The ArtHitects

Né à 1957 (Gary Carsley), 1983 (Renjie Teoh)
Ville natale Brisbane, Queensland (Gary Carsley), Singapore (Renjie Teoh)
Vies et travaux Gadigal country, Sydney, Australia

About the artists
The ArtHitects, Gary Carsley and Renjie Teoh, confect specific building and gardening typologies to explore themes at the intersection of their complementary practices as artist and architect, and their different cultural origins at opposite ends of the Eurasian landmass. The ArtHitects synthesise their diverse backgrounds to visualise the lived experiences and concerns of blended communities across multi-cultural Australia and its entanglement with the wider region.

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The ArtHitects

About the artists
The ArtHitects, Gary Carsley and Renjie Teoh, confect specific building and gardening typologies to explore themes at the intersection of their complementary practices as artist and architect, and their different cultural origins at opposite ends of the Eurasian landmass. The ArtHitects synthesise their diverse backgrounds to visualise the lived experiences and concerns of blended communities across multi-cultural Australia and its entanglement with the wider region.

As artist and architect, Gary and Renjie initially colluded in 2018 on a major site-specific commission for the National Gallery of Singapore. Composed of more than 7,000 overlapping A4 80 gsm photocopies and co-authored with Jeremy Chu, The Regency Made Me Blind rises vertically along the entirety of the Gallery’s City Hall Wing staircase and is currently on view between levels 4 and 5. After identifying their mutual obsession with building and gardening typologies, Gary and Renjie went on to design a second large-scale A4 photocopy environment: The Pavilion of Clear Memory when scene from Waverley. Commissioned by Waverly Council, the Pavilion of Clear Memory also included significant contributions from Waverly’s St Clare’s College year 12 Art students and community Gardening activists. It was installed at Sydney’s iconic Bondi Pavilion, over the winter of 2019.

Their first dioramic experiment at showing individual artworks integrated within a wider set of visual references drawn from life came the following year when Renjie confabulated a multi-perspectival pergola for Arbour Ardour, an exhibition of Gary’s recent Draguerreotypes at the internationally renowned Roslyn Oxley9 Gallery. The precursor to the Flutterbye Mansion, Arbour Ardour was an optically dazzling viewer experience in which three of Gary’s signature IKEA PAX closet parkscapes and a suite of polygonal images, were schematised by Renjie as a series of multi-perspectival, outward-looking windows and doors.

Resolving to operate outside the Western convention of displaying and viewing art as mainly fragments set on and within predominately white spaces, led to a formalisation of their hitherto improvisational dialogue and the promulgation of the ArtHitects. The ArtHitects identification as culturally non-binary enables Gary and Renjie to better reflect and work within the diversity of the blended communities that increasingly characterise the contemporary global metropolis. The ArtHitects, as a framework for their working together simultaneously facilitates a synthesis of their different cultural backgrounds and generational outlooks while furthering the evolution of their separate practices as artist and architect.

In 2021 the ArtHitects, presented Savour Labour – the Brick Veneer Belvedere at Cross Arts Projects (Sydney), a centre for curatorial projects focussed on exploring the multiple relationships between art and life, concerns also vital to them. In 2022, they produced the Illawarra Pavilion, a commissioned project by the Wollongong Art Gallery, in which they applied 3,563 overlapping A4 photocopies over 21 consecutive daze to the gallery wall to confect a Perspectival Scenic Panorama (通景画). Incorporated seamlessly within the pavilion’s 61 linear meters were selected items from the Gallery’s consequential Mann-Tatlow Collection of Asian Art and Antiquities.

The complex set of novel cultural and historical interrelationships produced by the ArtHitects production of perspectival scenic panoramas purposefully generates an original context for exhibiting their new creations as individual artist and architect. Institutional projects confirmed for 2023 include Braving Time: Contemporary Art in Queer Australia (the National Art School, Sydney) and Parlour Parléur for the Museum of New South Wales History and Penrith Regional Gallery.

Gary Carsley lives and works on Wiradjuri country, 200 kilometres west of Sydney where he maintains a modest hortus conclusus and a practice propagated at the intersection of the paradigms: artist, writer and contrarian. His recent solo projects include The National – New Australian Art (MCA, Sydney) 2017, the 9th Asia Pacific Triennial of Contemporary Art (QAGOMA, Brisbane) 2018-19, Chromophilia (ICAA, New York) and Terra inFirma: Sovereignty and Memory (Blacktown Arts Centre), both in 2020.

Renjie Teoh is a registered architect practicing on Gadigal land in Sydney and has been working in an expanded mode of practice since 2018. After graduating with a Bachelor of Arts in Architecture (Hons) at NUS Singapore, and Master of Architecture at UNSW Sydney, he continued to gain industry experience with various Architectural firms in Australia while concurrently consolidating his own architectural and interior design practice under the name architecTONICA. In 2019, he completed his first solo project Object into Subject: Studio of Quiet Contemplation, at FIRES, a Sydney-based ARI.

Gary Carsley

Selected Solo Exhibitions (Since 2005)
2022 the Illawarra Pavilion (as the ArtHitects), Wollongong Art Gallery, Wollongong
2021 The Brick Veneer Belvedere (as the ArtHitects), Cross Arts Projects, Sydney
2020 Arbour Ardour, Roslyn Oxley Gallery9, Sydney (With Renjie Teoh)
2019 The Pavilion of Clear Memory When Scene From Waverley, Bondi
2019 Bondi Pavilion, Bondi Beach, Sydney (With Renjie Teoh)
2016 Scenes From The Life of Paris, H Gallery, Bangkok
2016 For and Against Nature, Grey Projects, Singapore
2015 The Garden of Dr. Con Fabulator, Centre for Visual Art, New Jersey
2015 The Pre_Raphaelite Sisterhood’s Cubby, Alaska Projects, Sydney
2014 Sciencefictive, IMA Brisbane & Kunstverein Ulm
2014 For and Against Nature, Grey Projects, Singapore
2013 A Tree Struck by Lightning, Thatcher Projects, New York
2013 Sub-Dub, Breenspace, Sydney
2012 Gardenesque, TORCH Gallery, Amsterdam
2011 The Garden of The Forking Paths, Sabine Schmidt Galerie, Koln Gardenesque, C.A.C.S.A. Adelaide
2010 A Bush Knot, Griffith Artworks, Griffith University, Brisbane
2010 Ficton_Non_Fiction, Thatcher Projects, New York
2009 Bark Art, BREENSPACE, Sydney
2008 You are Here, Thatcher Projects, New York
2008 ReOrientalism, Sabine Schmidt Galerie, Cologne
2007 Scenic Root, Level 2 Contemporary Projects A.G.N.S.W, Sydney
2006 Looking at Works of Art in the Light of Other Works of Art, Artspace, Sydney
2005 Chemical Blonde, TORCH Gallery, Amsterdam
2005 Skirting the Issue, The Cross Art Projects, Sydney

Selected Group Exhibitions (Since 2005) 
2022 Flutterbye Mansion at ART SG, Art Porters, Singapore
2020 MisFits, National Art School, Sydney
2020 Terra inFirma, Blacktown Arts Centre, Sydney
2018 9th Asia Pacific Triennale, QAGOMA, Brisbane (2018/19)
2017 The National – New Australian Art, Museum of Contemporary Art, Sydney
2017 Aura: Repetition, Reproduction and the Mark of the Artist, Manly Museum & Art Gallery
2017 The Unflinching Gaze: photo media & the male figure, BRAG, Bathurst
2017 The Mnemonic Mirror, Griffith University Art Gallery, Brisbane
2016 Patternation, Hazelhurst Regional Gallery, Sydney
2016 The Mnemonic Mirror, University of Technology Gallery, Sydney
2016 Its Timely Too, The Lockup, Newcastle
2016 Contour 556, Canberra Art Biennale
2014 It’s Timely, Blacktown Arts Centre
2014 The Amusing Style, Pavel Zubok Gallery, New York
2014 Acid Gothic, Galerie Pom Pom and Elizabeth Bay House, Sydney
2013 Against The Grain, Museum of Art & Design, New York
2012 Untamed Wave Hill Cultural Centre, The Bronx, NYC
2012 There Was A Wold Once, Märkisches Museum, Witten (Germany)
2010 Hardbodies, Hazelhurst Regional Gallery, Sydney
2009 ANIMAMIX BIENNALE – The Real Unreal, M.O.C.A. Shanghai
2008 Wonder, Singapore Biennale, Singapore
2007 Perfect for every occasion – Photography Now, Heide Melbourne
2006 Ten(d)ancy, Elizabeth Bay House, Sydney
2005 Surfaces Paradise, Museum voor Moderne Kunst, Arnhem

Selected Public Commissions
2021/22 D.134 Xanthorrhoea (Walking on History) Sydney Football Stadium. Client Infrastructure New South Wales. Architect Phillip Cox
2018 D.116 Holding Up The Sky. Forensic Medicine & Coroners Court Complex. Client: NSW Health Architects, Cox Architecture & Silver Thomas Hanley
2017 The Regency Made Me Blind, The National Gallery of Singapore
2012 D.101 Toohey’s Forrest. Queen Elizabeth II Hospital Public Art Commission. Client: Departments of Public Works and Health (Queensland Government) Hames Sharley (Architects)
2009 D.87 Battery Park 4 Broad St, Manhattan. Loffredo Brooks Architects P.C. 239 cms x 900 cms
2009 D.88 Istana Park Orchard Central, Singapore DP Architects and The Far East Organisation. A 3-storey, 530 sqm integrated artwork incorporating an immersive light and sound programmable environment.
2007 D.51 Parramatta Park, The Justice Precinct, Parramatta, Sydney Bate Smart Architects. A 23 x 7m foyer of the Trial Courts Parramatta.

Selected Recitals (Since 2005)
2021 Hey Daddy. Performance Space at Carriageworks, Sydney.
2017 Purple Reign. QAGOMA, Brisbane, 9th Asia-Pacific Triennale.
2017 The Phallus of Dorian Gary. The Imperial Hotel, Sydney
2015 The Museum of UnNatural History. First Draft, Sydney

Selected Artist Initiated Projects
2019/20 RocoColonial, Hazelhurst Regional Gallery (Sydney), Bathurst Regional Art Gallery and Lismore Regional Gallery
2014 It’s Timely, Blacktown Arts Centre, Sydney (With Paul Howard)
2004 Take A Bowery, MCA Sydney and 2005 Venice Biennale
2002 Cerebelllum, The Performance Space, Sydney

Renjie Teoh

Selected Solo Exhibitions (Since 2019)
2021 Savour Labour The Cross Art Project Sydney. (As The ArThitects)
2019 Object into Subject: Studio of Quiet Contemplation FIRES Sydney
2019 The Pavilion of Clear Memory When Scene From Waverley, Bondi
2019 Bondi Pavilion, Bondi Beach, Sydney. (With Students from Waverly College and the Bondi Cliff Bush)

Selected Group Exhibitions (Since 2018)
2022 Flutterbye Mansion at ART SG, Art Porters, Singapore
2020 Roco©olonial Lismore Regional Gallery Lismore
2019 Roco©olonial Bathurst Regional Gallery Bathurst Roco©olonial Hazelhurst Arts Centre
2018 The Regency Made Me Blind National Gallery Singapore

Collaboration with Artists (Since 2015)
2020 Arbour Ardour, Roslyn Oxley Gallery9, Sydney (With Gary Carsley)
2019 Shell (Re)Worked Slippers (with Esme Timbery)
2016-17 The Glad Tomorrow by Tony Albert, Children’s Health Queensland & Lady Cilento Children’s Hospital, Brisbane. (With Cracknell & Lonergan Architects)
2016 Mission Boy Dreams Redfern Mural by Roy Kennedy, Wyanga Aboriginal Aged Care facility, Sydney. (With Cracknell & Lonergan Architects)
2015. Yininmadyemi – Thou didst let fall by Tony Albert, Hyde Park, Sydney (With Cracknell & Lonergan Architects)

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