas, Face Cage #2, 2014. Endurance performance with Elle Mehrmand, 2014. 3. Patrick Staff, The Foundation, 2014. HDV. 4. Gordon Bennett, Possession Island #2, 1991. Oil and acrylic on canvas, 182 x 182 cm.*

Institute of Modern Art, Brisbane

2015 exhibition program

October 1, 2014

Mierle Laderman Ukeles, Washing, Tracks, Maintenance: Outside, 1973. Performance at the Wadsworth Atheneum, Hartford, 22 July 1973.*

Institute of Modern Art, Brisbane

Re-launch

November 9, 2013

Johan Lundh and Aileen Burns. Photo: Paola Bernardelli.

Institute of Modern Art, Brisbane

Aileen Burns and Johan Lundh appointed Co-Directors

June 15, 2013

Institute of Modern Art, Brisbane

Seeking new Director

About June 24, 2019 April 8, 2019 February 1, 2019 September 22, 2018 June 25, 2018 March 19, 2018 November 14, 2017 July 28, 2017 May 1, 2017 February 6, 2017 November 22, 2016 July 26, 2016 June 28, 2016 April 30, 2016 February 8, 2016 October 16, 2015 July 29, 2015 May 25, 2015 February 4, 2015 October 1, 2014 November 9, 2013 June 15, 2013