A field of more than 3000 specially created flower sculptures (illustrated) is among a range of immersive must-see artworks premiering in the major solo exhibition ‘Patricia Piccinini: Curious Affection’ now open at the Gallery of Modern Art (GOMA). Patricia Piccinini is one of the most exciting and challenging contemporary Australian artists working today and ‘Curious Affection’, presented exclusively at GOMA until 5 August 2018, is her most ambitious project to date.

Influenced by science, nature, fiction and the unconscious, Piccinini’s ongoing concern is the social and moral impact of advanced technology on people, animals and our planet. Her fantastical creatures and environments are, in a way, propositions about possible futures which engage us on an emotional level, as they challenge conventional notions of beauty, perfection and the ideal.

Through this exhibition of recent and major new work, enter Piccinini’s world, a place where the conventional boundaries between reality and artifice are unstable, and our intrigue and curiosity are pulled into the space between. The works invite you to look beyond the strangeness to make a connection.

‘Curious Affection’ is the first time a contemporary Australian artist had presented their work at GOMA on such a grand scale. The exhibition occupies the entire ground floor and features more than 70 sculptures, photographs, videos, drawings and a number of large-scale installations, including major new commissions.

Patricia Piccinini, Australia b.1965 / The Couple (detail) 2018 / Silicone, fibreglass, hair, cotton; ed. 1/3 + 1 AP / 42 x 168 x 65cm / Courtesy: The artist; Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Hosfelt Gallery, San Francisco / © The artist

Patricia Piccinini, Australia b.1965 / The Couple (detail) 2018 / Silicone, fibreglass, hair, cotton; ed. 1/3 + 1 AP / 42 x 168 x 65cm / Courtesy: The artist; Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Hosfelt Gallery, San Francisco / © The artist / View full image

Patricia Piccinini, Australia b.1965 / The Couple 2018 / Silicone, fibreglass, hair, cotton, caravan, found objects / The Taylor Family Collection. Purchased 2018 with funds from Paul, Sue and Kate Taylor through the QAGOMA Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / © Patricia Piccinini / Photograph: N Harth © QAGOMA

Patricia Piccinini, Australia b.1965 / The Couple 2018 / Silicone, fibreglass, hair, cotton, caravan, found objects / The Taylor Family Collection. Purchased 2018 with funds from Paul, Sue and Kate Taylor through the QAGOMA Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / © Patricia Piccinini / Photograph: N Harth © QAGOMA / View full image

Exhibition highlights include Pneutopia 2018 (illustrated), a voluminous inflatable suspended in GOMA’s atrium, Kindred 2018 (illustrated), an orangutan-like mother with two young children and The Couple 2018 (illustrated), a sculpture of a pair in a loving embrace inside an original 1980’s caravan. Piccinini describes the imaginary beings in ‘Curious Affection’ as ‘almost possible’ and while they are not always beautiful in the conventional sense, there is a compelling sincerity and dignity about them.

Read more on our blog / Watch exclusive interviews and behind-the-scenes footage on YouTube / Listen on Spotify / Visit our website

Patricia Piccinini, Australia b.1965 / Pneutopia 2018 (installation view, GOMA 2018) / Ripstop nylon, shed, air / Dimensions variable / Courtesy: The artist; Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Hosfelt Gallery, San Francisco / © The artist / Photograph: Natasha Harth © QAGOMA

Patricia Piccinini, Australia b.1965 / Pneutopia 2018 (installation view, GOMA 2018) / Ripstop nylon, shed, air / Dimensions variable / Courtesy: The artist; Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Hosfelt Gallery, San Francisco / © The artist / Photograph: Natasha Harth © QAGOMA / View full image

Patricia Piccinini, Australia b.1965 / Kindred 2018 / Silicone, fibreglass, hair / 103 x 95 x 128cm / Courtesy: The artist; Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Hosfelt Gallery, San Francisco / © The artist

Patricia Piccinini, Australia b.1965 / Kindred 2018 / Silicone, fibreglass, hair / 103 x 95 x 128cm / Courtesy: The artist; Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Hosfelt Gallery, San Francisco / © The artist / View full image

Opening Weekend / saturday 24 march 10.00am – 5.00pm

Join the opening program which includes a keynote address by Piccinini, conversations focused on science and art and our changing understanding of nature and the species divide, and walking tours through the exhibition.

HEAR THE ARTIST: Patricia Piccinini

Patricia Piccinini presents a keynote address at 11.00am (free) followed by an in conversation with Elizabeth Finkel, editor-in-chief of Cosmos Magazine at 1.30pm (free), then an artist tour of the exhibition at 2.30pm (an exhibition ticket is required to attend the artist tour) / Tickets for the exhibition ‘Curious Affection‘ can be purchased online and at the exhibition ticket desk between 10.00am and 4.00pm.

Children’s Art Centre

Patricia Piccinini’s free project ‘Curious Creatures’ encourages under eights to enter another world. The inviting burrow-like space is home to fantastical, mole-like creatures. Children can explore the nooks and tunnels of the space while interacting with the soft and tactile forms.

‘Patricia Piccinini: Curious Creatures’

‘Patricia Piccinini: Curious Creatures’ / View full image

Up Late

An Up Late program in conjunction with ‘Curious Affection’ will be presented across five Friday evenings from 8 June to 6 July 2018, with live music by local and international acts, bars and floor-talks. Singer-songwriter Amaya Laucirica (Melbourne) will launch the Piccinini Up Late series with her genre-defying sound and wistful melodies. Xylouris White (Melbourne), a musical collaboration between Greek singer and laouto player George Xylouris and Australian drummer Jim White of Dirty Three will then perform. Tickets now on sale.

June 8 / Singer-songwriter Amaya Laucirica (Melbourne) will launch the Piccinini Up Late series with her genre-defying sound and wistful melodies. Xylouris White (Melbourne), a musical collaboration between Greek singer and laouto player George Xylouris and Australian drummer Jim White of Dirty Three will then perform.

June 8 / Singer-songwriter Amaya Laucirica (Melbourne) will launch the Piccinini Up Late series with her genre-defying sound and wistful melodies. Xylouris White (Melbourne), a musical collaboration between Greek singer and laouto player George Xylouris and Australian drummer Jim White of Dirty Three will then perform. / View full image

Film Program

The ‘Curious Affection’ film program at GOMA’s Australian Cinémathèque will showcase a wide range of science fiction and horror classics, together with beloved animations and documentaries from 6 April – 30 May 2018. The opening night features Boris Karloff in Frankenstein at 6.00pm followed by The Shape of Water at 7.45pm. Tickets now on sale.

Production still from The Shape of Water / Director: Guillermo del Toro

Production still from The Shape of Water / Director: Guillermo del Toro / View full image

The Shape of Water

Carried by two mesmerising lead performances, The Shape of Water is a magical work about the burgeoning romance between woman and merman. Elisa Esposito (Sally Hawkins), is a mute janitor at a secret Cold War lab in 1960s Baltimore. One night, a container arrives at the facility containing an amphibious creature (Doug Jones) shepherded from the wilds of the Amazon River. Shot in aqueous greens and blues, Guillermo Del Toro’s creature pays homage to the titular monster in Creature from the Black Lagoon 1954. Del Toro blends this inspiration with sumptuous set-design, costuming and otherworldly make-up and effects to create a fantastically textured love story. Part adult fairy tale and B-grade monster movie, The Shape of Water is at once deeply familiar and utterly original.

Exhibition publication

Patricia Piccinini: Curious Affection explores the artist’s exciting new commissions, as well as significant works produced over the last 20 years. New scholarship by Dr Elizabeth Finkel (Cosmos Magazine) and Professor Rosi Braidotti, a pioneer in European women’s studies, together with a curatorial overview by Peter McKay, Exhibition Curator and Curator, Australian Art, QAGOMA, explores the artist’s groundbreaking artworks and ideas. The volume also features ‘Familiar’, a short story by award-winning author China Miéville. This informative 200pp publication is filled with stunning installation photography of the artist’s GOMA exhibition. Pre-order your copy of Patricia Piccinini: Curious Affection. A special Slipcase Limited Edition is also available.

Patricia Piccinini: Curious Affection

Patricia Piccinini: Curious Affection / View full image

The exhibition is supported by Principal Benefactor, the Neilson Foundation, and Major Partner, Tourism and Events Queensland.

Feature image detail: Installation view of ‘Patricia Piccinini: Curious Affection’, GOMA 2018, featuring The Bond 2016, courtesy: The artist; Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Hosfelt Gallery, San Francisco within The Field 2018. © The artist

Related Stories

  • Read

    Looking at Patricia Piccinini’s monsters looking at us

    Our culture — its art, music, theology and techno-science — is filled with the promises of monsters, that is to say, the irreverent energy of those who deviate from prescriptive normality. Known for her imaginative lifelike creatures, visit ‘Patricia Piccinini: Curious Affection‘ at GOMA until 5 August 2018, and ponder our place in a world where advances in technology are challenging the boundaries between human and monstrous hybrid creatures. The connotations of that very term — monsters — however, tell a significant tale about our collective relationship to those who are otherwise embodied, both anthropomorphic — having human characteristics, and animal. Considered ‘other’, it is as if monstrous, non-human, animal and hybrid others inhabit a specific dimension that endows them with exceptional imaginary and metamorphic powers. They are both less-and-more than human, and other-than human at the same time. Connection and empathy are at the heart of my practice. My creatures are imaginary beings that are almost possible. They are not always traditionally beautiful, but they have a beauty and an honesty within them. They are more vulnerable than threatening. Patricia Piccinini Piccinini’s monstrous bodies blur the distinction between normal and pathological, self and other, human and non-human, and, in this capacity, they are a privileged site of phantasmic projection. Their influence on the cultural imagination is far-reaching: hybrid, monstrous bodies are cast in the mode of a familiar, yet threatening, otherness — a quasi-kin. They embody ontological impropriety. As objects of simultaneous wonder and fear, admiration and disgust, they cause a disturbance in the status quo, evoking a mixture of fascination and loathing. Whatever the response, they are culturally produced as sensational objects of visual display. There is also a paradoxically reassuring quality about them: their hybrid, monstrous bodies have already undergone a catastrophic mutation and have survived. Most people go through life dreading that they will have to confront a traumatic experience, but monsters already have. They embody both the trauma and the act of overcoming; having passed their test in life, they count as existential aristocrats. Their resilience grants them a cathartic function in relation to those — especially humans — who are still fearfully anticipating a blow. Patricia Piccinini highlights her favourite works The artist challenges us to review our preconceived ideas and socially enforced relationships with the otherwise embodied. This critical process starts by questioning the very cultural repertoire and mental habits that have structured our visual, cognitive and affective relationships with these others. Piccinini’s hybrid, monstrous creatures return our gaze, they look back at us and thus undo the consumeristic objectification of their otherness. They also look into us, with eyes full of compassion and understanding. Their intensity explodes the boundaries between human normality and its others. They stand in their plenitude, looking at our lack. Although it is tempting to take this remark as a humanisation of their gaze and their moral fibre, it would also be condescending to attribute human qualities, as if these traits were inherently superior. It is rather the case that Piccinini’s others transcend the binary divides altogether and come to exist in a continuum with a multitude of human and non-human others. In so doing, they challenge and shift boundaries. Their relational power induces a trans-species form of care, while their empathic force expresses a posthuman relational ethics. Read more on our blog / Subscribe to YouTube to watch behind-the-scenes footage and exclusive interviews / Buy the publication Patricia Piccinini, Australia b.1965 / Big Mother 2005 / Silicone, fibreglass, polyurethane, leather, human hair; ed. 2/3 + 1 AP / 175cm (high) / Gift of S Angelakis, John Ayers, Candy Bennett, Cherise Conrick, James Darling AM and Lesley Forwood, Rick Frolich, Frances Gerard, Patricia Grattan French, Stephanie Grose, Gryphon Partners Advisory, Janet Hayes, Klein Family Foundation, Edwina Lehmann, Ian Little, David and Pam McKee, Dr Peter McEvoy, Hugo and Brooke Michell, Jane Michell, Paul Taliangis, Michael and Tracey Whiting and anonymous donors through the Art Gallery of South Australia Contemporary Collectors 2010 / Collection: Art Gallery of South Australia, Adelaide / © The artist ‘Curious Affection’ tests all our received wisdom about nature and nurture, the real and the unreal, and what it means to be human. It explores the myriad of interactions involving humanity and the natural world, collapsing and confusing conventional boundaries. This results in extraordinary environments populated by compelling and startlingly realistic creatures. Delve into the artist’s world where the natural world pushes against the artificial, and vice versa, where the social, ethical and moral implications of genetic research are explored, and where creatures — intricately and lovingly created — visit us from a conceivable future. Professor Rosi Braidotti was born in Italy and grew up in Australia, where she received a First-Class Honours degree from the Australian National University in Canberra in 1977. She went on to receive a degree in philosophy from the Sorbonne in Paris in 1981. She has taught at the University of Utrecht in the Netherlands since 1988, when she was appointed as the founding professor in women’s studies. In 1995, she became the founding Director of the Netherlands research school of Women’s Studies, a position she held until 2005. She was also founding director of the Centre for the Humanities from 2007 until 2016. Braidotti is a pioneer in European women’s studies and her fields of interest include social and political theory, cultural politics, gender, feminist theory and ethnicity studies. Feature image detail: Patricia Piccinini’s Big Mother 2005 Edited extract from ‘Affirmation and a passion for difference: Looking at Piccinini looking at us’. Read the full essay in Patricia Piccinini: Curious Affection. #PiccininiGOMA
  • Read

    Patricia Piccinini’s paradox: The Carrier

    Patricia Piccinini’s The Carrier 2012 is both provocative and thoughtful, the artwork hints at what is possible from the creatures we may want to create in the not-too-distant future, making us focus our attention on what may lay ahead for us — is this relationship between humanoid and human how we will care for our ageing population? The carrier himself is a muscular male, strong and powerful with bright eyes and bear traits in his nose, tail and claws, he is balding, with age spots, yet his bear-like physique is able to lift the frail woman behind him with ease. It seems the carrier and woman are connected in some way, physically but also emotionally, therein lies the conflict. Perched up high, she looks comfortable and content to rely on his assistance, yet what is their relationship, why is he carrying her, is it an equal partnership, or is he just performing a service? We can wonder if the carrier is the next step in post-human technology, his life seems perfectly engineered to the task he performs, and it is feasible that he is happily self-employed. Listen to Patricia Piccinini Know Brisbane through the QAGOMA Collection / Delve into our Queensland Stories / Read more about Australian Art / Subscribe to QAGOMA YouTube to go behind-the-scenes Known for her imaginative, yet strangely familiar, lifelike hybrid creatures, Patricia Piccinini invites us to think about our place in a world where advances in biotechnology and digital technologies are challenging the boundaries of humanity. ‘Patricia Piccinini: Curious Affection‘ / Gallery of Modern Art (GOMA) / 24 March – 5 August 2018
Loading...