Tag : 2006


Callum Morton | Silverscreen 2006 | Wood, aluminium and synthetic polymer paint | 167.6 x 180 x 90cm (complete); screen: 92.9 x 110 x 45.3cm; table: 74.7 x 180 x 90cm | Purchased 2007. Queensland Art Gallery Foundation | Collection: Queensland Art Gallery

Callum Morton ‘Silverscreen’ 2006

Callum Morton explores our relationship to the built environment. Addressing both iconic modernist buildings and vernacular architecture, his works present architectural spaces as sets for personal narratives, social history and invented stories. Silverscreen 2006 is from a series of sculptures …


Gabriella Mangano & Silvana Mangano | if . . . so . . . then 2006 | SD video transferred to DVD: 6:40 minutes, 4:3, black and white, stereo, ed. of 5 | Courtesy: The artists and Anna Schwartz Gallery, Melbourne and Sydney

Gabriella Mangano & Silvana Mangano ‘if . . . so . . . then’ 2006

Gabriella Mangano and Silvana Mangano studied drawing separately at the Victorian College of the Arts, only later did they come together to collaborate on the videos for which they are now well-known. Drawing remains integral to the twins’ work and …


Zhou Xiaohu | Utopian theatre 2006 | 11-channel video, fired clay and mixed media installation | 189.5 x 456cm (diam.) (installed) | Purchased 2007. The Queensland Government’s Gallery of Modern Art Acquisitions Fund | Collection: Queensland Art Gallery

Zhou Xiaohu ‘Utopian theatre’ 2006

Zhou Xiaohu’s videos, animations, sculpture and paintings engage with politics, mass media and consumer culture. While embracing technology in his work, Zhou also comments on its malign manifestations. In Utopian theatre 2006, miniature clay figures enact history-making scenes that have …


Rashid Rana | Off shore accounts – II 2006 | Lambda print mounted on composite board, ed. 1/5 | Triptych: 199.4 x 373.4cm (overall) | Purchased 2007. The Queensland Government’s Gallery of Modern Art Acquisitions Fund | Collection: Queensland Art Gallery

Rashid Rana ‘Off shore accounts – II’ 2006

Rashid Rana’s photographs are composed of thousands of pixel-like images, ranging in subject matter from stills taken from popular Indian cinema to details of Lahore’s urban environment. Rana meticulously brings these minutiae together to create in composite images of famous …


Everything aesthetic about his videos — from the baroque screenplays that polish flippant teen slang into cascading soliloquies to the dueling fascinations with profound loneliness and extremely affected behavior to the swarming, jumbled, yet precisely composed shots that pack each frame with visual stimuli — displays a near obliviousness to what’s going on in his field, whether it be the clichés of current video art or the signature styles of past experimental films.

Dennis Cooper, “First Take, Dennis Cooper on Ryan Trecartin,” Artforum, December 2006.