If you have problems viewing the content of this email, please click here to read it online. CENTRE FOR CONTEMPORARY PHOTOGRAPHY WHAT'S ON — february 2011 Exhibitions: opening Thursday 3 February, 6–8pm Artist Floor Talks: Saturday 5 February, 12pm 2011 Kodak Salon: now open for entry Photography Courses with Les Walkling: 2011 program now available CCP/City of Yarra Billboard: Laki Sideris Beijing Bicycle CCP Website Survey: be in the draw to win one of five CCP Memberships EXHIBITIONS 4 February [UTF-8?]– 3 April 2011 GALLERY ONE PROUDLY SUPPORTED BY NAOMI MILGROM AND JOHN KALDOR SARAH RYAN THE FOURTH DIMENSION The possibility of spaces with dimensions higher than three was first studied by mathematicians in the nineteenth century. In mathematics the fourth dimension is an abstract concept derived by generalising the rules of three-dimensional space. The fourth dimension in this space was often misinterpreted as 'time'. In the last century however, 'space-time' was developed, which unifies space and time with a different metric so the time dimension is treated differently from the three spatial dimensions. I don't think I am alone in my fascination with transitions from one kind of reality to [UTF-8?]another—doorways, paths and ingresses. Within my practice I explore themes of confusion, indefiniteness and the boundaries of instability and displacement. I am interested in slowing down the process of [UTF-8?]looking—of looking at what's [UTF-8?]there—and dwelling at length on detail. Accordingly, the works are instilled with an intangible quality that invites endless examination. These visual concerns also correspond with the fluid and elusive qualities of the lenticular medium. The actual blurring, the rendering slightly out-of-focus that the lenticular process achieves, serves to imbue the images with an uncanny unreadability. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory board, and by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. GALLERY TWO IN MEMORY OF MORRY BARDAS LYNDAL WALKER LA TOILETTE D'UNE FEMME La Toilette d'une Femme is inspired by historical paintings of women dressing. While the women who appeared in these paintings were mainly anonymous objects of male desire, Walker's images are portraits of women for whom dressing is an important ritual, creative process and a statement of their identity. In some images the photographer appears in the reflection of a mirror, acknowledging the presence of the photographer and the construction of the image. It is also a reminder of the influence of photographs when we construct our self-image in the mirror. The women in the photographs have distinctive personal styles and through these images Walker celebrates female expression as defined by women who enjoy clothing, rather than the dictates of the fashion industry or raunch culture. A participant of the 2011 L'Oréal Melbourne Fashion Festival Cultural Program. GALLERY THREE PROUDLY SUPPORTED BY HELEN MACPHERSON SMITH TRUST DAVID GRIGGS AND POKLONG ANADING THE STA. MESA DIARIES The Sta. Mesa Diaries is comprised of two bodies of work photographed in Santa Mesa, a slum region that snakes along the tracks of the metro Manila train line in the Philippines. David Griggs' series New York London Paris Rome Manila City Jail was shot over a two-month period when Griggs was allowed entrance into Manila City Jail to work with gangs to photograph and research their gang tattoos. This suite of images depicts members of Bahala-na Gang, Sigi-Sigi-Sputnik Gang, Commando Gang and Batang City Jail Gang. The photographs acknowledge the unofficial fraternities of convicts serving their sentences for various crimes. Inside the cramped prison compound, these coat-of-arms tattoos serve to mark territories and are also a source of pride and dignity. Poklong Anading enlisted the participation of friends, acquaintances, and strangers for his series Anonymity. Individuals posed holding a circular mirror in front of their faces, reflecting the blinding glare of the sun directly into the camera lens. The heads of these subjects explode in a corona of light so that their locale, clothes, and the objects that surround them become the only legible signs of identity. Anading directs the viewer's attention to the background or 'field of forces' that configure the encountered 'other' and transforms the face from a place of recognition into a vanishing point. GALLERY FOUR MEREDITH TURNBULL TARGET PRACTICE "For a long time I tried to make myself believe that life was no more than dealing with a series of targets. Targets of [UTF-8?]opportunity… I have a recurring dream. I'm walking, alone, unarmed. The streets are crowded with living shadows. I know they're all around me but I can't seem to catch them. I feel afraid. Perhaps the real fear is that one night I will catch them." The Equalizer, 1987. Target Practice explores the territories between disciplines of photography, video and sculpture. It combines projected video of motifs within an urban landscape with aspects of found and recorded footage. The exhibition is part of an ongoing project that explores possible sites and intersections between geometric abstraction, structure, scale and space. CCP SHOP SPACE SHARON BILLINGE INSTALLED IN THE MIDST OF THE VISIBLE Paul Virillio maintains that modern society has made us, and everything around us into reproductions and that 'reproducibility eliminates any aura of the original or a sense of uniqueness.' Negotiating a world filled with images of ourselves is a sticky business. Like wearing a velcro suit, the way others look at our image clings to us and adds to our view of ourselves as we navigate social and public space. How do we recognise ourselves within the multiple constructed views that are reflected back at us? Installed in the midst of the visible takes Virillio's CCTV and internet based technological replication as a starting point to explore how this proliferation of images is affecting the way we perceive ourselves. NIGHT PROJECTION WINDOW 7 NIGHTS AFTER DARK YIWEN YAO ON THE ROAD On the Road was shot from the rear window of my car as I travelled around Australia over the past two years. The raw footage from a single, constant camera angle exposes every bump and pothole in the road as the car ambles on with dirt and dust flying up from under the tyres. This isolated landscape offered the opportunity to re-engage with the natural world. This is a record of my experience as a Chinese artist driving through the vast and diverse Australian terrain. On the Road provides a platform for the landscape to tell its own stories.   FREE ARTIST FLOOR TALKS SATURDAY 5 FEBRUARY 2011, 12PM Join Sarah Ryan, Lyndal Walker, Meredith Turnbull and Sharon Billinge. Fairtrade coffee will be available during the talks by gold coin donation. Supported by Jasper Coffee.   CCP EXHIBITIONS SUPPORTED BY 2011 KODAK SALON Australia’s largest open-entry, photo-based exhibition and competition, the Kodak Salon is an annual event celebrating the latest developments in photo-media practice around the country. Supported by leaders in the photographic industry, the Kodak Salon provides an excellent opportunity to exhibit work in a professional, high-profile context, with over $16,000 worth of prizes awarded. The Kodak Salon presents an exciting and diverse snapshot of contemporary, Australian photo-media practice. For information on this year's Kodak Salon see the Kodak Salon webpage PRINCIPAL SPONSOR Image: Lyndal May Stewart Nan/Nanette 2010, winner of the 2010 Kodak Salon Manfrotto Best Portrait 2011 photography courses WITH LES WALKLING Les Walkling's 2011 Photography Courses now open for enrolment. For full course information please see the CCP 2011 Photography Courses webpage CCP's Visy Education Space Epson EH-TW 3500 projector provided by Kayell Australia. www.kayellaustralia.com.au Image: Les Walkling Days becoming 2010 CCP/City of Yarra Billboard Corner of Smith & Otter Streets Collingwood [UTF-8?]February–May 2011 laki sideris beijing bicycle Laki Sideris examines the paradox of private space in a public environment in Beijing Bicycle, a series of 30 images taken between 8 and 9am and 8 and 9pm in Beijing, China. The photographs are close up portraits of people riding bicycles through the streets of Beijing, with the bicycles cropped out of the frame. In Beijing, cyclists ride at a steady, though determined slow pace. It is a time to be alone, to have thoughts, to be silent. The portraits are linked by common [UTF-8?]expressions—concentration, fatigue, even melancholia. These cyclists carry their personal, private space with them. Anyone sitting on a Beijing street corner is free to peer into this continuous and inexhaustible parade, a continually evolving face of China. Located at this busy Collingwood intersection, Beijing Bicycle celebrates the street as a space for both public and private experience, as well as the universal and timeless pleasure of the bicycle. The OUT THERE Billboard Art Program is a City of Yarra initiative in partnership with 7-Eleven. CCP website survey TELL US WHAT YOU THINK FOR A CHANCE TO WIN ONE OF FIVE CCP MEMBERSHIPS As a not-for-profit public gallery and membership organisation, it is important for CCP to understand if we are effective in the services we offer Members, artists and the visiting public. This survey has been created to gather feedback on CCP's current website and any functions and content you would like to see in a future version of the website. The survey is a simple online multiple-choice form, which should take around five minutes to complete. There are also optional spaces for additional feedback you might have. CCP values these responses, so please take this opportunity to tell us your thoughts, suggestions or comments. To take the survey, please visit the 2011 CCP Website Survey page JOIN CCP Members share an active interest in contemporary photo-based art and enjoy a direct involvement in CCP exhibitions and activities. Their support enables the Centre to develop its aims and expand its services and programs. CCP membership includes a number of valuable benefits: - Regular information and invitations to CCP exhibitions and events - 15% discount on books and selected merchandise at CCP Shop - Discounts for CCP workshops and lectures - Discounts on entry exhibitions such as Kodak Salon and CCP Documentary Photography Award - Discounts to local and related businesses upon presentation of a current CCP membership card Annual membership fee: Concession $33; Full $55 Read more about becoming a CCP Member online DONATE CCP generates over 50% of its income and enjoys strong community support with a paid member base of over 600. CCP receives financial and in-kind support from a variety of corporate and benevolent sponsors, and is active in fundraising through regular events. Donations are gratefully received and tax deductible. Please use the online secure payments form to make an online donation using your credit card. If you prefer not to use the online form, or would like to donate to CCP via cheque, please download the CCP Donation Form or call +61 3 9417 1549. Your support is greatly appreciated. CENTRE FOR CONTEMPORARY PHOTOGRAPHY 404 George St, Fitzroy, Vic 3065, Australia T + 61 3 9417 1549 E info@ccp.org.au W www.ccp.org.au GALLERY HOURS Wednesday – Friday 11am–6pm, Saturday [UTF-8?]– Sunday 12–5pm NIGHT PROJECTION WINDOW 7 nights after dark COMMUNITY Interact with CCP on Facebook, Twitter and Flickr. Centre for Contemporary Photography is supported by the Victorian Government through Arts Victoria and is assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Centre for Contemporary Photography is supported by the Visual Arts and Craft Strategy, an initiative of the Australian, state and territory governments. CCP is a member of CAOs, Contemporary Arts Organisations of Australia. 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